Out: 19th June
France talent Univers III presents Octogone. MicHell has been instrumental in projects such as Les Fragments de la Nuit, Revok, and Lolito. This new solo work explores a deep and dark sense of atmosphere in which no god or master is respected. Matching the natural frequencies found to be coming from the constellation of Orion, this album defines a passage between the earth and sky. With an album cover designed by Uruguay's Alexandro Nelson Garcia, this astonishing work is set to escape velocity.
A sleek and polysonic tone grows out and up like a huge pipe-organ musing on lost memories. Dismembered curdles with deep resonance and thoughtful drones which mutually hold each other tight as the dreary mood manifests. Quicker arpeggio like motifs then spring from the undergrowth which penetrate with an edgy direction. Waves of strange amplitude join in the middle of the sky as spectral illumination manifests as sound and sweeping searchlights that peer across the land like giant vibratory eyes. Octogone sinks us deep into a state of hypnotic relaxation with the shadows slowly gathering around us.
Particules follows. This features work by Steph G. A silken rise of twinkling tones sparkle in the darkness as a build of piano summons deep and powerful forces. A woodwind calls out through the shaded landscapes with a message of awaiting wonderment. As the composition expands and progresses, subtle energy is used to elevate steps in the story. Next, a humming ambience rises from the nothingness. As it grows, a piercing sense of energy grasps the note and holds it in place. New sonics rumble and manifest within and beyond as suction and flow create rivers of frequency that split into various harmonies. Black Hole is fuelled by abstract and broken synthesiser tones that twirl and sink.
Rounded and shrill tones roll like vibrating cymbals covered in webs and dust. Piano strikes a solitary melody through the haze while awkward and sinister harmonies rise through the film of opaque sound. Where I Landed looks around and absorbs the devastating emptiness that expands in all directions. Organic musings form over digital in a minute tapestry of imaginary sounds. N= -1 perhaps, or maybe it's just the convex nature of existence. Whatever happens in the fundamental realms, the results on the outside are a continually shifting and changing amalgamation of inspiration. Micro Elements builds with orchestral and composed clarity as various tones and sound-effects build a fantastic picture.
Huge and deep piano notes cast devastating magic across the stave. A higher tone begins to pulse in an odd scale which shifts and bends as extra sounds disperse from the body. A distorted guitar plays harmonics into a fizzing cacophony as choral voices rise like hot fog from the night—time tarmac. Somewhere Between Nowhere and Goodbye jostles for space in tight places. It continues with After Moon. Haunting piano splashes over the silence in subtle melodious progression. Minor keys merge with a flow of motion as the composition breaks into outcrops and roots.
Church Of The Latter Day Synths is next. It waltzes into our ears on a slow moving tempo. Harpsichord like notes breeze and blow as if played over pipes, a combination of sounds meet and divulge with each other before dispersing into various room positions. Slow and meaningful melodies work with strange dream-like swirls and gusts that invigorate the flow of feelings. Target is after. A fast and upbeat keyboard melody pulses with rhythmic velocity. Digital beats pulse and strike notes on aspects of progress while stop-start bass rumbles and roils with a degree of intense destination. An updraught of melody begins to cover the pieces with blankets of kinetic sound.
Next is Lost Episode. Cinematic scores of piano strike characterful melodies across a harmony of minor strings which quaver in the tension. Strange and shadow-lined notes step up into amplitude as the next number begins. Progressive steps climb upward as harmonies and chorded melodies chant in repeating lines. The build-up reaches new heights as extra synths cusp the sky with streaks of sound. Exit takes us up and away as drumming punches in the time-code and powers everything up.
Follow Univers III on Soundcloud
Are We There Yet?
Science Cult Records
Out 11th June
Tel-Aviv based 303 magician Itay Davies is making his mark on America's Science Cult imprint. This new EP takes the style and works the rhythm into a frenzy of mixes that aim to please. Including a remix from Orlando Voorn, we get 2 originals and 2 perspective bending remasters that bring Israeli music to the forefront.
It opens with a fun and bouncy rhythm that pops and booms with an elasticated bass-line. Snares jostle with metal-work as the kick provides a steady thrust. Extra layers of synthesiser meld into one another as percussive melody entangles with the rhythm. Harmonies rumble through as the persistent beats continue to bash down their stylised perspective.
The End Of Voyage Mix of Are We There Yet comes next. It has a deeper, more wholesome bass tone that lifts the music straight away. Jungle drums chant melodious messages in timed tunes as percussive sounds scratch and jingle on all the beats. A gradual progression builds as the drumming infuses like strong tea into the swirling currents of synthesiser. New layers of harmony unravel like thread and stitch themselves neatly into the ever growing flow. Around the half-way mark, the music breaks down to eerie synthesiser orchestrations that rise into being as the rhythm re-emerges.
Next up is the Orlando Voorm remix. It starts with thumping bass and pounding tom-toms that resonate with rattles and cymbals. Synth bursts colour the atmosphere with firework like explosives before a deep bass thump bell begins to tell its story. The shuddering bass continues to grow and mutate under the weight of the towering drums. Sparkles of ambience drift through the heaviness like shoals of fishes swimming against the flow.
The final number is another original. Euphoric synthesiser rings out to the dig of a thumping bass and clap rhythm. Hats begin and throw the tempo into the next gear before a new layer of bass twangs and fizzes with composed flux. The drumming grows with a gradual progression as extra layers of subtle melody illuminate nooks within the structure. In Front Of Control evolves with each section, layers of synthesiser reverberate and amplify around the continuation of bass and snare.
You can follow Itay Dailes on Soundcloud
Find Itay Dailes on Apple Music
Made Of Cashmere
Stil Vor Talent Records
Out 4th June
Taken from the forthcoming LP release “Made Of Wood”, this single issue offers two blasters from the organic house textbook. Berlin's Oliver Koletzki is preparing to release album number nine and Made Of Cashmere has already hit the desks and decks of everyone that matters. That is as of now, since you've been reading this.
It begins with warm distortive hiss that moulds into a sleek drum and bass rhythm. Bell like chimes resonate on the kick drum as hedonistic cymbals and snare rattle and roll on the top layer. Brush strokes and air bursts fill ambient spaces as echoed percussion ruminates in the void. Jilted synthesiser pushes through, rhythmic swings on tonal progressions build with a flux of drums. Melody builds and an exciting edge is sent upward as the energy progresses.
Next is Serpiente Del Ritmo. Thumping, deep bass opens the track and it digs a dense groove into the dance-floor. Fizzy bass jingles along to the rhythm and it builds with amplitude over an ice bundle of vocal. Spoken word voice chants into the microphone as electronic beats gather and build under a bass and kick-drum sky.
Find Oliver Koletzki on Soundcloud
Speed Dealer Moms
TBR: 18th June
Comprised of Aaron Funk, John Frusciante, and Chris McDonald, Speed Dealer Moms offer a snippet of the archives in this heady release. Since their debut ten years ago on Timesig Records, the group have worked with plenty of artists along the way. The titles have been given their usual format of the location and date and number of takes. Delving into the group's own library of memories, SDM-LA8-441-114-211 highlights 3 landmark escapades into collaborative electronic sound. A limited vinyl pressing and digital version are expected to make their way onto the music scene on the 18th of June. With each offering requiring hours of programming and practice, the art of the electronic music maker is made real every time.
LA August 1. The music begins on dapples of synthesiser that quaver and shimmer in subtle harmonies. Extra sounds sweep and scope around, they bubble and stream, a mixing of currents creates a composition of wide and interesting sound. Rhythm finds a niche, scattered beats and angular tempos lean against the barrage of electronic sound that pushes with a strong tidal force. Each passing section reveals new aspects of the composition and ingenious manipulations of synthesised amplitude.
Chunky bass work in unison with retro keyboard as a steady rhythm is unleashed. Slow and punchy beats cascade through the melodious flow. Wandering bass end notes punch the paper-bag as crackles and snares rampage through a steady assault course. Slow and dreamy melody swings through a fog of noises and harmonies that throb and twang with speckles of heavy rhythm. April One 4 throws a huge selection of sounds into a dreamy thundercloud which breaks open and pours its contents onto the room.
April Two 11 begins on a sliding scale of randomness that creaks and bleeps over intentions of sound. Beats flow through broken sections and insect like melodies flutter in as well. Strange mixtures of digital sound collapse in on an ever increasing singularity. Twisting grunts and tribal runs of padded drums rise in waves of motion as other layers dance alone in their own unique world.
Listen to Speed Dealer Moms on Spotify
Find Evar Records on Bandcamp
Thank you for your visit, please consider helping with a donation.