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LP
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SVS 016LP
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Zoë McPherson on Belp's Crocodile: "As a first listen it was 2AM, 46° in a village Portugal, in a convent, after a good night out. That moment struck me as being magic, the energy was perfect, we were laughing and relaxing amongst friends. That listen was pushing the magic further because of the surprises it has all along the journey. A first groaning. A simple rhythm. Soft realms. Noisy Round sounds. Type machine sounds, of a sampled hi-hat that never reveals, 'cut cut cut cut'. Just because it's fun to not reveal it. And put that fist cut part of the upcoming timber that is not 'yet' one. It's like if the drum pack was used the wrong way, which is a great way. Flipping. (= to flip something) Belp has this ability to bring the most horrible samples in front, and turn over your mind to enjoy what first sounds like 'horrible'. Facade. Crocodile is flipping it over. Rhythmically vibrating, ears are wide open, full attention. I'm into the non-repetition. Track Crocodile's call reminds me of the call in 'Klabb' by Deena Abdelwahed as well as within its playful change of tempo, of notes. Who cares? The album is like a randomly composed pack. It is not random. It's flipping something, and I like that disturbance, it's what I want to hear. It is alive, through composition, arrangements, falsely randomized, non-arranged, it is a trick; it is the drunk clown playing 'endless preparations for a ceremony' and 'catch'. Not bothering about anything reveals a deep understanding of music and of arts, a crafted album in details. It is years of listening, it is years of challenging one's ears, and putting it all together in this piece. It feels like the producer enjoys disturbing his own ears as much as other ppl's ears. Playful, energizing, demands attention. Challenging your ears somewhere where nothing is constant, lively. But overall let's not forget the real stuff, the bass and soulful part. The round groove is still there. Each track transmits Belp's open mindness to all type of music, whatever makes sense. It just all makes sense, it's a strong critic, it's a joke, it's emotion, it's playful, it's fucked up. All musical 'styles' are touched. Maybe it is a compilation? It is about rethinking "music", And not giving a fuck, although with still having an incredibly musical ear to all of it. Just listen, this might be one of your best lessons to stop giving a fuck about everything you do."
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LP
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SVS 013LP
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Born in Munich, Sebastian Schnitzenbaumer, aka BELP, partially grew up on the Seychelles Islands off the coast of East Africa. Educated in classical piano, those two gravitational poles, European and African influences, became the basis for his musical development. Having traveled extensively with a closer connection to London over the years, BELP kept his base in Munich, becoming part of a small alternative scene questioning the predominantly rich and posh surface of the city. Blending jazz, dub, and noise, an emphasis on darkness in his broken beat-oriented works evolved as a reaction to a rather hedonistic society preferring warm and uplifting sounds.
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12"
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SVS 008EP
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2015 release. Belp alias Sebastian Schnitzenbaumer, founding member of Munich's pop-label Schamoni Musik, debuts on SVS Records with a palladium of crazy energy overdose-jams titled Elephants. His musical playground is lo-fi, nerdy, and very digital. The six-track mini-album is his unique exegesis of experimental broken electronic music, based on harmonic algorithms and programmed structures using Linux and a plethora of over 600 half-baked, buggy, highly innovative, yet trashy open-source software algorithms. Keeping in sync with this, all the artwork was completely auto-generated by software using an evolution-based artificial intelligence engine called QBist.
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10"
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RWO 002LP
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45 RPM 10" pressed on blue vinyl. The frontman in the synthesizer with his iconic tie and his eight huge gloved hands; a headless octopus in a suit. His head is in the clouds, playing serenades under vectorized moonlight like melancholic cries for his long-gone lover -- "When is Becky coming back?" The journey in Becky Reynolds Band's universe is a unique one. Who is this band? Is it a trio? Is it a love triangle? It starts with frontman Mister Headless's assumed aesthetics of automatic tracks from kids' Casios. After a glimpse into his genius mind, Pissy Milly comes in and the rollercoaster rides begins. A musical fight begins between Milly and M. Headless. Is she jealous of Becky? Saxploitation is a confrontation. It's an intense push and pull and it locks and it falls apart again and locks back together. Where is Becky anyway? The singing diva is in the dressing room again. What if our musicians worked together? Milly's sound with Headless's longing in "Venetian Mirror" -- wow. It's intense and full and round and glowing. Too much for our poor lovesick man. He pushes Milly away. She comes back with revenge, though. It's a seduction plan through sound. She's gonna reach the clouds, too. She explores different skies, sounds, and timelines, searching and searching and searching. Will she find him? It may not be "The Easiest Way," but it's gonna be worth it. BELP feat. Becky Reynolds Band is candy for the mind. You can make it whatever you want. Music created and produced by Sebastian Schnitzenbaumer with contributions by Dennis Gross, Peter Tuscher, Sascha Luer, and Christa Brunne. Artwork by Sebastian Kempff.
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