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Search Result for Catalog AT 004LP
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AKENAT 004LP
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A collection of mind-blowing songs from Hindi films 1958-1984. 12 musical gems from the Bollywood vaults with a wide variety of styles thrown in the mix, from the classic to the rare, a must! An astonishing overview of the magnificent musical talents populating Bollywood films. With a predilection for movies with a strong musical backbone where songs and musical numbers play a pivotal role, the Hindi cinema boom gave birth to a strong and creative music industry where composers, musicians, musical directors, conductors, producers, singing actors, and playback singers (singers who provide vocals for the musical parts of roles played by actors or actresses) found a perfect place to develop their careers. A sample of those incredible talents is included in this compilation, the ideal point to start digging deeper into the lush garden of musical delights that is Bollywood. Featuring Mohammedd Rafi, Asha Bhosle, Kishore Kumar, Geeta Dutt, Kamal Haasan, Sridevi, Kalyanji & Anandji, P. Susheela, S.P. Balasubrahmanyam, Manna Dey, Lata Mangeshkar, Shankar & Jaikishan, and R. D. Burman.
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BALMAT 004LP
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For Balmat's fourth release, the label turns their attention close to home: to the Mallorca-born, Barcelona-based artist Nueen, aka Nacho Pezzati. Nueen has been developing his highly personal style of blissfully Balearic ambient over the past few years, with releases on labels like Quiet Time Tapes and Good Morning Tapes. On Diagrams of Thought, he explores new depths in his sound. His atmospheres remain bucolic, but there's a disturbance at work, a hint of uncertainty swirling beneath seemingly placid pads. While Diagrams of Thought retains the ambient (or at least ambient-adjacent) focus of all Balmat's releases so far, the album also marks new frontiers for the label; the album's first half is graceful and largely beatless, but the mood grows murkier with the foggy drones of "Dome" and the intimations of liquid drum 'n' bass on "Maxima"; "Veta," meanwhile, might just represent the most forceful rhythm to appear on a Balmat release yet. Despite the album's considerable range of moods, tones, and textures, it's all tied together by a singular preoccupation, says Nueen: "Lately, I've become conscious of my fascination for the notion of the break, on a conceptual and musical level. What's temporary and what's permanent. Thinking and making out of what isn't there, yet is. Some people would call it silence, but it could also be a skip of the needle, an ellipsis. Something very basic -- or Basic Channelesque. A set of sounds and silences, structuring just a hint of rhythm. Sounds that become silences, and silences that become sounds. The other day, I was saying to someone that for me, the sound of electric current running through the power lines above the train tracks is the most ambient sound there is. That infinity in which you never quite grasp all the harmonics and reverberations. It's a form of time detained or expanded. Recently, I've been rereading Morton Feldman -- you can tell, right -- Vertical time, the silence that sounds. A sort of sacredness. My mind is blown every time I walk into a church, for whatever that's worth."
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2LP
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AT 004LP
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Gatefold double LP version, in gatefold sleeve. Includes download card. What does a rave sound like the next day? The strobe lights in a dark warehouse, the pounding kick, the blur of ecstatic faces lead to a morning-after emptiness, all fade into memories of the friends you once had. On Ode, Tin Man (proper name Johannes Auvinen) explores this feeling, offering tracks which possess an exhausted joy, the aural equivalent of the stretch of time beginning when the last record is played and stretching on towards the doleful contemplation of last night's unmade sheets. Appropriately, Tin Man's melancholic dance music is more club-ready than ever. The opening tracks explore the spacious atmosphere first proposed on Neo Neo Acid and the (recently-repressed) Acid Test 01 collaboration with Donato Dozzy. Auvinen continues to coax unique, bittersweet sounds out of the 303 -- his control is akin to a virtuosic Theremin-player, all dramatic lunges and dynamics. Yet on tracks like "Depleted Serotonin," the memories of half-remembered nights surface. That track reprises the minor-key rave breakdown, ending with nearly three-minutes of knackered techno throb. Similarly, "What a Shame" sounds like a forgotten Warp classic run through Tin Man's palette of tasteful reserve. Always conceptual, Tin Man is commenting on big-room techno music by presenting his thoughtful, hungover version of it. On "Vertigo," he reins in the acid box acrobatics -- opting instead for a rudimentary, early-Chicago style pattern, eventually following optimistic chords skyward. It's a simulacrum of that end-of-the-night moment when the music is so charged and utopic that all fatigue is forgotten. Auvinen's recognized talent to imbue machines with complex human emotion draws us into his world. With Tin Man's music, there is always something left unsaid -- he uses familiar elements yet his perspective remains singular and mysterious. Each dream-like track is another clue. He ends the set with the intensely dramatic "Memoraphilia" and "Ode." The former concludes on an ominous note with strings that evoke paranoia, yet this feeling, too, will pass. The final (and title) track begins with the Deepchord-level percussive filtering that acts as the album's textural base. Almost immediately, Tin Man introduces an octave-jumping acid refrain. The four-bar loop reaches operatic heights of yearning. "Ode"'s rave stabs indicate this drama comes from the implacable notion of being alone in the crowd -- an emptiness which can remain long after it's disbanded. What comes when the dance is over?
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2x12"
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DESOLAT 004LP
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2x12" version. Argentina-born Guti releases his inaugural album on the label that has given his echoingly hypnotic jazz-infused house music a stable platform. The live performer effortlessly presents a collection of beautifully-constructed productions that demonstrate the convergence and symbiotic nature of his musical past and present. Classically-trained jazz virtuoso and national rock 'n' roll hero in his native Argentina, Guti is no stranger to music. A musical education that takes in Argentinean folk, blues, rock and jazz, Guti is currently enjoying a new chapter in his musical adventure within electronica. With his productions now being a regular feature in the record bags of DJs as diverse as Seth Troxler, Marco Carola, and Carl Cox, it is apparent Guti is enjoying a watershed moment in his long adventure. Patio De Juegos, which translates as "Playground," is a wonderful multi-genre journey through the mind of an artist who is both on top of his game and on the rise towards the stars. 2x12" featuring 8 out of the 15 tracks from the CD version.
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WHAT 004LP
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"So take 'serial collaborator' John Wiese -- heard recently with such sound-monument constructors as Pain Jerk, Merzbow, Sunn O))), not to mention his own squirm-unit Sissy Spacek -- and improvisation leapfrog C. Spencer Yeh -- of Burning Star Core, and with Paul Flaherty and Chris Corsano, Aaron Dilloway, Thurston Moore and his Dream/Action, the list goes on. Double-up on gentleman in front of their best gear with loud speakers and a room full of wanting persons (this time in Nottingham, England, surely a rainy day), their mind and hands like puzzle pieces you never really thought about but, surely just a beginning but here we have it, worth our time and attention to carve into plastic history. And what results -- rude blast noises, deep-brain droning, twisting tape press record, and torn-apart vocal and strings in unimaginable electronic torture chambers!! What would you expect from such a combination if you have imagination and is that a bad thing for your ears really? Recorded direct from the board for maximum clarity, detail and quality. Edition of 330 with special insert and silkscreen red cover. Truly the fourth volume from a library of love, signed 'WHAT THE..?'"
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