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Showing results for tags 'Bass'.
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https://bleep.com/release/297660-lynyn-lexicon Lexicon is the aptly named solo debut from Chicago producer, composer, and multi-instrumentalist Conor Mackey. From scoring for Illinois Philharmonic Orchestra, to playing guitar in the jazz fusion / math rock band Monobody, and unveiling his Lynyn moniker with production for Sooper Records founder NNAMDÏ, Mackey channels the languages of the varied musical landscapes he has ventured through, churning them into a complex rollercoaster of intricate electronica. There is never a moment where a new sound isn’t being introduced or warped beyond recognition. As such, lexicon doesn’t feel exactly like an album of concisely separated tracks, but rather a full throttle sensory journey through distant dimensions, miraculously glued together by expertly crafted transitions that transform semi-ambient passages into breakbeat pyrotechnics. The sonic fury that elasticates on the glass shattering opener ‘uja end’ only seems to snap back on the penultimate ‘amund vise’, entering a somewhat downtempo mode before stretching back into celestial synth explosions. In between lies a multifaceted array of tracks that communicate lexicon’s shifting sound design through the thumps and twangs of alien instruments. ‘in dust’ refracts light and air through frozen organ pipes, full to the brim with carbonated breaks even in its final moments. The metallic thuds of ‘stumbling’ take their time as the track evolves, becoming apoplectic with raging microbeats and bass growls. As a composer, Mackey is familiar with the challenge of wrangling tons of instruments and performers into one single piece of music. On lexicon, he instead turns to his electronics, employing musical nanobots to orchestrate ethereal microchip symphonies.
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- Lynyn
- Electronica
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Not often I get the pleasure of introducing people to some new music when this forum is pretty ahead of the curve on that side of things, but I've not really seen anyone mention Yaporigami, a Japanese sort of noise techno artist who is producing great track after great track and nobody has mentioned him. Any fans of industrial would probably find themselves right at home here. Also fans of raster noton would probably dig, but take it on its own terms. Play loud with a great soundsystem. Allow me to introduce you: This track from his Jade Fib EP as you can tell has a pretty nifty video. This EP might be his most abrasive stuff, if the harsher elements are too much then I direct you towards his Hertzian album, which is pretty much solid gold: Enjoy! And if you like it then support the guy http://hz-records.bandcamp.com/album/hertzian http://plumus-yaporigami.bandcamp.com/
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Bass-heavy glitchy-scratchy downtempo Tipperesque electronics. Highly recommended. -
Six-tracker of Bogdanic/Raczynskian samples-and-breaks/dnb mayhem, weirdness, and an occasional drill.
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Experimental electronic DnB, breaks, and bass coupled with moody synth work and occasional mayhem. Highly recommended.
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First full length TMUX album, tracks with a wide span of breaks from downtempo to dnb and ethereal beauty. Highly recommended, PWYW.
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Snappy cut-up and skittering breaks, bass, and ambience. Recommended.
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- Atrice
- Ilian Tape
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Glaskin's debut album on their Yael Trip imprint, exploring the electronic reaches far and wide. Highly recommended.
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Bass-heavy downtempo glitches, quintessential Tipper. Highly recommended.
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- Tipper
- Tippermusic
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Dark, distorted, bass heavy downtempo halfstep/breaks from Future Materials w/ a crushing Scorn remix. Recommended.
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Free download SC release, glitchy and crunchy bass-heavy electronics. Recommended.
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Beats, breaks, drums, and bass in various dancefloor-friendly forms. Recommended.
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Another grab-bag of dancefloor electronic mayhem, this time from Cybersoul, filled out with output from a wide array of artists. Highly recommended.
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EDMX/Computor Rockers - SU Tracks/Computor Mechanic (Casa Voyager)
dcom posted a blog entry in dcomμnications
Old-school electro grooves from EDMX and Computor Rockers. Recommended. -
Percussion gymnastics & beats, bass growls, and IDM workouts from Patrick Tipler as Delay Grounds. Recommended.
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A huge collection of mainly variable electro and other electronics from names across the globe, known and unknown. Highly recommended.
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A full-length journey into the heavy pressure depths of glitchy technoid acid electro bass, hot on the heels of his previous outing on Colony. Highly recommended.
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Heavily driven electro for stoboscopic dancefloors on Nite Fleit's Atomic Alert, with remixes by Dexorcist and Nite Fleit. Highly recommended.
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25th in the Oh Shuper series, ltd lathe-cut vinyl and limitless digital. Recommended, I've been buying these on sight since 001 - pay what you want at the moment, might not last long.
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An interesting release full of twists and turns, both dancefloor and back-of-the-brain oriented melodies, technoir breakbeat, synth sweeps and bass. Recommended.
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- Fruto
- Guerrilla Tunes
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Six pieces of neo-nostalgic breakbeat hardcore bleep from Sound Science (i.e. Jack Smooth), Mike Ash, Jerome Hill, Scanone, Meat Beat Manifesto, and Hooverian Blur - summoning the spirit of raves of bygone days. Highly recommended.
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- Hooverian Blur
- Yellow Machines
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Meat-tenderising half-tempo breakbeat nastiness.
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Glitched out distorted bass-heavy electronics from master sound sculptor Kentaro Hayashi w/ Merzbow remix. Emptyset vibes.
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- IDM
- Kentaro Hayashi
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https://seagrave.bandcamp.com/album/strange-days Another great release from Seagrave. Having chatted a great deal with ETCH about general attitudes towards art and music, we invited him to describe his brilliant new album in his own words: "So, the 1995 film ‘Strange Days’… I’m sometimes surprised how much that film is a reality now. ‘Strange Days’ is also my favourite song by The Doors. I reference Jim Morrison’s lyrics quite a lot, it's something I definitely like to show loud and proud. He's a hero to me, i.e. my track ‘Monochromatic Wilderness Of Pain’ is a reference to his lyrics in 'The End': "lost in a Roman wilderness of pain / And all the children are insane / all the children are insane / waiting for the summer rain”. But the track fit those words sonically and visually when put through a spectrometer… also the fact that the sequence was being controlled by a sequencer I built, but made the timing integers off by like 0.7, so it's like making the structure fuck itself up. ‘Man With The Other Face’ is an homage to some of my favourite iconic horror characters like Buffalo Bill, Leatherface, Jason Voorhees, Michael Myers. I don't want this album project to be seen as one that evokes positivity. It has its moments of clarity and euphoria, but my first record was recorded over quite a positive period and a lot of the tracks on it are warm and nostalgic feeling, whereas ‘Strange Days’ is quite the opposite: A lot of the tracks are cold and hard edged and all the tracks have been produced in an uncertain and quite downcast period of time for me. I’m not saying it's pure depression nor is it supposed to make the listener feel uncomfortable or anything overtly negative, but it's certainly not a ‘hands in the air’ kind of project. There’s certain things in there that are almost therapeutic to me in their release and that track is definitely a stand out where I came up with the track title halfway through making it. It's also one of the few tracks I programmed live using my Native Instruments 'Maschine' like an MPC, so it has slip-ups that are more human than robotic like the rest of the record. It was a bust of raw emotion. I love the imagery for the album art, which gives it a bit of a 2000AD comic kind of vibe. Some of my uncle’s 2000AD strips look a lot like that. I also really liked the cover of the most recent Boards Of Canada album where it's a view from the desert of San Francisco but they made San Francisco translucent so it's almost like the ghost of a city, which is also another loose theme of this record. To put it bluntly, I often feel like Brighton is a ghost town now. Not just because of COVID, but the music scene has deteriorated into nothingness since 2011 or so. Even the hip-hop scene which was huge here is gone essentially. All those amazing AROE graff pieces have been built over and he does shitty commissions on student houses now lol." - ETCH
