Traditional Synthesizer Music is a collection of songs created and performed live exclusively on the modular synthesizer by Aaron Funk. Each sound contained within was created purely with the modular synthesizer. No overdubbing or editing techniques were utilized in the recordings on Traditional Synthesizer Music.
Each song was approached from the ground up and dismantled upon the completion of it's recording. The goal was to develop songs with interchangeable structures and sub structures, yet musically pleasing motifs. Many techniques were incorporated to "humanize" or vary the rhythmic results within these sub structures.
An exercise in constructing surprises, patches interrupting each other to create unforeseen progressions. Multiple takes were recorded for each song resulting in vastly different versions of each piece.
A collaboration between Aphex Twin (Richard D. James) and µ-Ziq (Mike Paradinas), 'Expert Knob Twiddlers' was made back in 1994. Richard edited the tracks into shape later in 1996 with his new Apple Mac computer and it was released later that year on Rephlex, the label he co-owned and which released the first two albums by µ-Ziq.
This new reissued version has been carefully cleaned up, re-edited and remastered from the original DAT tapes, put into a more fitting order and, more excitingly, seven new bonus tracks and alternative versions have also been added.
The album was recorded over a few days during the 1994 World Cup, back when Richard lived in a big shared flat in Stoke Newington. Richard had tried to collaborate with a few other likeminded artists but something clicked when Mike and Rich worked together and the sessions have a unique feel; playful and at times actually drunk.
These are fun experiments in the spirit of lighthearted moog pop and ripe 70s British TV themes, standing out from the po-faced electronica of the time with a garish glee. The record was made on what is now seen as pretty primitive gear - an Atari, Roland MKS-80, Memorymoog, Roland R8 and a handful of samples on a Casio FZ-10M - but it's to their credit that it resonates well with the hardware workouts coming out today.
There's a broadminded but sloppy funk to the record, even whistling, singing and harpsichord in 'Reg' and wonky beat pile-ons in 'Jelly Fish'. There's latin piano and wheezy drunken techno in 'Vodka', or the sleepy spaced out ambience of 'Bu Bu Bu Ba' with its barely contained laughter which seems to reflect the absurdity.
The new versions and bonus tracks are an absolute delight - from a trancier version of 'Vodka' to the wonky bounce of 'Portamento Gosh', the 3/4 dub of 'Waltz,' the banging door bass of' Brivert and Muonds', the creepy seasick at-mosphere of 'Clissold Bathroom' and finishing with the strangely graceful and serious 'Organ Plodder'.
A generous and welcome return to the racks.
The Square one returns with his 14th album in 20 years and shows no sign of getting mellower with age. 'Damogen Furies' could be considered the club after-party for the stadium-collapsing antics of 'Ufabulum' (2012), still riding a wave of stage adrenalin into equally, if not more, demented and eccentric funk acrobatics. Peaking from the opening bars of black midi-style melodic intensity with 'Stor Eiglass', he fakes left with the melancholy chimes of 'Baltang Ort' which somehow strobes between tranquil serenity and nosebleed funk.
The EDM kids will be pulling all sorts of Skrillex faces to the fiddly frettage and happy hardcore spurts of 'Kontenjaz', and, if we're not mistaken, 'Exjag Nives' samples an old Aphex Twin break, before 'Baltang Arg' romps like ten raves at once and he saves his best thumbs for the hyper acid jazz funk tweaks of 'Kwang Bass'.
Thick sleeves thick printed inner sleeves Coloured 180g vinyl free download code! 2016 Reissue of "Mutations" - the second work of The Kilimanjaro Darkjazz Ensemble from 2009.
Not existing anymore since 2012 The Kilimanjaro Darkjazz Ensemble now finally makes all long-time sold out releases available again on all formats (cd | vinyl | digital).
The series of reissues starts with their genre-determining second output "Mutations". An act combining profound musical sensibilities, deeply emotional harmonies and an acute ear for genre inter-breeding, The Kilimanjaro Darkjazz Ensemble placed itself and the confluent of dusty, gritty jazz and low-end doom-laden drones, and came up with a sound which is at the same time warm and dark, brooding and misty, cinematic and dynamic.
Garden of Delete is unlike anything that Daniel Lopatin has done, in terms of technique, mood, or scope. It is denser than his previous albums, by several orders of magnitude. It is more varied, and it is funnier—scarier, too. The album carries with it a risk of whiplash that's as potent on the 15th listen as on the first.
In contrast to the first two Bersarin Quartet albums, III offers a few darker shades and succeeds even further in narrowing down the arrangements to the absolute essentials without loosing the characteristic grandeur of Bücker's sound.