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Official music video for Your Turn by Kedr Livanskiy off her album, Liminal Soul.Buy/Listen to Liminal Soul: 2MR.lnk.to/LiminalSoulDirector, Camera - Masha D...
Kedr Livanskiy (Moscow, RU) — Liminal Soul (2MR, 2021).
новый альбом
Written & produced by Kedr Livanskiy. Mixed by Flaty. Mastered by Josh Bonati. Cover photo by Masha Demianova.
Pre - Jeri (album review) (breakbit music/ROFLTRAX classics #1) (re-formated)
https://jeri.bandcamp.com/album/pre A long time ago (2014ish) I slightly helped or maybe tried to help a label called Breakbit Music. I am no Breakbit Music master but maybe I will be one day. In the meantime I can reminisce about albums that are dear (or not) to my life as a music fan and other things. One of these albums is Pre by Jeri. I had heard someone I’m in contact with make a track similar to one of the tracks on this album, though not exactly. I wondered if she knew this album and she didn’t. I mention this because I am very proud of her because this album is not just dear to my heart but makes me realize more than 99% of music I listen to how special life and musical ability is.
The opening “Seq1″ is musical chaos to me. But it is not nonsense. It sounds like nothing else I’ve ever heard. I’ve heard some orangy (an alias Jeri had used earlier) tracks before and maybe this is a distillation of that. Jeri was a king of sampling and using them at the right moments. Every time that “woo!” plays you don’t know what to do and when it jumps out of the middle of a spaced out bar. It gets sandwiched by FM sounding percussion arpeggios with even more staccato drums and snares that without intentionally listening for a pattern doesn’t seem like there is one. It’s such a free track that somehow has order sonically is face melting. Musicians should take note how to create textures with the same sounds by placing them at different spaces like they are in this track. But remember this is just the intro. The next track “Toxic People” has this Nintendo 64 sounding echoing guitar over this seasick portable game system synth. It draws you in and the drums come in. The hi-hats sound like they could be on a high quality Amon Tobin track in their modulating pitches. The drums once again phase through different pitches, sounding irregular, FM sounding. Then this really low fidelity, reamped industrial drumming runs into the mix and the song’s baseline comes in (but it’s the kind of overwhelming thing that you hear in dubstep or grime tracks that just bubbles and soaks the mix (which is also somehow trombone that seems to have the suggestion of higher frequencies which maybe is why it coats the ears in ear candy)). The drums have sped up and become isolated. It sounds like industrial influenced ‘post-techno’ or something along those lines. Before you can make that thought the drums are run through a flanger. There’s a proper bassline that comes in that would fit a Nintendo 64 game (I will bring it up a lot). It’s wild. There’s reverb slowly being filled in the mix from the seasick synth. There’s some ring-mod sounding vocal cries and the track ends. “*SHOT*”: is playing and brace yourself for a lot of notes on this track. There is this percussive kind of 8-bit/bit crushed melody that sounds has the effect of dramatic fast horror movie-like piano playing. This track also has a sea sick synth. It sounds like howling ghosts now. The bass drums come in and are replaced with a bassline and then there is a ghost acid bassline and these ghost drums that are going at a fast tempo (ghost in this instance meaning low volume). It is at this point of the album where I say if you’ve ever been a fan of madness combat’s music. Listen to this album. It’s just bassline and the drums with some cuts of high pitched spooky sounds. There are these portamento woodblock sounds in the fast drums that might have echoing delay and/or vocoder on them but regardless they are an excellent detail. The 8-bit/bit crushed sound gets panned around and sounds ring modulated now. Every loop there are two slight notes that adds to the techno spinning inferno music, yeah it is quite tribal at this point. At 1:25 a great transition sound and more vocode-y drums and then this melody that I can’t describe the sound of. It’s like a synth lunatic singing as this synth squeal keeps pitching down. The piano stuff I was suggesting now completely reveals itself at a nickelodeon-fast speed...The track just keeps changing and changing and changing a bunch of distorted sounds come in over it and the after the bass kicks up and the sounds are being swiss-cheesed by distortion. The song falls into a loop where the drums change into that fm squeak and a formant camera-shutter with light melodies taken from sounds from before and it goes back to the consistent sound it started with. Except I notice a high pitched sound in the background now. The bassline bumps back and the percussion ghosts play in the background over a synth hi hat. The track ends. “Computer”: IDM crackling drums and deep town ball bounces over quiet strings. Insane synth 1 and 2 start descending both. Then gabber kicks and noise snare that are quiet play a hell-decent march over fm pads and synths that make creature-screams. Crackle and ball bounces come back and the synths. And back to the gabber hell-on-display.“Synop”: starts with a synthesized brass sound. A quiet high pitched pinging over absolutely beautiful resonant filter sweeping snares and expected character rich kicks. Then a really long melody starts playing that sounds like it’s for a Nintendo 64 game for robots. Then this high pitched club music melody comes in that I absolutely love. And a wandering synth robot starts to sing. It sounds like abstract vocoded vocals and high pitched hotel service bell sounds. There’s a high pitched sine wave sound that tells the robot to stop. Sometimes there’s some distortion in the robot’s singing. The music stops to focus on this part. It’s tremolo and then has a finish. There’s a lot relistening this track deserves. “Kesanspor”: starts with a formant synth for alien salsa over two notes of synth strings and a winding sound that’s revving up. Then a distorted roar. This complicated pad sound that sounds like 50 laser sounds suggesting a choir and an electronic church refrain synth ‘yeah’ are added. A strange orchestral hit is added to the dead space between string sounds. This arcade sound that is loud but distant plays. There’s some hi-hats that come by to say hello. “Opalei”: Drums start: Kick drums that don’t sound like any kick drums I’ve ever heard personally. Noise snare and a synth-y but somehow metallic sound that’s almost a ‘hyuck’. At 0:05-00:6 there is a stutter in the drums that you gotta love the glitchiness of which is in the loop. Reverb-spaced out (a processed square-wave?) synth that suggests a string section come out. There’s harmonies of this sound and a pianoish, watery synth melody dripping nice through the mix. The melody loops and the drums switch up and then the melody goes to church organ mode and also formant squeals I’ve never heard before except maybe in a Rustie track. You now notice the side-chaining bass drum that is humble but starts rocking out to the magic. This is what bedroom producer synth-rock heaven sounds like. The synths go all filtery and flittery between high and mid tones. They start to take on a liquid quality as time slips. The string section comes back with a variation on the original melody, listen to that detail at the end of the sequence. It is a beautiful gated sound. Then a strange sound sneaks in that sounds like sitar and there are strumming sounds. “M0d”: A murderous string sound and a mid-range fm synth that’s like an electric guitar riff from DOOM over a kind of timpani drum beat. You’re getting ready to murder people to this song as wood block and congas add a playful touch to the track. There’s a slight high pitched triangle (the percussion instrument) sound there. Bursts of echo-y wavy synths start to add the melody to the track. The drums are now rock drums. There’s a turntablism sound at the end of the sequence. There is a slight variation to the sequence then a major one where it scales back and adds beautiful conga sounds and blatant triangle sounding noises with dynamic sound effect rustling noises. There is a cute synth doing a little boat toy whistle (it has an almost old video game / emulating-that-sound quality) after the echo-y wavy synths get more animated, excited and dramatic. I start to notice the bottle whistle sound. This sound starts to pan through the mix when more dramatic sounds are stripped back. Then the song switches up. The synth bludgeons that were echo-y and wavy go transform into searing hot jabs. N64-sounding acid bassline comes in. The bottle whistle transforms into an ore of noise. “Smoke Gogol”: Drums pan left and right. Acid like you’ve never heard it. Melodramatic portamento synths like cartoon character swoons. A sound like someone tapping on a stage mic to test it. Phone/Ringtone sounding synths and snares pan. It gets replaced with a resampled crossfaded type sound bobbing up and down from a low tone. The drums stand out more and variations abound including the phone sound pitched down. I noticed a synth pad that was behind the portamento synths when they came back. The structure is like poetry. First it goes A B A B then C D C D and loops back again. “Thez”: It sounds like a re-amped chop of When The Levee Breaks. Re-amped to make it sound just so beautiful. There’s that odd resampled sounding synth sound that seems to be speaking and singing to us. But that’s because there is a vocal sample in the background that’s grunting in an alien language. The synth goes up and now it really is singing. There is that constant note hammering way in the background that I love to hear in things in popular music. It gets isolated and moves up and down the scale with the drums. And then a N64 guitar comes in and acid nudges panned past you like you were driving past them. The guitar goes full wonky then the resampled sounding synth comes back. It is so unique. The resampled sound isolates and I notice the string sound that has been in the background maybe awhile. And in that isolating the sound shows you how wild it is. The track regains some layers and fades out like a dying candle. “Porta”: It sounds like a fm synth became a sad siren coming to retrieve a body. The snares are like snipps. The base drum sounds like a heavy object dropping on a metal plate. There’s another guitar-y sound. The track sounds like 5th gen video game music for a bad dream. There’s formant synths that harmonize with the siren. There’s a descending sound at the end you can hear at 1:30. It sounds like percussion of some kind. “Holtz IV”: Acid bassline that has an emulated sound quality to it which makes me think of it in a 5th gen gaming console. It’s on it’s own. Then this reggae melody string instrument comes in. More re-amped drums. More video-gamey sounds, this time an organ replaces the reggae melody. The organ comes back sounding more epic, perhaps it’s been layered multiple times. You gotta love it when it stutters. This is building up to the best part of the album for me. It’s not the medieval video game melody that comes in or the marching band beat that comes after it. Or the sick bass drum that comes in the second medieval melody starts. The drums flit around shortly as tastefully as any track of druqks. The glassy synth comes in (triangle wave I believe). And it’s one final surprise. There’s a bouncy club bass drum, I suppose it’s an 808. The squelching organ comes in to dance with the glassy arpeggio. Reverb at the end of the track. I didn’t know Jeri. We never talked. I knew a fair amount of the people on Breakbit Music though. He did a live set during the record label’s virtual music festival, ‘Bit Mania’. A pioneering thing for the early 2010s for sure. I remember the label’s founder mrSimon saying when the song Toxic People played something along the lines: “This is [jeri]? This sounds too good to be him”. Just a joke and Jeri said something in response. I know that being in that chatroom together was a privilege even though I never reached out to him like a fair amount of the people on the label. I didn’t really listen to the other albums under the name Jeri or too much of the Orangy stuff (which was too good to listen to imo). When I saw the cover for Pre I was entranced. It is beautiful and the album is... I view the outstanding musical genius of this album as a distant goal of what I want or imagine others to achieve as an artist. Anyone who can approach this kind of music should feel wonderful at their ability. People who know Jeri or are fans of him know that he passed away in 2014. I know his music will live on because of its power. But only if the effort is made to share it with the world.
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Без фильтров, без цензуры: Dapayk Solo и его сальный альбом техно-боевиков
Неугомонный экспериментатор, протагонист минимал техно и просто мужчина мечты Никлас Воргт без предупреждения выпускает под псевдонимом Dapayk Solo альбом #nofilter, который чуть более, чем полностью состоит из крупнокалиберной и очень танцевальной электроники — от тек хауса до брейкбита. В отчетной работе музыкант демонстрирует все, на что способен: здесь абсорбируются и замешиваются в варьирующихся от трека к треку пропорциях лихие ломаные ритмы, с которых он начинал в девяностые, интеллектуальность, снобизм и микрозвук нулевых, а также фестивальность и вычурность десятых.
Распространяемый известным лейблом Mo’s Ferry лонгплей состоит из 12 томящихся боевиков, среди которых главная пушка всех топов beatport конца 2015 года — открывающий Noob Legs: грубый, пьяный, потный, он врывается в колонки и моментально вмазывает своей бесоватой мелодией, задавая отвязный тон всей пластинке. Этот флоу моментально подхватывает безумный Where’s My Fan — блудное дитя холодного, сдержанного немецкого минимализма и разгоряченного французского электро.
Кажется, Dapayk не совсем рассчитывает силы — только в данном случае не свои, а слушателей — и отправляет всех в уверенный нокаут уже на середине релиза. А после такой легкой победы еще и решает дерзко добить их ногами, точнее седативным рейв-триллером с упоротым закольцованным рефреном Raaaw, бодрым трайбл хаусом про всевозможные инстаграм-ситуации Nofilter, эпонимической одой грязному реалисту Bukowski и еще дюжиной бронебойных жирных треков, в которых злой немец то тут, то там, но всегда в самый правильный момент шепчет «Еееах!» и воплощает свои самые сумасшедшие комбинаторно-стилистические фантазии.
С таким материалом нет никаких сомнений в том, что Никлас раскачает и накалит до предела еще не одну вечеринку в этих ваших модных Берлинах, где молодые хипстеры с впалыми скулами будут до крови кусать пухлые губы и щедро обливать алкоголем черные майки и абстрактные татуировки. Dapayk, пощади!
Dusty Kid стал настоящим человеком: альбом Not So Green Fields
Почти год назад Паоло Альберто Лодде, известный нам техно-виртуоз, скрывающийся под псевдонимом Dusty Kid, выпустил мини-альбом The Arsonist EP, но никто и подумать не мог, что это всего лишь тизер грядущей полноформатной пластинки — кстати, возможно, лучшей за всю его карьеру.
Вышедший 4 сентября Not So Green Fields — ода природе, состоящая из 11 впечатляющих треков. Это целый манифест музыканта об обнажении своего сердца, который обрушивается на слушателя непередаваемым богатством звучания: в каждой секунде лонгплея укомплектован целый арсенал различных инструментов — пульсирующее техно, живые этнические духовые и ударные, высушенный джангл и брейкбит, многоголосый хор и даже аутентичный прогрессив транс. Попеременно выходя на передний план, они превращают пластинку в настоящий калейдоскоп красок и вкусов, захватывающих словно хороший фильм с продуманной сюжетной линией и четко прослеживающейся позицией режиссера. Это уже никакой не «дневник рейвера» (так назывался первый альбом Dusty Kid), а обстоятельно и широкими мазками нарисованная карта путешествия по уникальному миру, который разворачивает вокруг нас музыкант с большой буквы.
