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viewing 1 To 6 of 6 items
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2LP
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MS 092LP
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Double LP version. Gatefold sleeve. Pianist and composer, Francesco Tristano, joins forces with one of the godfathers of Detroit techno Derrick May on Surface Tension. Described by the man himself as his "most techno and synth-based project yet," the eight-track effort is both a celebration of electronic instrumentation and the first record Derrick May has worked extensively on for the better part of two decades. "I had to lure him into my studio," Tristano says of May with a smile, "he was like Alice in Wonderland when he saw the synthesizers." Originally developed as a way create new material for Tristano's p:anorig project - a unique live set-up debuted at Barcelona's Sónar festival - Surface Tension grew into a project in its own right. With an instrumentation of analog, digital, classic and modern gear - ranging from Prophets to Moogs, to Rolands and Yamahas - at his and May's disposal, Tristano has aimed to keep processing to a minimum. The pair are not just using these synths, they're paying tribute to them, honoring their rich, recognizable sound palettes. The result is an album that feels, at once, nostalgic and fresh; that feels like an old friend, but one who never ceases to surprise. From the ambient vision of "Esoteric Thing", drifting along to the sound of birdsong, to more beat-centric pieces such as "The Mentor" and the quirky "Xokolade", the equipment, and the love it's been treated with, shines through. Both Tristano and May's individual presences are obvious too, yet work in a way so complimentary to each other as to blur the lines at which they cross. "Pacific FM" is a lesson in uplifting techno, keys fluttering over pad-foot bass; the futuristic Detroit dance of "In Da Minor" is undercut by eerie, unpredictable glass synth-work; "Rocco's Bounce" is free-form jazz tugged into line by structured four-to-the-floor; there's even an itchy, jittering, Decca Records-sanctioned remix of Japanese pianist and general Renaissance man, Ryuichi Sakamoto's classic "Merry Christmas, Mr. Lawrence". Those hoping for a Francesco Tristano piano album: be duly warned. "The piano is there, but it's more like the shadow of the piano. We don't have the mass of that sound, it's more like the reminiscence of that sound," says Tristano. It gives Surface Tension the aforementioned significance. Tristano hasn't abandoned his roots, yet has simultaneously transcended what it means to be a pianist in the 21st century.
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CD
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MS 092CD
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Pianist and composer, Francesco Tristano, joins forces with one of the godfathers of Detroit techno Derrick May on Surface Tension. Described by the man himself as his "most techno and synth-based project yet," the eight-track effort is both a celebration of electronic instrumentation and the first record Derrick May has worked extensively on for the better part of two decades. "I had to lure him into my studio," Tristano says of May with a smile, "he was like Alice in Wonderland when he saw the synthesizers." Originally developed as a way create new material for Tristano's p:anorig project - a unique live set-up debuted at Barcelona's Sónar festival - Surface Tension grew into a project in its own right. With an instrumentation of analog, digital, classic and modern gear - ranging from Prophets to Moogs, to Rolands and Yamahas - at his and May's disposal, Tristano has aimed to keep processing to a minimum. The pair are not just using these synths, they're paying tribute to them, honoring their rich, recognizable sound palettes. The result is an album that feels, at once, nostalgic and fresh; that feels like an old friend, but one who never ceases to surprise. From the ambient vision of "Esoteric Thing", drifting along to the sound of birdsong, to more beat-centric pieces such as "The Mentor" and the quirky "Xokolade", the equipment, and the love it's been treated with, shines through. Both Tristano and May's individual presences are obvious too, yet work in a way so complimentary to each other as to blur the lines at which they cross. "Pacific FM" is a lesson in uplifting techno, keys fluttering over pad-foot bass; the futuristic Detroit dance of "In Da Minor" is undercut by eerie, unpredictable glass synth-work; "Rocco's Bounce" is free-form jazz tugged into line by structured four-to-the-floor; there's even an itchy, jittering, Decca Records-sanctioned remix of Japanese pianist and general Renaissance man, Ryuichi Sakamoto's classic "Merry Christmas, Mr. Lawrence". Those hoping for a Francesco Tristano piano album: be duly warned. "The piano is there, but it's more like the shadow of the piano. We don't have the mass of that sound, it's more like the reminiscence of that sound," says Tristano. It gives Surface Tension the aforementioned significance. Tristano hasn't abandoned his roots, yet has simultaneously transcended what it means to be a pianist in the 21st century.
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12"
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MS 094EP
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One sided release. Based on hypnotic rhythms and somber patterns and that is guaranteed to move everyone on the dancefloor. Featuring classic looking cover illustration from the myth that is Abdul Qadim Haqq. Azimute is a new musical project combining the energies of Italian Cesare Marchese and Swiss Philippe Quenum. The track "Paradox" was created by accident during a jam session and was one of the first songs of the duo. "Paradox" is a heavy orientated techno track, and feels more refined and dynamic than the well-known and legendary Detroit techno tunes. Cesare himself fittingly calls it a "Monster-Techno-Tune".
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12"
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MS 095EP
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On their 4-track Echoic Memories EP, Deep'a & Biri try to fully introduce their sound from atmospheric hypnotic beats to banging acid dancefloor killers. The tracks stand out with their dark and mashing beats that make their way without compromise and with never-ending dynamism through the dubby sound spaces or relentlessly push forward sharp acid lines. From these perspectives, the tracks' bass lines and also to some extent, the implemented superposed, endless synthesizer landscapes, both remind us of the early years of the Detroit techno. Featuring classic looking cover illustration from the myth that is Abdul Qadim Haqq.
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12"
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MS 096EP
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The collaboration of the Japanese artist Hiroshi Watanabe and Derrick May began with "The Multiverse" track. This song became the name of the EP as well as the thematic frame for the release. Subsequently, one thing led to another. A real soul-traveler story between the worlds began. "All tracks I made for the record came across the multi-universe travelling myself", says Watanabe; "under the theme of 'receive, send, feel, connect', all tracks are connected and combine into one large work of art". Featuring classic looking cover illustration from the myth that is Abdul Qadim Haqq.
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12"
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MS 099EP
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"Toronto-based techno artist Greg Gow was given the honor of rekindling Transmat's still warm embers, and the Pilgrimage EP is the perfect catalyst for a Transmat return. Greg Gow's beginnings started as a youth listening to late night electronic music radio shows, and recording his favorite tracks on cassette tapes for his friends. That progressed onto turntables and DJing in Gow's early adult years. He first started DJing in 1997/98 during the huge Toronto rave scene. He walked into that scene and his sound was influenced by harder techno, but when the rave scene died out and moved into the clubs, Greg's sound changed. 'The Bridge' is an epic, Detroit-styled house cut that, on first listen, sounds like classic Transmat with huge strings and soulful melodies. Derrick May was captivated thus giving his undivided attention. Derrick needed Greg to expand 'The Bridge' and requested an epic mix, which is what essentially created the EP. Greg managed to impress the sometime pedantic Transmat boss - the B side of the Pilgrimage EP, 'Black Sun', was on the original Gow demo. With one more release already scheduled between Gow and Transmat, it's clear one of Detroit techno's finest imprint is destined to return to the fore."
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