The lead single from Deepchild’s upcoming album is here. Making no excuses or apologies, a low down acidic stomp propels Riyadh with inescapable momentum while fluttering melodies and trace fragments imbue the fringes with a transportive late night mysticism. Slowing the tempo, muting the percussion and upping the paranoid atmosphere, the alternate Abseschoben Dub pulls the track into altogether murkier yet no less effective terrain. Taking a break from his BLKRTZ regimen, Deadbeat makes his Thoughtless debut with a hypnotic, dub-inflected techno revision, while Rebirth artist Rennie Foster turns up the acid factor with his infectious Low Box mix. Finally, NYC artist Derek Marin executes a bass-heavy interpretation that should find plenty of fans with the current deep house set. A sign of things to come, Riyadh hints at the full scope of Deepchild’s upcoming full-length, Neukölln Burning – a well-rounded and original work of significant proportions.
Label. Thoughtless Music
Cat. Number. TLM068
Release Date. October 13th, 2012
Of all of the personalities to emerge from the Mutek affiliated Montreal electronic music scene which exploded onto the global stage at the turn of the millennium Scott Monteith, better known to audiences worldwide as Deadbeat, has unquestionably shown himself to be its most prolific and restless spirit. Through a steady stream of critically acclaimed singles and 7 studio albums for labels such as ~Scape, Echocord, Wagon Repair and most recently his own BLKRTZ imprint, and his genre defining Radio Rothko mix, which drew comparisons to some of the greatest mix CDs of all time (Richie Hawtin’s Decks, EFX & 909 : Jeff Mills’s Live at the Liquid Room), Monteith has established himself as perhaps Dub Techno’s greatest champion. Yet anyone intimately familiar with said catalog could rightly accuse even that lofty title of being an over simplification. In a genre dominated by stoic reverence to the creative framework laid down by Mark Ernestus and Mortiz Von Oswald’s Basic Channel and related projects of the mid 90s, Monteith has consistently charted his own course over the last 13 years, tearing up and re-writing the rule book several times over. Having burrowed to the very deepest depths of echo and dread of the Jamaican variety with last year’s hypnotic Drawn and Quartered album, Deadbeat once again sets sail into uncharted waters with his latest hour long salvo, humbly entitled Eight. artist Deadbeat
date 10 September
cat. BLKRTZ 004
1. The Elephant in the Pool
2. Lazy Jane (Steppers Dub) w/ Danuel tate
4. Wolves and Angels w/ Mathew Jonson
5. Punta de Chorros
6. My Rotten Roots
8. Horns of Jericho w/ Dandy Jack
Eight will be available on September 10th 2012 via BLKRTZ in CD, digital, and deluxe 3×12 vinyl editions, with worldwide distribution via Kompakt.
Ambient today isn’t so much about psychedelics or chilling out as it is presenting the melodic or beatless fabric of dance music. Stripped of prevalent rhythm, songs tend toward melodic composition and detail. These songs may become “compositional” as individuals express themselves with technology under focused or emotive ideals. The music becomes timeless (free of meter) when the music looses its structure while retaining its idea.
In the tradition of Excursions in Ambience, Instinct Ambient, and Pop Ambient, Air Texture looks to catalogue and promote the diverse world of ambient, experimental, and less beat oriented electronic music.
The Air Texture Volume Series asks two producers to curate a CD each of material for combined release. Volume I looked to bvdub (Brock Van Wey) and Andrew Thomas for guidance. Selections featured an in-depth list of emerging and established artists such as Oneohtrix Point Never, Ian Hawgood, Atlas Sound, Klimek, loscil, Biosphere, Markus Guentner, and Wolfgang Voigt. Volume II will be selected by loscil and Rafael Anton Irisarri. Volume III by Deadbeat and DJ Olive. Air Texture’s mission is to present a diverse array of electronic music that is not dance floor oriented. Hopefully from this a beautiful display of narrative, formless – yet formed – musical ideas will be presented and absorbed by sympathetic ears worldwide. Air Texture’s guiding principles are:
Music out of musical form becomes omniscient – a representative sound defining all of our experiences at once. Songs out of song structure become singular – free of history – revealing a hidden world in constant, empathic reverberation.
Air Texture was founded by James Healy (Escape Art), co-founder of the Agriculture Records in Brooklyn.
Artist: Various Artists
Title: Air Texture Vol. 1
Label: Air Texture
CD 1: bvdub Selection
1. Orla Wren – A Canvas For Your Yearning
2. Rafael Anton Irisarri – Flowstone
3. Let’s Go Outside – Hold Still Without Me
4. bvdub – Tried So Hard
5. Maps and Diagrams – The Shape of Things To Come
6. Ian Hawgood – Me, You and Nagano
7. Hessien – The Ghost and Mrs. Muir
8. Konntinent & Ian Hawgood – Ollo
9. The Green Kingdom – Kalimba Sketch
10. Ryonkt – Return
11. Arc of Doves – I Remember When
CD 2: Andrew Thomas Selection
1. Klimek – Ice Storm (Prelude to a Fratricide)
2. Andrew Thomas – Black Sky Bright Sun
3. Atlas Sound – Diorama Rendered
4. Oneohtrix Point Never – Sand Partina
5. Chihei Hatakeyama – Road After Rain
6. Klimek – Live in Murmansk (re-arranged excerpt)
7. loscil – Hyphae
8. Biosphere – Iberia 5
9. Markus Guentner – Senses
10. Oneohtrix Point Never – Alexander Scriabin (edit)
11. Bevan Smith and Tristan Dingemans – Dispatch 1
12. Leyland Kirby – Departure
13. Markus Guentner – To the Place
14. Wolfgang Voigt – Fresko 1
It has been 12 years since Scott Monteith quietly launched his Deadbeat music project with an unassuming performance on the street outside a Montreal café as part of the first edition of the city’s now internationally lauded Mutek festival. And while the venues and audiences have grown steadily and seriously in the years since, the crackling dub sonics, deep grooves, and rumbling bass which characterised that performance have remained a constant in his live and recorded work, and earned him a substantial number of devoted followers the world over in the process.
Having worked with a virtual who’s who of the most respected labels in the industry over the last decade, Monteith now takes the plunge into the murky depths of labelhood, launching his BLKRTZ imprint with no less than a full album of new material. “When I received the news a few months ago that ~scape was officially closing its doors, I was incredibly sad to hear it.” says Monteith from his new home in Berlin. “Though I hadn’t worked with them in a few years, I always saw ~scape as the natural home for a very important part of my work. Not necessarily the more listening side of things per se, but certainly the most unconcerned with genre or function, from a creative stand point the most free I guess. Barbara and Stefan worked very hard to promote a great deal of quite marginalized material over the years and did a lot to help me and many other artists out personally who otherwise would have had a much harder time of it. Though I’ll be concentrating on my own work for the first few releases, it’s my hope that BLKRTZ can serve a similarly honorable purpose in the years to come.”
In celebration of the label’s inaugural release, Monteith has teamed up with long-time friend and world renowned video artist, Lillevan, to create an immersive audio/visual performance quite unlike any other. “Lillevan and I were invited to take part in the Cinechamber project at this year’s Transmediale festival, and though our performance sadly fell victim to the technological bottle necks of a decidedly experimental environment, we came away from it with a lot of great ideas that we felt were important to develop further. I’ve known Lillevan for a great many years now and have always enjoyed his work and company, and I think what we’ve put together something that stands out as quite unique from anything either of us have done before. Mutek has always been a strong supporter of both of our work and we’re very happy to be able to debut the fruits of our labor at the festival this year. ”
Deadbeat’s new album, Drawn and Quartered, will be released on BLKRTZ on June 20th 2011, with worldwide distribution via Kompakt.
His first official performance with Lillevan will take place at this year’s edition of the Mutek festival in Montreal.
Scuba, aka Paul Rose, has been at the forefront of the dubstep scene since its birth. Having founded the innovative and influential Hotflush Recordings label in 2003, he has continually brought colour and depth to an advancing genre, expanding its sonic structure and increasing its influence on the wider electronic scene.
Through Scuba and seminal work by central figures including Distance, Vex’d and more recently Mount Kimbie and Joy Orbison, Hotflush remains crucial to the immediate moment and the developing future of the most exciting aspects of electronic music. In addition to label and production duties, he also runs the massively successful SUB:STANCE night at Berlin’s techno Mecca, Berghain, the sound of which he committed to plastic in a DJ mix released on Ostgut Ton in January 2010.
Following the first Scuba LP, A Mutual Antipathy (2008) which was remixed by Marcel Dettman, Martyn and Surgeon, Triangulation (2010) took the Scuba sound to a new level. The collision of dubstep and techno has produced startling music from a wide range of producers in the last few years, none more than Scuba, and that has been well documented. But Triangulation moves past the dubstep/techno axis and into new territory. Working at multiple tempos, the album covers an area ranging from house to experimental drum n bass while retaining the Scuba sound that has become so distinctive.
For Triangulation (Interpretations) new allure is breathed into Scuba’s originals. The listless beauty of Before is embued with a spine tingling warmth on Scuba’s luscious opening re-edit, Before (After). A remix of Latch by Will Saul & Mike Monday of Simple Records, Aus Music and Buzzin’ Fly, infuses the dubbed out original with a dose of bumping house flavor. America’s totem of bass Faulty DL takes leave from the original On Deck with a low burring bassline and elegantly woven melodies drawn warmly across the whole. Scuba’s back with the old skool vibes on You Got Me (I Got You) but confidently skips the line by keeping it firmly in this moment. Canadian Deadbeat has showcased his own brand of dub laden electronics for the likes of Wagon Repair, Scape, Spectral , Musique Risque and Cynosure over the past decade, his remix of Tracers sees him in classic form delivering a deep 7am techno heavy hitter. Joe made an immediate impact on the scene with his 12”s on Hessle Audio and Applepips over the past year, his rework of So You Think You’re Special has a slowly blossoming groove underpinning stuttering percussion, jangling keys and an expertly playful melody that opens out across the sparse background. Finally, South London’s Deadboy offers an understated modern jungle remix of Before with skittering hats and heavy bass that can’t fail to light up floors and faces.
03. Three Sided Shape
05. On Deck
08. You Got Me
09. So You Think You’re Special
10. Heavy Machinery
12. Lights Out
01. Before (After)
02. Latch (Will Saul & Mike Monday Remix)
03. On Deck (FaltyDL Remix)
04. You Got Me (I Got You)
05. Tracers (Deadbeat Remix)
06. So You Think You’re Special (Joe Remix)
07. Before (Deadboy Remix)
“Expertly juxtaposing the dark with the romantic, the hectic with the serene” – Pitchfork
“An album that reflects both Scuba’s love for electronic music and his versatility as a producer” – FACT
“Triangulation excites throughout” – UNCUT
“Scuba’s magic is in turning established musical styles into something organic and fresh” – XLR8R
“Strange and beautiful music” – The Arts Desk
“mature and well-rounded” Resident Advisor
“Subtly beautiful dance music.” – Drowned in Sound
“One can’t help but listen to this record and smile” – Little White Earbuds
“The whole album is there to be savoured in one perfect hit of modern mongrel dance music” – IDJ
“Rose demonstrates immense skill and craft, not to mention taste, in this exceptional recording” – Textura
“Between sonar synths and waves of white noise, he’s an artist at the top of his game making music that suits his name to the letter.” –Dusted
“Triangulation, in its divergent paths, is another monster of a step forward” – Pop Matters
“Breathtakingly confident and uncompromising” – One Thirty BPM
“Magnificent and poignant at the same time” – FWD
“album of the week” Beatportal
“Nothing but extreme praise” – Any Decent Music 8.4 (critics album of the month)