electronic
Echo Relics 豆瓣
Federsen 类型: 电子
发布日期 2011年10月1日 出版发行: Silent Season
Companies etc▼
Mastered At – GS Mastering & Post
Copyright (c) – Silent Season
Credits▼
Mastered By – A.P.*
Music By [Created By] – Federsen
Photography By [Photo] – Tomas Jirku
Notes▼
"Thanks to Jenny for all her patience and support"
Copyright © 2011 Silent Season [SSD04]
Limited to 300 copies. Packaged in a cardboard sleeve, with a free Silent Season sticker.
Purchase within official label shop includes digital download with bonus track 'Magnetic Reference Laboratory'.
soundcloud.com/federsen

Barcode and Other Identifiers▼
Matrix / Runout: DISC MAKERS MVI2639
Mirror River 豆瓣
7.1 (7 个评分) Amazondotcom 类型: 电子
发布日期 2019年1月1日 出版发行: SUBREAL
When Gabriel Szatan asked Teki Latex for his thoughts on so-called deconstructed club music, the French DJ said lot of it was "experimental for the sake of being experimental." He meant that some producers are stuck in a technical exercise, aiming to achieve increasingly weird or sophisticated sound design with no concern if it actually works, musically. The reality is, world-changing electronic music happens when you have both: the drive to push the medium forward coupled with a musical instinct that goes beyond novelty factor. The Los Angeles producer Amazondotcom nails that sweet spot on her first EP, Mirror River, the inaugural release for Subreal, her label with Siete Catorce. It's got the imploded rhythms and wilfully dissonant synths we tend to associate with deconstructed club music, but it also has the visceral power it needs to make a dance floor move in earnest.
Abundant sub-bass is key to unlocking that visceral body response, and Mirror River doesn't skimp on the ultra-low-end frequencies. All four tracks contain traces of golden-era dubstep in terms of how the bassline takes center stage—"A Flower, Nocturnal And Permanent" especially, with its LFO wubs and resounding negative space. It's decorated with a rich collage of highly processed samples (birds, trees, crowd noises), providing an element of cybernetic sound design you might not hear on a Deep Medi record. "A Drum To Ward Off Language" has a similar vibe, pairing classic UK bass with a modern textural flex, though there's urgency stemming from its nearly 150-BPM tempo. "Leopard's Dream" is full of sawtooth and square wave melodies which might be grating to some ears, or just sharp enough for others. The hand drum samples on "Priestess" are a nice counterpoint to the buzzing digital synths, which don't quite reach alarm-clock levels of intensity, though they get close.
Break My Love / Calvino 豆瓣
Nicolas Jaar 类型: 电子
发布日期 2013年11月25日 出版发行: Matador Records
Nicolás Jaar is a Chilean-American composer and recording artist based in New York. Among his notable works are the albums Space Is Only Noise, Pomegranates and Sirens.
2019年6月9日 听过
Calvino 大量采样拼贴,有想法的年轻人啊 https://www.xiami.com/album/1985283834
electronic ep nicolasjaar
Too Many Voices 豆瓣
8.0 (9 个评分) Andy Stott 类型: 电子
发布日期 2016年4月22日 出版发行: Modern Love
Too Many Voices is the fourth album from Andy Stott, a follow-‐up to 2014’s Faith in Strangers. It was recorded over the last 18 months and sees a diverse spectrum of influences bleed into 9 tracks that are as searching as they are memorable.
The album draws for inspiration from the fourth-‐world pop of Japan’s Yellow Magic Orchestra as much as it does Triton-‐fuelled Grime made 25 years later. Somewhere between these two points there’s an oddly aligned vision of the future that seeps through the pores of each of the tracks. It’s a vision of the future as was once imagined; artificial, strange and immaculate. Full of possibilities.
The album opens with the harmonised, deteriorating pads of the opening Waiting For You and arcs through to the synthetic chamber-‐pop of the closing title track, referencing Sylvian & Sakamoto’s Bamboo Houses as much as it does the ethereal landscapes of This Mortal Coil and Dead Can Dance. In between, the climate and palette constantly shift, taking in the midnight pop of Butterflies, the humid, breathless House of First Night and the endlessly cascading Forgotten.
Longtime vocal contributor Alison Skidmore features on half the tracks, sometimes augmented by the same simulated materials; voicing the dystopian breakdown on Selfish, at others surrounded by beautiful synth washes, such as on the mercurial Over, or the dreamy, neon-‐lit New Romantic.
It’s all far removed from the digital synthesis and the abstracted intricacies that define much of the current electronic landscape. The same cybernetic palette is here implanted into more human form; sometimes cold, but more often thrumming with life.