From AUTOMAT’s new album “OstWest” out on Bureau B on November 11, 2016.
From Detroit techno and hip-hop’s early sampling experiments to Terre Thaemlitz, electronic music has long proven its political potential, even in instrumental form.
With OstWest, Berlin-based electronic-kraut-dub trio Automat complete their LP trilogy with a deep and entrancing take on the failures of neoliberalism.
With their extraordinarily epic and artful musical poetry, Maud Geffray and Sébastien Chenut – the two sonic warheads who make up the electronic music group Scratch Massive – have always been able to enrich sensory experience in a way that brings together the fringe and the extremes, the here and there, the past and the future, with a never-disappointing desire to express the blues of the soul and the blues of the world.
The Parisian DJ/producer duo has made its mark with icy grooves and epic productions, a perfectly-executed musical path that has led it to become one of the driving forces of French electronic music of the last 20 years.
After the dark and melancholic convulsions of its studio album Nuit de rêve, Scratch Massive invites us to intimately explore new heights through the sublime images and existential travels presented in Day Out of Days – the new film by director Zoe Cassavetes.
This intense musical duo has undertaken a veritable revolution, giving body and soul to their latest project. Recorded under the Los Angeles sun at Atwater Studios, Day Out of Days is a troubling and enraptured vision of The California Dream – the one that always seems to slip away at the last moment from under the feet of Mia, the film’s disappointed heroine. On this album, Scratch Massive trades in (temporarily?) its somber ways and the dark beauty of its electronic odes for a new pop sensibility nourished by the grand air of the Pacific Ocean and the frenetic rhythm of a city that never sleeps.
From the wide-eyed pop song “Turn Away” that opens the album, the new wave mirages that inspire the superb “Frolic Spleen” and “A New Deal” and the infectious magic of “Paris” (an electro-pop hit carried by the irresistible voice of Daniel Agust, former lead singer from Icelandic cult band GusGus), Day Out of Days brings together an elegant, out-of-control bacchanal evoking dreams snuffed out by the stark realism of the daily grind, shady sunsets reflecting undetectable fears too heavy to bear. Could this be the sound of California Dreamin’ under modernity’s magnifying glass?
Quite simply, with Day Out of Days, Scratch Massive has made a modern electronic album, perfectly at ease with the influence of pop, as a way to revisit and reexamine its clichés, its stylistic effects, and the hungry nostalgia for the 1980s.
…”this is ambient music at its purest.”
Markus Guentner (Regensburg, Germany) is a Producer/Sound-Designer/DJ known and loved for his countless releases on labels like Sending Orbs, Kompakt, Ware, 4AD and many more.
„Crystal Castle”, Guentner’s first full-length album on Affin includes seven pieces of layered soundwaves, modulated in a very subtile way.
Just the best music to stop the world, stop thinking on a time-/deadline, this just gets you into a continous state of awareness.
With his already sixth album Guentner underlines that the “inventor of pop ambient” is expanding another time on a large scale.
Taken from the ‘Persona’ EP, out 11th November on Warp Records.
“This world exists nonnecessarily, improbably, and causelessly. It exists for absolutely no reason at all. It is inexplicably and stunningly actual. The impact of this captivated realisation upon me is overwhelming. I am completely stunned. I take a few dazed steps in the dark meadow, and fall among the flowers. I lie stupefied, whirling without comprehension in this world through numberless worlds other than this one”. Quentin Smith, The Felt Meanings Of The World (1986)
‘Superimpositions’ is the hyper-coloured conceptual follow-up to multi-disciplinary Milanese artist, Lorenzo Senni’s landmark LP, ‘Quantum Jelly’ (Editions Mego, 2012). It further consolidates, accelerates and evolves his idea of “Pointillistic Trance” – an ascetic, extreme approach to the aesthetic essence of ‘90s-style trance/hard-trance – with a broader range of song structures, minimalist moiré patterns, and tantric dancefloor arrangements, all executed to visceral impact and challenging, exhilarating effect.
Angling deeper into his stripped set-up – a computer-controlled JP8000 Roland Digital-Analog Modelled S-Source Synthesiser – ‘Superimpositions’ reveals seven glistening examples of Lorenzo’s current praxis, finding the biting point between emotional, real-time human input, and the sleek tension of synthesis. Opener, ‘Happic’ arches up with breathtaking effect, and never quite gives it back during its seemingly infinite ascent, whilst ‘Elegant, and Never Tiring’ is a spine-tingling exercise in aerobic coefficients, and the title track tiers teasing chords in a sisyphean struggle for deferred gratification.
At the LP’s blinding, white hot core, the heart-rush flux of bass arpeggios and spiralling hi-end in ‘Forever Headline’ threaten to careen off the platter, harnessing the rush of a million ‘crasher kids circa ‘98, before closer ‘PointillisticT’ broadsides with a cascade of lip-bitingly beautiful, melancholic chords.
Taken from ‘Last Night On The Planet’ released 25 November 2016 on Ninja Tune.