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viewing 1 To 25 of 27 items
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2LP
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BLKRTZ 037LP
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Repressed. Great collaboration by Appleblim, Deadbeat and Shackleton. For anyone with a penchant for dub-wise low-end sonics and bleeding edge beat science over the last two decades seeing any one of these names on their own on a record would make it something well worth having a listen to. Having all three together on the same record however very easily launches it into the realm of "buy on sight". Comprised of four side-long tracks previously only available via the BLKRTZ Bandcamp page, Dub Conference Vol 1 sees these three masters of bass weight meditations exploring some of the most low-slung and psychedelic corners of their respective catalogues. Vinyl-only and strictly limited edition, this is a meeting of the minds not to me missed.
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2LP
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BLKRTZ 035LP
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Canadian Berlin based producers Scott Monteith, aka Deadbeat, and Colin de la Plante, aka The Mole, announce the release of their debut collaborative album, simply titled Deadbeat Meets The Mole. While the two have performed and toured extensively together over the years particularly via their shared association with the Mutek festival and the Cynosure and Wagon Repair labels, this is the first time they've worked in the studio as a duo. Composed over the lockdown period in Berlin, the album's ten tracks traverse the full range of their shared bonkers musical interests, taking in low slung house, dub, hip-hop, and smoked-out sound collages. When asked about the albums motivations they had this to say: "I guess Capital H Hosers is a badge we could both wear pretty honestly. Perpetual tweakers of knobs and pushers of buttons both literal and personal might be another. Stay-at-home dads. Tellers of untold incredibly bad jokes. Yet miraculously, some 20 years on, still somehow on the same weird page, and counting our lucky stars for all you kind folks who still care to listen. We finally got around to making an album during this little unscheduled vacation from normal life, and we hope you'll have as much fun listening to it as we did making the stuff."
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10"
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BLKRTZ 020EP
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The 401 highway which connects Detroit on its southern end and Montreal some 900km to the north east is quite possibly one of the most ugly, boring drives known to man. If any two people were qualified enough to recount the sordid tales one might find in the nooks and crannies of these secret sanctuaries of the wee hours, rest assured Ryan Crosson and Deadbeat have stories for days. Deadbeat's BLKRTZ label puts these two long-time friends together to deliver two atom bombs of breaks-driven grooves filled with dubbed-out vocals, massive funk, and impossibly heavy bass weight.
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2LP
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BLKRTZ 019LP
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"Expertly-made dub techno for the dance floor. As Deadbeat, Scott Monteith's last album, Wax Poetic For This Our Great Resolve (BLKRTZ 018CD/LP, 2018) was both a lament and a message of hope for a world in turmoil. On that record, the Canadian artist embedded speech in an often-instrumental form. On Waking Life, his latest LP, he's less poetic, reflecting not on the world around him but on a festival he played last year: Waking Life in Portugal. In the process, he's made some of his most straightforward dub techno in recent memory. Waking Life has the same rich sound design that's characterized so much of Monteith's music. Lush synths glimmer in the dark expanse of the aptly titled "A New Sense Of Purpose." The gently percolating lead on "Waking Dub" evokes sunlight reflecting off a river. The 14-minute closer, "A Last Swim," is immaculate dub techno. Waking Life feels made for the dance floor and flows like a night out, peaking with "A Last Swim." The album's midsection is heady and nocturnal, with a tech house-inflected groove on "Midnight In The Garden" and a bleepy lead on "A Thousand Shining Stars" that wriggles and shimmies endlessly. Most of Waking Life has this feeling of perpetual motion, as if the whole record poured out of Monteith in a single studio session. Waking Life may be Monteith's most satisfying work since his career masterpiece, Drawn & Quartered (BLKRTZ 001CD/LP, 2011). Like that album, it strips down the Deadbeat sound to its core elements -- house, techno, and dub -- the results of which are undeniable. But where Drawn & Quartered was almost intimidating in its heft, Waking Life seems intent to serve the kind of uplifting and communal experience that spawned it." --Resident Advisor
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2LP
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BLKRTZ 018LP
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Double LP version. On his latest studio album, Scott Monteith, aka Deadbeat, ruminates with hard-earned wisdom and confidence upon the notion of carrying on in the face of worldwide nonsense. Wax Poetic For This Our Great Resolve began with the simple idea of asking friends from across the globe for messages of hope. No musical input was provided beforehand, and each participant was free to interpret the request as they saw fit. Though some of the names involved will be familiar to electronic music listeners (Gudrun Gut, Thomas Fehlmann, Mike Shannon), the common thread linking all of them is their friendship with Monteith and the many hours he has spent enjoying their company over the years. As so often happens when good conversation is shared among good friends, the results are as surprising as they are inspiring, spanning original prose, dialectic word games, and timeless quotations in six languages. Each song on the album was then composed around the content received, and named after the people who did the speaking. Ranging from the overtly political to the tenderly inspirational and many points in between, Wax Poetic For This Our Great Resolve provides verbal expressions of hope as diverse and rich as the experiences of the people who so generously delivered them. Musically the album sees Monteith taking his well-honed sound design abilities and widescreen arrangements to new heights, and exploring a deep interest in traditional analog recording methods to mesmerizing effect. Every sound on the record, whether generated from his tried-and-tested array of software-based tools, or from the enormous collection of guitars, organs, pianos, and percussion instruments found in the Berlin-based studio he now calls home, was recorded via microphone. Even as the very first track slowly fades into existence, it's clear that the smoke filled atmosphere of the place has penetrated the recordings to their very core. Indeed, it is no understatement to suggest that without the physical confines of the magical studio Chez Cherie, and the countless late night conversations and musical contributions of all the other beautiful souls who occupy it (T. Raumschmiere, Ben Laubner, Tilman Hopf, PC Christensen, and of course Cherie herself), this latest Deadbeat album would have been an impossibility. Wax Poetic For This Our Great Resolve is a document of collective action, and the power of community.
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BLKRTZ 018CD
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On his latest studio album, Scott Monteith, aka Deadbeat, ruminates with hard-earned wisdom and confidence upon the notion of carrying on in the face of worldwide nonsense. Wax Poetic For This Our Great Resolve began with the simple idea of asking friends from across the globe for messages of hope. No musical input was provided beforehand, and each participant was free to interpret the request as they saw fit. Though some of the names involved will be familiar to electronic music listeners (Gudrun Gut, Thomas Fehlmann, Mike Shannon), the common thread linking all of them is their friendship with Monteith and the many hours he has spent enjoying their company over the years. As so often happens when good conversation is shared among good friends, the results are as surprising as they are inspiring, spanning original prose, dialectic word games, and timeless quotations in six languages. Each song on the album was then composed around the content received, and named after the people who did the speaking. Ranging from the overtly political to the tenderly inspirational and many points in between, Wax Poetic For This Our Great Resolve provides verbal expressions of hope as diverse and rich as the experiences of the people who so generously delivered them. Musically the album sees Monteith taking his well-honed sound design abilities and widescreen arrangements to new heights, and exploring a deep interest in traditional analog recording methods to mesmerizing effect. Every sound on the record, whether generated from his tried-and-tested array of software-based tools, or from the enormous collection of guitars, organs, pianos, and percussion instruments found in the Berlin-based studio he now calls home, was recorded via microphone. Even as the very first track slowly fades into existence, it's clear that the smoke filled atmosphere of the place has penetrated the recordings to their very core. Indeed, it is no understatement to suggest that without the physical confines of the magical studio Chez Cherie, and the countless late night conversations and musical contributions of all the other beautiful souls who occupy it (T. Raumschmiere, Ben Laubner, Tilman Hopf, PC Christensen, and of course Cherie herself), this latest Deadbeat album would have been an impossibility. Wax Poetic For This Our Great Resolve is a document of collective action, and the power of community.
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2LP
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BLKRTZ 017LP
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Deadbeat offers up a limited vinyl reissue of one of his most critically acclaimed albums, Roots And Wire, originally released on Wagon Repair in 2008. New mixes and mastering. From Resident Advisor: "Roots And Wire brings Deadbeat's Scott Monteith project full circle. [Roots And Wire] is something of a return to his musical roots as well, being infinitely dubbier and more ethereal . . . That's not to say that Roots And Wire doesn't pack any heat. The album may kick off with two slower numbers, but the arrival of the next trio of tracks turns the tide. All three tease, building patiently before showing their true colors. Tikiman/Paul St. Hilaire opens and closes the album with two impeccable vocals, conveying a feet-up reefer madness vibe rather than hedonistic/hell-for-leather. The title track caps off the album with brisk dubstep beats and ~scape-styled melodica. . . . Roots And Wire succeeds because the different intensities and beat structures of each track offers a more dynamic ebb and flow, all bound together by a homogenous dub reggae spirit. Monteith's refusal to aim for moody, vacuous postures aids in letting the whole thing breathe -- and helps to give back some of the life and energy he puts into it. Being so good, the only complaint you'll have is that isn't just a little bit longer."
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2LP
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BLKRTZ 016LP
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Units And Measurements is the collaborative project of Christopher Hreno, Mathew Jonson and Colin de la Plante. The project sees these long times friends and veteran producers exploring the limits of hardware based improvisation and deep synthesis and effects programing. Documenting a single epic 24 hour session at Jonson's mothership studio in Berlin, this first release sees the trio exploring some of the headiest ambient and tunneling hypnotic techno to be found in any of their admittedly vast individual back catalogs. This release is without question a portrait of three masters of their craft at work, and quite unlike anything else. Beautifully packaged in deluxe gatefold design with artwork by Uruguayan artist Alejandro Garcia.
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3LP
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BLKRTZ 014LP
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Deluxe gatefold triple LP version. Scott Monteith's tenth Deadbeat album, Walls & Dimensions, sees Monteith showcasing his wide-ranging musical interests with a striking sense of gravity and cutting lyricism not heard in his previous works. The album features vocal contributions from a diverse range of Berlin-based artists, and, for the first time, vocals from Deadbeat himself. "A wise old curmudgeon once said that all great art is born of great suffering, and if that sentiment holds true this album has had plenty of fuel for its proverbial fire," says Monteith of the writing process. "The last month of 2014 and first half of this year were not kind to me and my family to say the least. Thankfully I was able to turn to music and writing to work through those feelings over the last year, and found some absolutely lovely people to voice them when I wasn't up to the task of expressing them myself." Featuring guest vocal contributions from Fink, Delhia de France, and Elif Biçer, as well as cello performances by Maarten Vos, Walls & Dimensions sees Monteith exploring all facets of his musical interests with deadly focus and passion, from pure ambient drones to heartfelt reggae blues and dubbed-out late-night club bangers.
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CD
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BLKRTZ 014CD
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Scott Monteith's tenth Deadbeat album, Walls & Dimensions, sees Monteith showcasing his wide-ranging musical interests with a striking sense of gravity and cutting lyricism not heard in his previous works. The album features vocal contributions from a diverse range of Berlin-based artists, and, for the first time, vocals from Deadbeat himself. "A wise old curmudgeon once said that all great art is born of great suffering, and if that sentiment holds true this album has had plenty of fuel for its proverbial fire," says Monteith of the writing process. "The last month of 2014 and first half of this year were not kind to me and my family to say the least. Thankfully I was able to turn to music and writing to work through those feelings over the last year, and found some absolutely lovely people to voice them when I wasn't up to the task of expressing them myself." Featuring guest vocal contributions from Fink, Delhia de France, and Elif Biçer, as well as cello performances by Maarten Vos, Walls & Dimensions sees Monteith exploring all facets of his musical interests with deadly focus and passion, from pure ambient drones to heartfelt reggae blues and dubbed-out late-night club bangers.
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12"
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BLKRTZ 013EP
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Deadbeat presents the second vinyl-only release (following BLKRTZ 012EP) in advance of his 2015 album Walls and Dimensions, forthcoming at the time of this release. While the first installment featured a luscious extended ambient drone piece over two sides, this 12" features extended dubs of two of the album's dancefloor cuts, filled to the brim with the space-age dub effects, mournful melodies, and rumbling basslines Deadbeat fans have come to expect.
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12"
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BLKRTZ 012EP
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"In November of last year I closed up my studio in Berlin to embark on a 3 month journey with my family... I limited myself technically to focusing on collecting field recordings and renewing my interest in free form software synthesis experiments... the tragic death of my father in law in an accident in mid December would ultimately lend these exercises an entirely new level of gravitas... Music offers a singularly powerful opportunity for catharsis beyond any written word. It is my hope that others may find similar room for reflection amongst these humble drones." --Deadbeat, March 2015
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6LP BOX
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BLKRTZ 011LP
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Deadbeat reissues the 2002-2005 albums in a deluxe vinyl box set. Featuring three classic albums that introduced his intimate brand of dub-techno to the world. "Ever since launching his production career at the turn of the century, dub-techno auteur Scott Monteith has been nothing if not deeply prolific. The Canadian-born, Berlin-based producer's nine Deadbeat albums and nearly two-dozen singles represent one of most prolific and consistently rewarding catalogs in the 21st century electronic music canon. Continuing the reissue campaign of his early output that began with 2001's Primordia (BLKRTZ 006CD/LP), Monteith's BLKRTZ imprint now releases a massive 6-vinyl box set of his most iconic Montreal albums: 2002's Wild Life Documentaries, 2004's Something Borrowed, Something Blue, and 2005's New World Observer. Taken together, these three Montreal albums capture the Deadbeat project at its most contemplative and intimate, as far from the club speakers as it would ever get and tuned inward instead. Released a year after moving to Montreal, the roots-reggae revisionisms of Wild Life Documentaries proved to be Monteith's international calling-card. The album pitted the Montreal producer alongside contemporaries such as Jan Jelinek and Kit Clayton. Two years later, Monteith returned with Something Borrowed, Something Blue, the most introspective album of the entire Deadbeat catalog, and also the album from this early period to attain the most critical acclaim. Monteith quickly turned the corner and released the bristling, politically-charged New World Observer album in 2005. A year later, the producer would make the move to Berlin, joining a generation of Canadian producers who'd launched careers to become frustrated with the limited growth potentials of the North American market at the time. Whereas his most recent BLKRTZ albums have been defined by Berlin's ever-morphing club culture, these long out-of-print early albums that first elevated the Deadbeat moniker to international recognition are reflective of another time, another place, and ultimately another context than the one familiar to a new generation of electronic-music listeners. There's a degree of depth and texture to these recordings that simply bypasses any notion of minimalism that was all the rage in discussions of the meeting ground between Kingston's dub low-ends and Berlin's fin-de-siècle avant-garde electronics. Looping repetitions swirling out ad infinitum are simply not part of the Deadbeat aesthetic at this juncture. Instead, the listener finds an inordinate amount of attention being placed on narrative and musical storytelling. These albums are dubby, yes, and not quite techno at all. There are refractions of Krush, Vibert, and Vadim-like trip-hop pacing at work here. There's the moodiness and syncopation of Warp-era IDM at work here, too. Micro-house collage techniques emerge in the sampling. All of this is to say that, in hindsight, the Deadbeat at work on these three albums is a synthesist, not a purist. His vision of dub-techno was less keen on sonic formula and more open to narrative concept than the standards set by the pioneering dub-techno of the mid- to late-'90s. Removed from the timeline that defined them within the footsteps of dub techno, listeners shouldn't be surprised if they hear something altogether different at work here." --Dmitri Nasrallah
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2LP
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BLKRTZ 008LP
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Double LP version. Deadbeat. Tikiman. Infinity. Dub. A quadrangle of such obvious statement and perfect musical inference may very well never have been uttered for those of the wholly weeded-out persuasion. Indeed, when the great book of dub music is written, the names Scott Monteith and Paul St. Hilaire will undoubtedly figure highly in its chapters devoted to recent years. Monteith, the last great prodigal son of the doctrine handed down from the Blue Mount of Lord Scratch and King Tubby, St. Hilaire the undisputed voice of a generation, those fanatical warrior monks, followers of the most Holy House of Ernestus and Von Oswald incarnate. Having developed a fast friendship from their very first meeting in Montreal at the premier Micro Mutek event a decade ago, Deadbeat and Tikiman's occasional collaborative performances have since blown the minds of audiences from Berlin to Tokyo and many points in between. No great surprise then that their first album-length venture is a tour de force of dub music of the highest order. Nearly a year in the making, the genetic code of Deadbeat's Infinity Dubs series gets shot through with a dreader-than-dread Kingstonian logic, hi-hats dropping back from the three to the one, Tikiman at his most militant, poetic, fierce, and flowing. These are the recordings of two lions uncaged, and none who bear witness shall escape their fiery judgment. If music is truly eternal, here be two voices which shall echo in infinity with all the weight, reverence, and dire power unleashed with every tectonic bass hit, and every whimsical turn of phrase. And if these eight burnt offerings are any indication of what happens when these two sit down for a session of smoke and reasoning, here's hoping they choose to do it frequently. Dub without end. Ad infinitum.
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CD
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BLKRTZ 008CD
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Deadbeat. Tikiman. Infinity. Dub. A quadrangle of such obvious statement and perfect musical inference may very well never have been uttered for those of the wholly weeded-out persuasion. Indeed, when the great book of dub music is written, the names Scott Monteith and Paul St. Hilaire will undoubtedly figure highly in its chapters devoted to recent years. Monteith, the last great prodigal son of the doctrine handed down from the Blue Mount of Lord Scratch and King Tubby, St. Hilaire the undisputed voice of a generation, those fanatical warrior monks, followers of the most Holy House of Ernestus and Von Oswald incarnate. Having developed a fast friendship from their very first meeting in Montreal at the premier Micro Mutek event a decade ago, Deadbeat and Tikiman's occasional collaborative performances have since blown the minds of audiences from Berlin to Tokyo and many points in between. No great surprise then that their first album-length venture is a tour de force of dub music of the highest order. Nearly a year in the making, the genetic code of Deadbeat's Infinity Dubs series gets shot through with a dreader-than-dread Kingstonian logic, hi-hats dropping back from the three to the one, Tikiman at his most militant, poetic, fierce, and flowing. These are the recordings of two lions uncaged, and none who bear witness shall escape their fiery judgment. If music is truly eternal, here be two voices which shall echo in infinity with all the weight, reverence, and dire power unleashed with every tectonic bass hit, and every whimsical turn of phrase. And if these eight burnt offerings are any indication of what happens when these two sit down for a session of smoke and reasoning, here's hoping they choose to do it frequently. Dub without end. Ad infinitum.
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12"
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BLKRTZ 010EP
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Deadbeat's dub credentials by this point are as solid as they come, and being asked to remix two of the genre's heaviest hitters, not once, but twice, is just about the greatest complement anyone in said position could ever hope to receive. Originally released on CD as part of the deluxe package for the mind-blowing collaborative The Orb and Lee "Scratch" Perry albums via Cooking Vinyl, BLKRTZ are over-the-moon excited to commit these two dub monsters to wax for the first time. Without a doubt, this limited vinyl-only 12" release is an essential purchase for any and all archivist of all things dubwise.
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12"
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BLKRTZ 009EP
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The third installment in Deadbeat's Infinity Dubs series sees him submerging his rhythms deep into the echo chamber, offering up two solid-state dubs with bass lines so low, only the largest systems will even register their presence. Enlightenment through stoic repetition is the order of the day here, and Deadbeat once again proves his unrivaled skills as a master hypnotist on both cuts. Don't sleep.
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12"
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BLKRTZ 007EP
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Deadbeat continues his Infinity Dubs series with two more peak-time burners of dubby dancefloor goodness. "I.D. 3" features the unmistakable vocals of frequent collaborator Paul St. Hilaire aka Tikiman, while I.D. 4 takes things into vintage hardcore territory with razor-sharp classic analog stabs and power-techno kick drums. Whether prime-time at the club or beach-side, these salvos are sure to kick any summer dancefloor worth its salt into a frenzy.
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2LP
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BLKRTZ 006LP
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CD
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BLKRTZ 006CD
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Originally released on Montreal's long defunct Intr_version label in 2001, Primordia was Scott Monteith's first foray into the album format, and some 13 years on serves as a remarkable document of the driving aesthetic touchstones which even at this early stage were bubbling to the surface and have gone on to define the sound of his Deadbeat project in the many years since. Over the course of seven colossal slabs of crackling digital atmospheres and rumbling drone, a dirge of muted kick drums serve as the only steady anchor in a sea of wildly unhinged and naive sound experimentation, with the whole lovely mess plummeting into an endless cloud of decaying echoes, granular processing, and cracked software reverb plug-ins. With its production coinciding with the first years of his tenure at the Montreal-based music software company Applied Acoustics systems, Primordia is the sound of the young dub Padawan reveling in the endless possibilities of modular software synthesis, and relishing each and every new discovery and mistake along the way. Re-released on CD with re-mastering by long-time friend and cohort Stefan Betke aka Pole, Primordia is an essential cornerstone in Monteith's now vast catalog, and a must-have addition to the collection of any serious dub techno historian.
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12"
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BLKRTZ 005EP
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Deadbeat's first salvo of 2013 sees him settling into a looping state of mind with a new series of techno excursions ending in locked grooves entitled The Infinity Dubs. Comprised of two tracks efficiently titled "ID1" and "ID2," volume 1 sees Deadbeat deftly skirting the lines between classic techno and post-hardcore/garage dynamics with long, patient mixes and elated, dubbed-out chord structures looping ad infinitum to the horizon to create two shuffling, peak-time rollers quite unlike anything else in his vast catalog.
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3LP
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BLKRTZ 004LP
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Triple LP version. Of all the personalities to emerge from the Mutek-affiliated Montreal electronic music scene, Scott Monteith aka Deatbeat has unquestionably established himself as one of dub techno's greatest champions, showing himself to be its most prolific and restless spirit. Having burrowed to the very deepest depths of echo and dread of the Jamaican variety with 2011's hypnotic Drawn and Quartered( BLKRTZ 001CD), Deadbeat once again sets sail into uncharted waters with his latest hour long salvo, humbly entitled Eight. Proceeding over eight tracks and a wide range of tempos, and featuring collaborations with fellow Canadians Danuel Tate, Mathew Jonson, and outer national techno prankster Dandy Jack, Eight is without a doubt the most upfront, muscular Deadbeat record to date. Recorded in his new studio in Berlin, Deadbeat utilizes the unmistakable analog low end and full spectrum bombast from Moog and Prophet 600 synths, and his new rhythms show a level of intensity and raw power not seen before in his previous work. In a genre dominated by stoic reverence to the creative framework laid down by Mark Ernestus and Mortiz von Oswald's Basic Channel and related projects of the mid '90s, Monteith has consistently charted his own course over the last 13 years, tearing up and re-writing the rule book several times over. Deadbeat is as restless as ever and Eigth firmly establishes his position as one of electronic music's most distinctive voices.
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CD
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BLKRTZ 004CD
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Of all the personalities to emerge from the Mutek-affiliated Montreal electronic music scene, Scott Monteith aka Deatbeat has unquestionably established himself as one of dub techno's greatest champions, showing himself to be its most prolific and restless spirit. Having burrowed to the very deepest depths of echo and dread of the Jamaican variety with 2011's hypnotic Drawn and Quartered( BLKRTZ 001CD), Deadbeat once again sets sail into uncharted waters with his latest hour long salvo, humbly entitled Eight. Proceeding over eight tracks and a wide range of tempos, and featuring collaborations with fellow Canadians Danuel Tate, Mathew Jonson, and outer national techno prankster Dandy Jack, Eight is without a doubt the most upfront, muscular Deadbeat record to date. Recorded in his new studio in Berlin, Deadbeat utilizes the unmistakable analog low end and full spectrum bombast from Moog and Prophet 600 synths, and his new rhythms show a level of intensity and raw power not seen before in his previous work. In a genre dominated by stoic reverence to the creative framework laid down by Mark Ernestus and Mortiz von Oswald's Basic Channel and related projects of the mid '90s, Monteith has consistently charted his own course over the last 13 years, tearing up and re-writing the rule book several times over. Deadbeat is as restless as ever and Eigth firmly establishes his position as one of electronic music's most distinctive voices.
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12"
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BLKRTZ 003EP
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Deadbeat offers an epic piece of heaviest dub business featuring the unmistakable vocoder stylings of Danuel Tate of Cobblestone Jazz fame. "Lazy Jane" locks in a murderously tight 135 bpm steppers rhythm sure to appeal to fans of both the Burial mix series and Mala's most heads-down exploits. The flipside's "909 Dub" illustrates perhaps the most classic, purified slice of big room dub techno you're likely to hear all year.
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12"
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BLKRTZ 002EP
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Working with the source material from "First Quarter," Scuba turns in a slow-burning, sci-fi techno monster sure to appeal to fans of Monolake and his own early work. Rife with reverb-drenched sonar pings and mechanized groans in the periphery, the track lurches towards its epic crescendo like an alien-infested star ship. Efdemin transforms "Fourth Quarter" into a chugging, deep pocket house journey. Without a doubt, two floor-ready reinterpretations and a great sign of things to come from Deadbeat's new curatorial venture.
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