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Written on Monday, June 4th, 2018


Brutaż – Wiktor Milczarek – Untitled – Brutaż-06


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The sixth release on Warsaw-based Brutaż (bruitage) is not the most experimental nor the most banging record. It’s not a tongue-in-cheek type of record nor a kind of commentary. It’s not a wild excursion into anything nor it is a “dj tool”. There’s nothing “futuristic” nor “oldschool” about it. We’re from Poland, after all.
Hence, what the record actually relates to is afterhours bravery or a strong affection that might be gone when one wakes up, think of tiredness and the will to go on, think of shortcomings and the fadeout of things you almost had, think of a sudden attack of things you won’t get anyways.”Lipowa Góra” is about not the most prominent mountain that still gets some light, Flecik is a sinister too-too that might be emitted by a flute but it doesn’t really sound like it, “SKC-QX60” grows on you but never actually takes over, “Wśród ślepych jednooki jest królem” is when you miss an eye but or two but you had extra one so it’s still relatively fine.Here, a cat chases the dog but suddenly forgets about it and lies down, slightly annoyed, knowing that it forgot about something.
file under: acid, brutaż elders, warsaw, praga, you



A1: Lipowa Góra

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A2: Flecik

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B1: SKC-QX60

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B2: Wśród ślepych jednooki jest królem

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Naïf – Nihad Tule / RHYW / Marco Shuttle / Efdemin / Konrad Sprenger – Naïf 09 – Naïf 09


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Naïf 009 is the second in a series of five ep´s that are released around the release of the DJ-Mix-CD also named „naïf“ which has it´s release in April 2018
The second strike comes with two superstrong Techno tracks: „Lean Forward“ is a contribution by Nihad Tule that wil burn the dancefloors. Followed by „Not Now, Not Yet“ – a scratchy track from the hands of one half of Cassegrain: RHYW.
Side B heads into trippy territories with a heady, sparse but seductive groove by Marco Shuttle followed by a track from Efdemin in a collaboration with his close friend and fellow Konrad Sprenger (PAN)

After more then three years of silence as a producer, Efdemin a.k.a Phillip Sollmann returns with a striking hybrid concept that merges the album format with the “continuous DJ mix” format, presenting completely new material in a seamless manner. The CD-mix, named Naïf, officially reinstates his label of the same name and is a sprawling tour of inner space featuring 19 distinct tracks from fellow producers along with an additional ten that feature Efdemin himself (either as soloist or collaborator). The release condenses his decade-long DJ-ing journey and evolution as a producer into a single potent elixir of contemporary techno.
Naïf consists of completely unreleased material from both himself and valued collaborators, all of which will eventually manifest as EP releases: five on his own Naïf label and two more on Curle.

Curated by Phillip Sollmann, Berlin 2018
Mastering and Cut: Kassian Troyer
℗ & © Naïf Recordings 2018



A1: Nihad Tule – Lean Forward

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A2: RHYW – Not Now, Not Yet

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B1: Marco Shuttle – Onda Anomala

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B2: Efdemin / Konrad Sprenger – Laveline

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oqko – HMOT – Permanent Imbalance – oqko_010


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HMOT aka Stas Sharifullin is Siberian-born, Moscow-based musician, curator, educator and multi-disciplinary artist from Siberia. Using modular synthesizer, field recordings and visual programming languages, HMOT collects sounds and organizes them into structures, pushing traditional electronic music genres beyond their comfort zones. “Permanent Imbalance” is his EP debut on the Berlin imprint oqko following a single contribution to the label’s “form_1” compilation.
Structurally, “Permanent Imbalance” is disorderly and elusive, it’s a techno record which has undergone a Gregor Samsaesque metamorphosis. Embedded with dizzying polyrhythmics, the discontinuity at the heart of the record might also be its central directive – interrupting the ecstatic clubbing experience in favor of a contradictory reality which is impossible to describe with regular rhythms. Boldly submitted to the niche of dance music deviations, “Permanent Imbalance” also reveals techniques directly derived from early institutional electronics and musique concrete. But where others would pile on the layers,
Sharifullin keeps it trim. These are just some finishing touches enhancing his rickety and multifaceted soundscapes.
Subject to constant deviations of its own temporality, this music proves to mirror the crisis in which modernity resides – a state of life out of balance which now appears to be permanent as never before.



A1: Permanent Imbalance

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A2: Dieback Machinery

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B1: No Innocence

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B2: Logos

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B3: Collapse

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