Live on Dublab w/ our very own DMM & DROPDEAD 12pm - 2pm!
The two versatile record labels Banlieue and Peur Bleue are joining forces for a very special occasion: PSYOP, the outstanding debut album by WATCHING AIRPLANES, a production duo breaking through in 2018.
PSYOP opens up an alternate reality where dance music is freed from the yoke of genre-based distinctions and is no longer tied to any dancefloor norms. By exploring different moods with smooth sailing and rough patches, PSYOP is an intense journey in the murky world of psychological mass conspiracy. This LP could very well be the soundtrack for an cutting-edge Orwellian sci-fi movie or an imagined futuristic venue where music and dance of a new kind are performed. Forward-thinking dance music from the future seems like the most accurate description for this album devoid of any tropes or nostalgia.
Released May 4, 2018 via Peur Bleue Records
Lost Tape is the second album by Rudow. It’s a remix album featuring Mental Overdrive, Ost & Kjex, Charlotte Bendiks, +plattform, Espen Hangård, Snasen, MIND over MIDI, Center of the Universe, Admir Korjenic and Sprutbass.
Behind the name Rudow stands sound artist and electronic producer Alexander Rishaug from Oslo, Norway. Rishaug started to release experimental and ambient music in the late nineties and his music has been released on international labels such as Smalltown Supersound, Asphodel, Dekorder, Cronica, Jester records, Lucky Kitchen and Rune Grammofon.
Released August 17, 2018 via Take It Easy Policy Records
The LA-based producer Leland Jackson and head of Dogtropic label last appeared on Leaving in 2015; his latest work has landed on NNA Tapes and Rap Vacation.
We're told to expect six tracks of "160-bpm minimalist collage beats" that blur the line between "hyper-speed footwork and drum & bass with slowed down, chopped 'n' screwed beats."
Released July 31, 2018 via Leaving Records
Stumbled upon this ep just recently --- Hindustani classical music w Dilla cover. There's a full in-depth write up about this band & ep HERE
Jaubi (جو بھی) is an urdu word roughly translating to "whatever".
Creating whatever sounds good and whatever feels good is the goal.
Elements of Hindustani (North Indian) classical music used.
Released July 14, 2016 via Astigmatic Records
WEN (aka Owen Darby) will release his new album 'EPHEM:ERA' via Big Dada. This follows his ‘CARVE + GAZE’ EP for the label in 2017, and is his first full length since his 2014 debut ‘Signals’ on Keysound.
In 2018, consumption can be fleeting and momentary with only fragments retained. WEN’S new album is a response to this transient state of affairs: 'EPHEM:ERA' is presented as a collection of “temporal pauses” from an internet-driven, restless cycle of distractions. It’s an album of precise tracks, drawn from his spectrum-spanning, bass-driven style; it’s for an era of endless, short-lived discoveries. Influenced in part by architect Carlo Scarpa’s designs whilst drawing inspiration from late night drives and weather patterns, those cyclical, passing movements – from rain, to fog, to mist – struck a chord with Darby’s fixation on transience. Here Darby steps further outward, rendering the changing currents of UK-born, ‘weightless' iterations of grime across 12 tracks which he describes as “electronic studies - a sequence mapped out across the fringes of experimental club music”.
Revolving compositions map out the core of ‘EPHEM:ERA’ while subsequent texturing and honing puts disparity at the heart of Darby’s process, balancing impulsive creativity and acute attention-to-detail. Warm, worldly sounds meet with cold, digital constructions. In ‘RAIN’, melodic bleeps are enveloped inside airy atmospherics. Elsewhere, ‘VOID’ sees vivid, smashed glass punctuated by tense, steely arpeggios. The album shifts between different rhythmic approaches. In ‘CURVE_RELAY’, the drums are swung, heavy with groove, and percussion recedes in and out of focus of a shifting atmosphere. In ‘TIME II THINK’, icy, raw melodies are propelled by a 4/4 kick drum, muffled and subdued. The changing structures of his tracks reflect a wide-open perspective, delineating between different genre markers and club contexts.
As an album, it’s as much a reaction to our relationship with music as it is a continued exploration. Collecting together different, distinct moods in a deluge of tracks, it’s a comment on prevailing, fickle attitudes; music is quickly discovered, momentarily explored, before attention is swiftly re-directed elsewhere. But, at the same time, it’s a vehicle for connecting new ideas: bringing together lawless, overlapping lineages into something that’s forward-facing and whole.
Released July 6, 2018 via https://wen-music.bandcamp.com/music