Model 500 aka Juan Atkins is back on Metroplex with the reissue of his No UFO’s featuring exclusive Moodymann and Luciano remixes. A dancefloor smasher for passionate dancers. The album in its original form was first released in 1985 by the master of Detroit Techno. Pure Detroit waves driving us to a sexy body/mindblowing state. A teasing atmosphere for classy tech-warriors. T.O.P. recommended.
We have the honour to announce the forthcoming Holotone EP by the magician of electronic sounds, Koichi Shimizu. Holotone comes back dynamically with “Wholetone EP” A piece of astonishing quality, style and sound. The master behind it Koichi Shimizu is
” ….a peculiar case. A sound engineer and composer born in Japan, studied in New York City and based in Bangkok. His scope outranges the usual radar, spanning film, installations, concerts, music production – In Apichatpong Weerasethakul’s film “Syndromes and a Century”, for which Shimizu did the sound design, there is a particular passage called “Black Hole”. Shimizu and his partner in crime Yn/Federico Nitti (among others things visual artist for Inner8 and Shapednoise) deliver with the EP’s 3rd track “FK” a phantasmagoric stream, ever falling ever morphing, changing without ceasing, there is no essential difference between passing from one state to another and persisting in the same state. We would think that if there is heterogeneity, there has to be juxtaposition. But, in qualitative multiplicities, there is heterogeneity and no juxtaposition. The track, recorded as an improvisation, manifests in intuitive knowledge. Intuition then consists in entering into the thing, rather than going around it from the outside, the concept of play, a strategy without finality, what might be called blind tactics, the unity of chance and necessity in calculations without end.
Koichi Shimizu’s contribution to the Holotone Catalogue N°2 sounds like journeys from a ticket that exploded. Self organizing bodies without organs laying the blueprint for a soft machine spreading and fizzling towards available spaces or trickling downwards towards new spaces through fissures and gaps, eroding what is in its way. Drawing the tonal line from a cube to a tesseract, entering the Holotone realm.” (Mélanie l’Heuremaudit).
Oriens gradually arrives with its ritualistic veil and its technoid steps like from an undiscovered planet. Spacey beats, subtle distortions melting our minds somewhere in the middle of the dark room then a sprinkling all over our bodies with drops of teasing synths and sophisticated keys.
Rumble is a cheeky slow tune. Like a child walking around carefree without real purpose trying sounds and keys until the moment that starts evolving, steadily turning into a mature electronic sound.
Wholetone plays with the words and gives a Whole paradigm for the modern electronic music sound. A blissfull melody with its experimental hint and its smashing base. This is the last track for the EP which will be released soon on Daniele Antezza’s record label Holotone. A prologue that will keep us with suspense for the next little diamond.
We had a chat with Reggy Van Oers, the Dutch producer , who has previously released on Affin, Informa and The Gods Planet. He is now releasing his debut album on his own imprint Telemorph on October 14th. Taciturn Manner is a great experimental techno album based in the beauty and emotion of nature: RVO used many field recordings as a source for his contemporary sound. He speaks to T.O.P. about his “Taciturn Manner” album, his music and his philosophy around it.
With his platform Telemorph, a tight bond between all artists involved, he creates a special place for solo releases and fruitful collaborations in order to expand their distinct musical journey. We are pleased to announce and support this release.
T.O.P. Who is Reggy Van Oers and what does Taciturn Manner mean for you?
RVO:Some things are exactly what they are, you can’t have any other interpretation, very outspoken let’s say. I believe it’s more interesting when words or meanings are hidden within their context which invites you to dive deeper to make it your own.
Taciturn Manner for me means being somehow reserved, still showing emotions and expressions but in a rather silent way. It’s all there if you are willing to take a closer look. If you want to make this little extra effort, you will see it and experience it on another level. Personally, this approach comes out naturally and it exactly reflects what i’m trying to communicate through music.
T.O.P.: Is there any special story regarding this album?
RVO: The album is a translation of quite recent events that happened out of the blue. During this time i’ve collected all contrasting feelings i had and divided them into separate sentences. These elements evolve singularly and slowly over time coming together in a tapestry of sound.
T.O.P.: What’s the stuff/digital/hardware etc. do you use at your live acts?
RVO: For my live act i use well produced parts of the album next to several “rougher” field recordings i’ve recorded for this occasion. My intention for every live set is to re-create the album in a slightly different way by shifting the emphasis on alternating layers. To keep everything compact my setup contains just a laptop and some midi controllers.
T.O.P.:Which is your favourite venue to perform at?
RVO: That’s a tough one as i’ve performed at many nice venues. It also depends on the setting regarding to the type of event for me. IFZ in Leipzig has been an amazing experience for me. Such a great vibe throughout the night until late in the morning. Very recent The Muziekgebouw aan ‘t IJ in Amsterdam has impressed me a lot. The location combined with the stunning view has created the perfect conditions to perform my album in a concert hall environment.
T.O.P.: What’s going on with your Morph events?
RVO: Last friday the 16th of September we had our 4th installment with morph at The Muziekgebouw aan ‘t IJ in collaboration with The Rest Is Noise. At the moment we are looking into the possibilities to expand our concept outside of The Netherlands. This year we have been approached by several event series in Europe to see if we would be interested in collaborating with them. With morph we have been focussing on showcasing several labels to introduce and support the sound and the artists they represent. We now also have shown a strong desire to invite people taking part into a trip exploring the broader spectrum of electronics performed by high quality artists. These two directions can make it very interesting to see where this could lead to.
T.O.P.: Any future plans?
RVO: There are some interesting collaborations planned on Telemorph and i’m discussing a special solo release at the moment. But unfortunately, at this stage, i can’t elaborate further on this. I’m going to release new material on several imprints the coming months which i’m looking forward to. Probably the first EP to come out is “Ingrained” on Affin including a beautiful remix from Acronym. Next to that i’ve done some contributions, one of them will be released on Polegroup, and remixes which will be out in the near future.
T.O.P: Which record would you recommend as a mind healer?
RVO: Rafael Anton Irisarri – Lesser Than The Sum Of Its Parts
No words describing it to be honest…
Check our for more:
Primal Need music video: https://vimeo.com/177991735
RVO Facebook: https://www.facebook.com/Reggy-van-Oers-160658753990905/
Glasgow’s finest Techno Exports keep the bar high. Slam are back with their SOMA LP 114 and they have pulled something special out the bag for this release in late October!
Wonderfully enchanting and specially immersive, they know how to take you deep in to their Techno realm which has been well cultivated and enjoyed by so many!
Machine Cut Noise takes its inspiration from the machines which surround us in everyday life, the pair having started composing these tracks on the road between many gigs around the world. Slam have put all the right ingredients into a double vinyl album to power you through into the early hours whilst spinning eerie yarns, guided by some direct driving beats!
The start of the album finds room for more Dystopic sounds before Errerilt wandering into more hard edged sounds that dance floors love and yearn from the duo.
The second part of the Album Brings us to the catchy stomper of Psalm bring the tension of Anagram then taking us down with shades of the future, buzzing with sombre chords.
Corridors delivers one more peak time burst before the duo close the album in a exceptionally refined way with Obstacle swirling round gustily blowing through some subtle digital bell tones then curving slowly downward leaving the ethereal soundscape of Fine.
The guys have now reached a landmark 25 years of quality output on Soma, and they are back again with a full size release taking us on a brooding techno journey for those of us who like to celebrate wonderfully crafted noises from the machine! The album will be released on the 28th of October. For now heres a taste of their track series to wet your appetite!
Dark lights, black rooms, techno, acid, Chicago booty, electro, rave, Berlin nights, sound experiments, Berghain Kantine, friends and 15 years of successful events encounters with big names! The likes of SANDWELL DISTRICT, TIM EXILE, REDSHAPE, OTTO VON SCHIRACH, T.RAUMSCHMIERE, CRISTIAN VOGEL and many more contribution towards 25 releases of real gems and unforgettable moments.
We have the extreme pleasure to welcome Dj Flush the man behind all the above. The guy behind KILLEKILL label which has become a reference concept in the electronic music scene. Diverse styles within the electronic music spectrum coming together managing to represent the unique identity of KILLEKILL’s sound although staying coherent and comprised of quality from its very first moment. The recipe for the success comes from Mr Nico Deuster. He spoke to us about the old days, label’s story the forthcoming KILLEKILL 025 Megahits II with date of release the 23rd of May. A powerful combination of artists celebrating together the dynamic KILLEKILL presence all these years. Umwelt, Eomac, Dez Williams, Bintus, the legendary Detroit Grand Pubahs, The Fool’s Stone, Jerome Hill, Furfriend, Kamikaze Space Programme, Cassegrain & Tin Man, Blake Baxter aka Prince of Techno and Alex Cortex will celebrate with you 15 years of the KILLEKILL experience. Enjoy this very special interview to Tales of Psychofonia.
T.O.P.: Hi Nico, How do you feel after these years full of KILLEKILL adventures and great collaborations?
N.D.: I feel awesome. Although it gets a bit too much sometimes. : )
We have promoted almost 400 events, had about 50 releases on our labels and I must admit, I was worn out a bit, but since we have taken a break and are going to restart things very soon, I feel refreshed and am looking forward to what’s coming.
T.O.P.: Going back to when the KILLEKILL story started, can you share with us a story that you cherish from those days?
N.D.: One awesome night was, when Otto von Schirach played with Gabe Serbian (drummer of the locust). It was all pretty much improvised at that time, so we didn’t have a drum rug, and the kick drum was moving away under the heavy drumming of Gabe. It was all very personal at that time as well and so a girl from the audience helped out by laying in front of the drum set and holding the kick drum for the whole fucking show! With her head right next to it. I hope she hasn’t damaged her ears then… It was so great to see how everybody just wanted this to happen and do their part to make it work.
But basically looking back, what was the most exciting thing, was how much support we got from all sides. In particular as it was so personal. You would see people for the first time there. Then a second time, maybe talk a bit at the bar and suddenly they’d come every week. Some long term friendships have developed from that. Future interns, colleagues, friends etc.
T.O.P.: How do you see the evolution of rave from 90s to now?
I come from a punk rock background and I got into electronic music mostly because of the energy of rave. Unfortunately I was missing it for a while. “Rave” in terms of “raving about something” should be something enthusiastic. In that way rave was pretty much dead here in Berlin, when I started Killekill. That was actually the reason why I started it. But there is some enthusiasm now here in Berlin. There are a lot of new scenes and some of them are merging, and there are new places. And also the music got harder again and more diverse. I like that!
T.O.P.: The new compilation KILLEKILL MEGAHITS II, as the 25th release of the label is a great celebration. What is the future for KILLEKILL? How do you wish to proceed with your new sub-labels?
N.D.: We have grown so much over the years. We run several labels, we run events of all kinds, we are a booking agency. I realize thats a bit confusing for some people. I mean we have got a lot of fans who appreciate our diversity, but for example I am having funny conversations sometimes about what sort of a label we are. Like “oh, I like your stuff, because you are the only Berlin electro label” or “ah, no, I don’t like your releases so much, because you know, I don’t play acid”.. So obviously this seems to be a bit difficult for people… So I felt it might make sense to get a bit more organized. We will have a label for conceptual stuff, albums etc, one for the club bangers, and some others. You will see!
T.O.P.: What are the building blocks of a good DJ set for you? Do you have one record never leaves your bag?
N.D.: Although I must admit that usually those sets work best where I commit to one style, I must say I personally prefer sets, which cross over several genres. Mostly the core of those sets of mine is ghetto house of Dj Deeon and the likes, because from there I can easily go into a harder techno direction as well as into house or electro.
T.O.P.: Who is your favourite artist/project/band currently?
N.D.: Maybe Umwelt? I was a fan of his music 20 years ago and actually thought he wasn’t doing anything anymore until lately I found him back and realized I still love everything he is doing. It’s quite pathetic sometimes, but I need this sentimental stuff sometimes. : )
T.O.P.: Which KILLEKILL release you would recommend as a “mind healer”?
N.D.: What’s a mind healer?
T.O.P: What has changed since the #001 Bad Cop Bad Cop – Best Of Best Of until now, and what has remained the same until now?
N.D.: I would say the experience has grown. The enthusiasm and urge to stay independent from marketing plans and that sort of shit has stayed the same I would say.
T.O.P.: In all these 8 years is there any special event/ party you will never forget.. a special night?
N.D.: One of our first birthday events at Suicide Circus, I think it was the second birthday of Killekill, we thought it was a good idea to do a 30 hour event. I played indoors for 6 hours, then jumped into a b2b set with a friend on the open air floor for 3 hours, and then for whatever reason the three following dis canceled via text message or phone. I was sick, one was drunk, and one just didn’t come, if I remember right, and I ended up playing 21 hours altogether. Unprepared as I was, I had to play all tracks on my records, crossing over literally everything with friends who went home, slept, took showers, went to the lake afterwards and came back asking if I was playing again, but I was actually still on. That was pretty weird and unforgettable I must say…
T.O.P.: Has it been difficult for you to define KILLEKILL sound having controversial releases covering almost the whole spectrum of electronic music?
N.D.: Yes. 🙂
T.O.P.:Do you have any special events coming up?
N.D.: Yes, we have our birthday parties in Berlin and some other cities plus we have started a new line of events called The Pack, where I mostly invite friends, trying to stay free from all that usual headliner stress etc. Oh and of course we have got Krake coming! Our Berlin festival. See www.krake-festival.de for more info.
Thanks for the interview!
T.O.P.: Thank you too Nico for this great interview!
Rotkeller are coming from the cold Switzerland to warm our minds with their new EP both on luana and everest records.
The Sublime EP is another great skillfully crafted piece of edgy electronica. The pair know how to rock the darker side of the Swiss electronic music scene. The A side is straight down business the way Rotkeller know best! Walker starts as a dramatic stand out piece or bass music that some how refines itself as an upfront techno groove when the bass line steps into the next gear.
Sublime, which gave its name to the record, is more like a soundtrack of a suspense movie hiding surprising changes expressed by breaks and a district harmonica, unfolding the perfect audiovisual plot making us wait watch next with an epic end, the end of Sublime¡ dynamic loops like an industrial metamorphosis. Herr Vodmar – Call Of War from the previous EP is getting back with different faces and more remixes of it. Maybe the most upbeat tracks of the EP bringing the balance between darkness and light,adding to the dynamic contrast.
The Kelpe version chugs along nicely with twisted licks from the original and the fat analog bass while the Baumeister version gives you an end of set record to close a big night with.
Delete gets a face lift from their previous album,courtesy of Dave Eleanor, who elegantly controls the suspense of the boys gnarly hardware gear . Bitumer (Digitalis remix) rolls in some scattered jungle grooves with some warm vintage sci-fi undertones to stitch it all together.
This is a quality package and strictly limited release a dramatic bass music with hints of jungle and industrial attitudes. Strictly for lovers of the eccentric dark beauty in electronic music.
Listen and buy on: https://luanarecords.bandcamp.com/album/sublime-ep-12
T.O.P. TALE: We give for free to one of our TOP readers the unreleased yet Sublime EP. You just need to either like or comment the post about Sublime EP on Tales of Psychofonia blog or on our facebook page and we will pick up a name out of the hat. Saturday morning the winner will be announced.
Today on T.O.P. we bring a special tale. The forthcoming EP, Carlos Nilmmns & Friends on Paris Metro Music . A complete idea of the sound of this label , a concept dressed up with quality deep music with jazzy attitude.
We are extremely happy to share with you this promo sample of the last EP of Paris Metro Music under the title Carlos Nilmmns & friends. Carlos Nilmmns a scottish producer based in France (aka Solab Bookings) is the man behind the label and this EP is coming with collaboration with some really good producers and the result…voila!
On Tales of Psychofonia Interviews section you will be able to read how Carlos describes this work sharing with us some beautiful and interesting details about himself as artist.
Eclectic groove wrapped with erotic raw loops and of course 100% vinyl.
“What it is” is definitely the sexiest track of this EP, proper hardware sound, with smooth detroit touches by Carlos Nillmmns and Keter Darker.
“Out of the bounds” a tune by Tom Joyce is a slow house tune with fading vocals accompanying a progressively uplifting rhythm.
“Its because of Detroit” makes you dance to a nostalgic classy sound and bringing memories of the old good house scene.
“Inner feelings” ( the original track by Aubrey on Ferox late 90s), a soulful track with its repetitive percussions under a more melancholic mood gives an elegant touch to the record with its mesmerising piano pads.
“Green Water” a remix to a tune that originally belongs to Tomi Chair a japanese Dj and producer. The Glasgow tease remix by Carlos is coming as a wave from the past leading us to an eternal dance with its spacey synth pads.
“Amor Desamado” the absolute deep sensation and Carlos Nilmmns, we ask you directly: What’s happening with you? feelings mixed with this quality sound and music were the words stop and letting the groove to speak. A complete work and the …summer is here.
Classy and cheeky at the same time like “able to find”..
We share on Tales of Psychofonia one of the tracks with the authorisation of the label, to give you a taste for the EP , released at the end of April 2015, on Paris Metro Music.
Thank you Paris Metro Music!
More about Paris Metro Music on: http://www.parismetromusic.com
copyrights: Paris Metro Music