Most people who listen to The Haxan Cloak’s second record will never hear it completely. Written into the album’s data are frequencies that can only be played on powerful equipment: deep, floor-shaking tones meant to be felt, not heard. Even through headphones, the record manipulates sound in a way that’s primally disturbing, preying on the instinct to jump at sudden noises, to mistrust silence. Excavation betrays the illusion of the album as a pristine artifact, instead embracing music as an experience contingent on its environment. The album is not a grooved disc or a folder of .mp3s. The album is a conversation between vibrating air and the brain. The Haxan Cloak engages the mechanism of fear rather than the appearance of it. Excavation isn’t quite drone in the way that Eraserhead isn’t quite horror. The goal is to look at why we’re afraid—and to see the beauty that comes out of our fear. [Source]
Following a trio of acclaimed, genre-confounding 12″ drops – for his own Diagonal imprint and most recently The Death of Rave – London’s Powell reports for duty at Mute’s dance R&D department, Liberation Technologies. ‘Fizz’ picks up where the mighty ‘A Band’ left off, being an anachronistic party-starter that splits the difference between rockabilly shuffle and gear-grinding industrial stomp, spiced with aromatic no wave samples and squirts of acrid electronic noise – techno for teddy boys. ‘Wharton Tiers On Drums’ revives the jerry-built, tunnelistic groove of early Powell ace ‘The Ongoing Significance Of Steel & Flesh’, but jerks the toms harder, adding sampled shout-outs to the eponymous sticksman and inviting you to contort yourself on the dancefloor. ‘Beat’ is a return to the sparsest rhythm science, simultaneously invoking the loping hypno-rock of Can, the popper-crazed brawn of Nitzer Ebb and the sparse techstep rollage of Nico and Ed Rush circa Torque. Taken from LTECH004 – ‘Fizz’ out now on 12″ and download. [Source]
The Colonized EP sees Temple move away from the faster and melodic stylings of her previous work, and delivering two slabs of brutal industrialism instead. All three tracks bluster with a bullish brutality, but Temple does show moments of reflection and serenity, particularly in the title track, which Perc reworks with gravelly rhythmic mechanics and metallic textures; the digital version of the EP comes with two digital bonus tracks, one original and one further Perc remix. [Source]
Raw analogue alchemies delivered with all the sleek and polish of its black-on-black casing made Bryan Blacks EDLX debut last year as blackasteroid a truly memorable one, consolidating all of the Motor mans proven Paisley Park-honed engineering capabilities into a succinct and forward-facing EP. Defined by its gritty textures, fizzy white noise manipulations and a signature mechanical hum throughout, Black Acid achieved a uniquely tactile sound quality, reaffirming Bryan Black as a formidable one to watch under his revised blackasteroid guise. Recently Perc, Alva Noto, Len Faki, Angel Costa and DJ Emerson presented a series of pithy reinventions of the EPs three lead tracks: “Black Acid”, “Hydrogen” and “Pressure”, turning in a thoroughly versatile remix package complete with fresh nuances ranging from peak time basement material to more pensive headphone moments. A recomposed body of original “Black Acid” sonic material, once more sheathed in stunning minimalistic design this time in reverse: white on white, with contrasting materials (matte laminate on the cover and a high gloss UV varnish in the detail) providing the sole differentiating factor. This particularly considered art direction was the result of a creative collaboration between Bryan Black (a designer himself and responsible for the bulk of Motors artwork), Jochem Paap and EDLX designer Jan Willem van den Ban from Enchilada. Choosing to diversify from the usual colourfulness and moiré structures of EDLX, the monotone colour palette and minimal aesthetic sets these pieces apart as highly collectable art objects, meanwhile rendering the blackasteroid project in a very physical, very personal way thoughtful design in both sleeve and sound. [Source]
SERIOUS FIND HERE – 1982 PROTO-TECHNO MADE IN INDIA – AN ABSOLUTE TREASURE TROVE OF EARLY ELECTRONIC DANCE MUSIC THAT SOUNDS LIKE APHEX’S ANALORD TRANSPORTED TO EARLY 80′S MUMBAI – DO NOT MISS!* Charanjit Singh’s ‘Ten Ragas To A Disco Beat’ is quite easily one of the maddest records we’ve ever had in stock. It was originally made in 1982 by a Bollywood soundtrack composer, intending to capitalise on the disco phenomenon with a combination of centuries-old classical Indian Ragas set to a disco backing. To achieve this Charanjit used a prototypical acid set-up of Roland TB303 bass melody sequencer and TR808 drum computer together with a Jupiter-8 keyboard. He basically created a sound which mirrored, and more importantly, pre-dated the first acid house record – Phuture’s ‘Acid Track’ by five years, and even preceded Chip E’s ‘Jack Trax’ in 1985. It’s no throw-away novelty record either, instead capturing the hypnotic potential of acid music in the most ornate and scarily prescient fashion, making explicit the similarities of infinitely arpeggiated bass sequences and pure electronic pulses that would soundtrack dancefloors for the next 30 odd years. The more cynical among you will probably be thinking this is Ceephax or Aphex Twin delivering one of the most elaborate in-jokes of their career, but with the gatefold sleeve depicting the original sleeve and some in-depth liner notes from the label and Charanjit, our cynicism is waning in favour of absolute shock and awe. ‘Ten Ragas To A Disco Beat’ is vintage futurism of the highest calibre, and made all the more amazing by the fact it came from India, a place hardly renowned for its electronic output! This is a remarkable record and comes with our highest recommendation – AN ABSOLUTE FIND. [Source]
Remixed by PARADE in Paris. Say hello PaRade infos: https://www.facebook.com/callofparade. LAURENT GARNIER “Jacques in the box” REMIXES ep includes rework from BRODINSKI & GESAFFELSTEIN available on iTunes https://itunes.apple.com/fr/album/jacques-in-the-box-single/id615555481. 12″ vinyl record out April 1st, 2013.
So proud to have Justice & The Chemical Brothers remixing my tracks “ICH R U” and “XTC” for the 100th release on my label Boysnoize Records. Thank you all for the support! oi oi oi. BNR 100 is out March 18th incl. ltd. 12″ vinyl. “Ich R U” and “XTC are taken from my new album “Out Of The Black”. Buy iTunes: itun.es/i6Dw9gJ. Buy Beatport: www.beatport.com/release/out-of-the-black/972163. Released by Boysnoize Records on March 18, 2013.
We are very pleased to introduce the talented artist “Dorian Knox”.He brings to our crew exactly the sound we aim to represent with 2 massive tracks supported by 2 remixes from big names of the Techno scene: Black Asteroid (CLR/Electric Deluxe) and D. Carbone (Repitch/EgoTon). What say more…we prefer the music speaks for us,so enjoy the Techno,enjoy the Silent Storm sound!!
Buy all the six mixes on Beatport here.