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
Paxico Records is proud to bring you Retrospective, a survey of the silky, home-spun productions signature of Richmond legend Ohbliv. These are his greatest hits, pressed on vinyl for the first time. Presented on double LP with mesmerizing labels, the album is 28 tracks hand-picked by the artist and label head Chris Hund, marking his most expansive career anthology to date.
Ohbliv is a lone prospector in the realm of beats - a producer’s-producer, an innovating force in an ever multi-hyphenating sound. After 30+ beat tapes, various side projects and an exceedingly lovely radio show delivered over the course of a decade, Ohbliv heads may know the calling cards: a telepathic ear for samples, devastating harmonics, spiritshaking drums and the raw, tactile energy he manages to wrangle from a 404.
With assiduous technique and ferocity of heart, he crafts experiences that speak to whispers of the soul and messages from the cosmos.
Here his works are lovingly collected in an effort to bring forth the glowing soul and versatile spirit of the artist, inviting you to bask in the vision.
Released August 3, 2018 via Paxico Records
Following the release of “Joined Ends” in 2014 - a deeply intimate and textured project he describes as his “chamber music” record - Dorian Concept performed everywhere from Glastonbury to Sonar to MoMA PS1’s Warm Up and then deliberately took himself off the radar. The time since has been spent meticulously un-learning his prodigious production process and developing a brand new sound that even the most clued-up won’t be expecting - showcased on ‘Promises’, in the most prominent use of his voice to date. The recording and processing of his vocals represent not only a more human expression of his highly technical sound, but also an inclination toward recursion - the challenge, ephemerality, and demand for attention of “unequal repetition” which shapes the build and deconstruction of energy throughout the record.
Taking inspiration from multi-generational eclecticism (‘60s jazz, ‘70s fusion, ‘80s neo prog-rock, ‘90s electronica), Dorian Concept sought to replicate “modern” music elements with old-fashioned methods, live-playing and hand-recording deceptively digital sounds in service of a tongue-in-cheek “parody of nostalgia”. Having produced the record largely in the years 2016 and 2017 - widely characterized as periods of a cultural reckoning throughout the democratic world - he ambitiously took timely themes of cumulative error, shortening attention spans and subjective experience and transposed them into his making. As is to be expected from him by now, for all the considered, high-concept musing, the result is refreshingly unpretentious: dizzying swells, cacophonous breakdowns and formidable rhythms are both expert and childlike, hyperactive and hyper-focused.
Left to freely associate, Dorian Concept describes the record as follows:
Using a different vocabulary.
“Lively, Chaotic and Loud”
Deconstructed with Love.
Somewhat of a Study.
Pointless ... Meaning there’s no dot at the end.
Born Oliver Thomas Johnson, the self-taught keyboardist and producer should be no stranger to those in the Brainfeeder orbit. He first caught the attention of the crew in its infancy, when head honcho Flying Lotus discovered Dorian Concept’s MySpace profile and swiftly included a remix in his lauded debut Essential Mix (2008). Dorian Concept went on to tour with FlyLo’s live band, appeared at some of Brainfeeder’s earliest international label nights in 2009 (Off-Sonar in Barcelona and the infamous Hearn Street Car Park session in London), and released a string of celebrated EPs and albums for Kindred Spirits imprint Nod Navigators, Affine and Ninja Tune - as well as remixing Taylor McFerrin, contributing production to Thundercat’s “The Golden Age of Apocalypse” and playing keys on Flying Lotus’ seminal “Cosmogramma”. The announcement of his signing comes alongside the reveal of a brand new live show, which he is set to debut at Brainfeeder’s takeover of Sonicmania in Tokyo on 17 August.
Released August 3, 2018 via Brainfeeder