|
|
|
|
|
|
|
|
|
|
|
|
|
LP
|
|
DNR 009LP
|
Raz started working on the album Tyrants in 2017 and mixed the finished version in 2021. The writing process began with listening to sketches and sound-files he had collected throughout the past years, which he had not yet given up on. The album is thus a natural continuation of his previous works and showcases Raz's unique sound design coherently. His increased focus into composition and arrangement is highlighted even further in this release. In the oblivious environment surrounding his hideaway lake cabin he produced an album that is rich and diverse in its sonic palette, ranging from harshly distorted synth-peaks, cinematic soundscapes, all the way to avant-garde contemporary classical, and jazz music. It is an album that invites the listener to explore and discover not just the intimate self: it is also a very personal, intuitive observation and reflection on the world that we are living in today. Certain instruments are very prominent. An old piano that was left in Raz's apartment by a friend that he found joy in playing. One can hear a certain curiosity in the performance of this newly found, dust layered treasure ("Bardot"). Sonically, the album is an attempt to blend acoustic sound recordings with synthesized sounds, and to blend musical genres into one. It is an acoustic expression of the transformative times we are living in, a realm of mankind being mastered by technology. The gap of this transformational process is a glitchy moment of time. It is portrayed on the front cover image of the album, by glitch artist Azamat Akhmadbaev. For fans of: Acid Pauli, Apparat, David August, Nicolas Jaar, Darkside, Dictaphone.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
ALB 001CD
|
Raz Ohara's latest full-length is jam-packed with intricate cross-references and wild cross-pollinations, while he's making sure the vibe remains just right from beginning to end. A term like "dub" might be in the right ballpark, but you can also hear soul music on Moksha, at least hints of soul, subtle hints. It's actually the kind of slow-moving, static-laden soul that can only evaporate from the infinite echo chambers of Ohara's (dub) lab. Extremely dense and yet transparently arranged, the soundscapes on Moksha are vast, roomy, and yet they remain somewhat mysterious around the edges. Most beats and percussion elements seem to exist merely for themselves, usually dropping in when you least expect them -- making the resulting groove patterns (and groove it does) even more miraculous and amazing. Elsewhere, warm layers of sound or frozen melodies appear out of nowhere, linger and grow for a while, then die down again. As a listener, you have to surrender and drown in these pulsating soundscapes, which Ohara wrote and produced single-handedly. The first beat that's actually pretty straightforward (and funky) serves as the foundation of the only cover song on this album: "True Love Will Find You in the End" by Daniel Johnston. Whereas most of his own beats are assembled from acoustic elements, this is the only track that sees him relying on a drum computer. "Two Young Mates," in comparison, with its soft walls of guitar, channels post-grunge bands like Ride or Lush -- or even Pluramon. It's amazing to see this wall of sound grow over a steady beat, while Ohara actually shouts the lyrics instead of singing them. Up next he presents a rather abstract collage of clarinet, African percussion, and synthesizer sounds in shreds -- forming, once again, some kind of dub music. If you've ever found yourself lost in a limestone cave, here's your soundtrack to that kind of adventure. Moksha is the first release on Album Label, a new imprint under the Shitkatapult roof. This album is a perfect starting point, because it's a cave of forking paths that change direction every time you re-enter.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
ALB 001LP
|
LP version. Raz Ohara's latest full-length is jam-packed with intricate cross-references and wild cross-pollinations, while he's making sure the vibe remains just right from beginning to end. A term like "dub" might be in the right ballpark, but you can also hear soul music on Moksha, at least hints of soul, subtle hints. It's actually the kind of slow-moving, static-laden soul that can only evaporate from the infinite echo chambers of Ohara's (dub) lab. Extremely dense and yet transparently arranged, the soundscapes on Moksha are vast, roomy, and yet they remain somewhat mysterious around the edges. Most beats and percussion elements seem to exist merely for themselves, usually dropping in when you least expect them -- making the resulting groove patterns (and groove it does) even more miraculous and amazing. Elsewhere, warm layers of sound or frozen melodies appear out of nowhere, linger and grow for a while, then die down again. As a listener, you have to surrender and drown in these pulsating soundscapes, which Ohara wrote and produced single-handedly. The first beat that's actually pretty straightforward (and funky) serves as the foundation of the only cover song on this album: "True Love Will Find You in the End" by Daniel Johnston. Whereas most of his own beats are assembled from acoustic elements, this is the only track that sees him relying on a drum computer. "Two Young Mates," in comparison, with its soft walls of guitar, channels post-grunge bands like Ride or Lush -- or even Pluramon. It's amazing to see this wall of sound grow over a steady beat, while Ohara actually shouts the lyrics instead of singing them. Up next he presents a rather abstract collage of clarinet, African percussion, and synthesizer sounds in shreds -- forming, once again, some kind of dub music. If you've ever found yourself lost in a limestone cave, here's your soundtrack to that kind of adventure. Moksha is the first release on Album Label, a new imprint under the Shitkatapult roof. This album is a perfect starting point, because it's a cave of forking paths that change direction every time you re-enter.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
12"
|
|
KD 048EP
|
Raz Ohara is back on Kindisch with another obsessive release. A shuffling mix of acoustic guitar riffs, licks, natural percussion, and of course, Raz's well-known melancholic vocal lines all come together to generate a '60s country folk feeling. A dampened kick drives the energy deep and harmonicas set your soul on fire. Acid Pauli adds acid lines and a very direct kick. The final mix is a heavy open-air anthem delivered by The Sorry Entertainers.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
12"
|
|
KD 038EP
|
On the See It Coming EP, Raz Ohara holds true to his style of layering ghostly vocals with haunting melodies coupled with ambient percussive elements. The title track is a colorful blend of melancholic tones on a chilled canvas of percussion. Raz brings out the bass on "Deeper," as dissonant vocal chops harmonize over a heavy kick. NU remixes "See It Coming" on the B-side and there's also the track "All's Been Said (Tool Mix)" -- a tense mix of pressure and eerie vocals.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
12"
|
|
KD 007EP
|
"Patrick Rasmussen, aka Raz Ohara, is something of an underground superstar. His exciting, forward-thinking releases on Kitty-Yo have earned him favorable comparisons with genius pop-futurists like Beck and Prince. No two Raz releases are the same, and whether he's drawing inspiration from 2-step, minimal techno or classic pop songwriting, his work always sounds fresh and extremely danceable. Kindisch, having put out storming records by Einzelkind, Jay Haze, Samim & Michal and DiskJokke, is now pleased to welcome Raz Ohara to the family with a three-track EP, Whitmey Na, that will set discerning dancefloors on fire. Berlin-based Raz provides three versions of the title track; the A1 is the 'Nass aka Geiger "Ride" Vocal Remix' which straps his hushed, soulful vocals to a minimal house kick and intricate, dubby percussion that wouldn't sound out of place on a Villalobos record. The track has a propulsive, club-ready groove but also plenty of space for Raz's heartbreaking lyrics to breathe. Deep, descending synth chords encroach and recede to spine-tingling effect; the clever drum edits and hissing hi-hats will get hips and feet moving, while the euphoric, impossibly romantic theremin break takes things to the next level. As the track reaches it conclusion, Raz strips the rhythm to its bare bones and introduces swirling, acidic arpeggios - subtle, and devastating.On the flip, Raz's original has a similar leftfield house style, but is perhaps a little more reserved. Melancholy but also uplifting, regretful but also hopeful, the wistful melody and haunting lyrics will stay with you long after the record ends."
|
|
|
|