Archive for January 24, 2011

Lucy-Wordplay for Working Bees

Posted in News with tags , on January 24, 2011 by dk

With ‘Wordplay for Working Bees’ Lucy creates a blueprint, not just the departure point for the full length format according to Stroboscopic Artefacts, but he also lays down new possibilities for the techno album. Refusing the obvious 4/4 route, Lucy traverses the widest possibilities of electronic music. ‘Wordplay for Working Bees’ encompasses IDM that leans towards drone, puckering, dub-filled techno and ambient in its most oblique forms. The beloved character of Lucy’s DJ sets, the way he layers tracks to find unique timbre and tone, is reflected in his studio approach. Lucy’s debut album results in the most delicate and delicious juxtapositions, as the unexplained and unexpected tangle together in the ear.

The search for hybrid structures begins with ‘Thear’. Through Stockhausen’s words Lucy hints at a manifesto: Whenever we hear sounds we are changed, no longer the same. The record is textured with riddling vocals –be it the slither of a UN summit speech to heard on ‘Eon’ or the wisps of Le Corbusier on ‘Gas’— and none are used with idle intent. Just as on ‘Eis’, where the samples appear to be engaged in discussion but the thread of their argument is lost in the granular synthesis, the tracks are abstracted enough to provoke your own interpretations and critical judgements. The vocals’ inclusion gives rise to questions, and the ambiguity of ‘Wordplay for Working Bees’ creates an architecture that facilitates debate. It’s not just escapist or hedonistic dance music, but a concerted, dissonant effort to challenge the listener’s preconceptions. David Toop’s Sinister Resonances can certainly be heard.

This mood of provocation with no certain resolutions is a fitting description of ‘Es’. It’s a track with a long half life; it resonates, poised and pertinent. ‘Es’, the German for ‘it’, is an apt title for the indescribable mood where the ecstatic meets the melancholic. It’s hard to know what this ‘it’ is, but ‘Es’ transposes it perfectly. Amid these ambient, dubby tracks it’s rare and also somehow exotic when the 4/4 techno of ‘Bein’ does emerge. Equally ‘Torul’, which sounds as if it samples the swinging of a meat hook, has the potential to be devastating on a big sound system. To close the record ‘Ter’, with its pattering percussive-line full of hypnotic persistence, is a stunning ending. It seems to be the sound of melting ballerinas.

As a body of work it’s cohesive and impressive, a result of Lucy’s process. With the release of the very first vinyl on Stroboscopic Artefacts he began laying down the inital sounds for the album. Over the label’s first year he worked across all eleven tracks. In a way the record charts the development of his sound and the strengthening identity of his record label. It’s certainly not a portrait of the artist, it’s a landscape. Composed as it is of field recordings from parks, streets and Lucy’s apartment, it’s difficult not to see this as –at least in part– a depiction of Berlin. ‘Wordplay for Working Bees’ is certainly influenced by the sounds coming from Berlin’s clubs, galleries and forgotten pockets. Lucy holds a mirror up to the Hauptstadt, only to distort and redefine its reflection. The abstraction and processing of the album’s subject matter has a painterly quality and it’s evident that in creating ‘Wordplay for Working Bees’ Lucy slaved with technology to master it so brilliantly.

Artist: Lucy
Title: Wordplay for Working Bees
Label: Stoboscopic Artefacts
Release: 04/03/2011

01. thear
02. of
03. bein
04. gas
05. lav
06. eis
07. torul
08. eon
09. es
10. mas
11. ter


Hotflush Recordings presents Back And 4TH

Posted in News with tags , , , , , , , , , , , , , , , , on January 24, 2011 by dk

With dubstep’s big push into the mainstream, stirring up all manner of hybrids, variants and mutations, it’s worth remembering that some have been creating fresh twists on the current generation of global bass music from its very inception.

Paul Rose, aka Scuba, and his Hotflush label have, since 2003, had experimentation and genre-collision etched into the very structures of everything they do. Putting out key tunes by the core pioneers of dubstep, but also by true outliers like Mount Kimbie, Joy Orbison and Sepalcure, Hotflush has created a sense of absolute consistence in diversity: multiple sounds united by true craftsmanship and high-tech expression of complex emotion.

Joining the UK underground to the deep-rooted techno culture of Berlin, where Rose is now resident, the label is a vital nexus in the flow of musical information that is fuelling the current innovative climate. So next time you hear someone talking about “post-” this or “future-” that, consider that maybe the times are just catching up with Hotflush.

BACK AND 4TH features ten brand new exclusive tracks from bass music’s most innovative producers including: dBridge, Roska, Boddika and FaltyDL as well as a collection of essentials from Hotflush’s catalogue with tracks and remixes from James Blake, Untold, Pangaea, 2562 and more.

The compilation is presented in double-CD and digital download formats, as well as a triple 12” vinyl release of the first disc.

Hotflush Recordings presents…
Release date: 4th April 2011
Artists: Various
CAT#: HFCD005, HFLP005
Format: 2xCD, 3×12”, Digital
Disc One
01. Sepalcure: Taking You Back
02. Boxcutter: LOADtime
03. Boddika: Warehouse
04. dBridge: Knew You Were The 1
05. Scuba: Feel It
06. FaltyDL: Regret
07. Sigha: Fold
08. George FitzGerald: We Bilateral
09. Incyde: Axis
10. Roska: Measureless
Disc Two
01. Mount Kimbie: Sketch on Glass
02. Scuba: Twitch (Jamie Vex’d Remix)
03. Joy Orbison: Hyph Mngo
04. Mount Kimbie: Maybes (James Blake Remix)
05. Sigha: Expansions
06. Untold: Just For You (Roska Remix)
07. Scuba: Tense
08. Untold: Sweat
09. Pangaea: Bear Witness
10. TRG & Dub U: Losing Marbles (2562 Remix)

Bilal – Levels (Directed by Flying Lotus)

Posted in News with tags , , , , on January 24, 2011 by dk

The Sounds of VTech / Bilal Levels   

“Levels” from Bilal’s genre-bending Airtight’s Revenge full-length. The track was produced by Shafiq Husayn, and it’s smoky and jazz-tinged electronica sound provides the perfect backing for the Philly-bred singer’s soulful, provocative, and multi-textured voice. The almighty Flying Lotus reshuffles the song and gives it his signature new school touch, and Sonnymoon’s remix experimental, atmospheric, and melodid.

Bilal -Levels (Flying Lotus) Digi-EP Preorder Here