Today, Thursday 28-07-2011, is the start of the annual Norbergfestival: +80 artists, 4 stages during 3 days and it is all taking place in an abandoned iron mine a truly spectacular and unique venue. It is “The premier festival for electronic music in Scandinavia”.
On Saturday, 09-07-2011, the well known ambient club Flim temporarily relocates from its urban dwelling into the lush green countryside for a festival at Vintervikens Trädgårdscafé in Stockholm.
Flim Open Air promises to be a nice sounding and looking one-day festival presenting an array of gifted local musicians. The line-up includes live performances by:
as well as DJ sets by:
MATS ALMEGÅRD (DJ)
GOOGOL PLEX (DJ)
Be sure to take part in Flim’s tribute to beautiful summer days/nights and experience lovely sounds and sights at Vinterviken on Saturday 9th of July. More information at: Flim Stockholm
This Saturday, 11-06-2011 it is time for the yearly musical festival Volt.
The artists attending the festival are: Alva Noto, Radio Slave, Ben Klock, Darkstar, Mary Anne Hobbs, Little Dragon, Motor City Drum Ensemble, Ulf Eriksson, SKLS, Mokira, Håkan Lidbo, Nomaton, Kliin, Mats Almegård, Hanna Kihlander aka Knivflickan, Kymatica, Lisa and Kroffe, Samlingen, Glasnost, Hype and Nicole Carter.
The music will be accompanied by: VJs and a wide variety of installations, for example R.fm Cinema hosted by the lovely people at R.fm and last but not least the Lost Bots…
The festival takes place at the spectacular Uppsala Konsert & Kongress in Uppsala, Sweden. Be sure to visit this high quality electronic music festival!
A solo performance by: Ludvig Elblaus, a duo performance by Katt Hernandez and Daniel Karlsson as well as a performance with the full quartet.
The performances will take place at: Kafé Klavér in Stockholm. The concerts begin at 19:00.
And maybe, just maybe, the fourth Schematics’ release IV (Green) recorded live in concert at Fylkingen in Stockholm 11-03-2011 will be available for purchase at the venue.
I simply had to write something about Silent Season! A label that is yet another new acquaintance to me, hailing from British Columbia, Canada (and you may think, rightfully; what is the meaning of all these geographical references on resurface.se?)
Well, for one thing it may have to do with the fact that resurface.se is located in Sweden (think extreme northern Europe), or that it was also a recurring theme on Electronic Desert, or that Turkey stands in line to be reviewed, but the hope is that the main reason is to point out the utterly beautiful and global presence of electronic music that is maintained by the first and only global* means of communication; namely the Internet.
And please keep in mind (or realise) that it has not always been and that it may very well be lost forever due to other forces that are in play in this, complex World of ours.
Now, let’s move on to the subject in the centre of this text: Atheus’ wonderful ‘Compile’ album on Silent Season. To establish a reasonable baseline let’s first conclude one thing: it is nothing but excellent! It is filled to the brim with e-dub of the highest order, with forward movement and fused with the right amount of static.
Nevertheless, there’s one track that simply (to my mind) is just a tiny fraction better than all of the rest and destined in becoming a future classic, the majestic ‘Einsatz’. The deep bass, the firm hand-clap, the hi-hat, the timeless atmosphere and the finely tuned tempo (on the upside) makes this track the perfect description of e-dub! This in all aspects close to perfect track actually follows another track entitled ‘Deploy’ that it is almost as good and it doesn’t stop there; consider the last track ‘Unendlich’ and you have a perfectly combined e-dub triptych.
If you’re remotely interested in electronic music or more precisely in e-dub (according to resurface.se’s definition: found and nurtured in Berlin, Germany), you should investigate this album and label and if you happen to like e-dub, then I suggest you get this album right now without hesitating. ‘Compile’ is a strong contender for album of the year, without question (not that I’ve ever actually succeeded in choosing just one album, but never mind that).
In likeness with so many other newly produced albums it’s like an electronic decoctation which has slowly been trickling down through layers of layers of ever-improving hardware and finally after all these years, are meeting the expectations of my ears harshly tutored in the era of lo-fi hissing C-90 music cassettes.
*You may belong to the part of the World that lack electricity, computers, Internet connections or may be occupied with more pressing matters, like basic survival for example, you may or not be living in the so called developing World and if that is indeed the case, you may not share these sentiments of Internet's contributions to mankind, however, nomatter where you live, please consider letting art lead the way.
Largely based around self-manufactured modular synthesizers the fourth Retina.it album release sees the light of day or is it the darker inner workings of an ancient machine? Minimal, experimental in nature and decidedly techno ‘Randomicon’ is the second release on newly started Barcelona based FlatMate Music label.
In the spirit of randomness (which is supposedly harder to create than one would maybe first be tempted to assume, mathematical randomness that is) this 500 piece CD-release will feature as many different digipak covers (500 unique covers). All based on a combination of characters found in the original album title and artist name; a very nice touch if I may say so.
‘Randomicon’ contains 11 tracks of well-produced and stripped-down techno music. A rough selection would have to include the up-tempo, chopped and menacing ‘Equation for U’, the very electro including subtle yet effective distortion on ‘Rotating Solutions’ and the nervousness of ‘Gamma Repeater’.
Plakto’s ‘Soul’d Out’ is the thirteenth release on the until recently completely unknown (to me that is) Swedish net label El-Ljud. They already have some 14 releases to their credit so I for one have obviously missed out on something great. The thirteenth release ‘Soul’d Out’ by Plakto has overall impressive qualities. It is solid E-dub*, excellent production and plenty of bass to go around.
The 8 tracks on ‘Soul’d Out’ are a treat and there’s enough complexity for a truly enjoyable long recurring listen. Did I mention the ample amounts of bass, fused with the exact amount of glitch and echo? The build-up and beats’ handling in ‘Wasted Basket’ or the up-tempo yet dubby ‘Off Course’ are awesome. It is the workmanship of one talented producer and the list just goes on throughout the all the eight tracks of the mini-album. ‘Soul’d Out’ is available as download on the El-Ljud website. The strong recommendation is, to get and play it right now!
And after some more listening to the catalog it is just not possible not to name the rest of the artists’ exquisite releases on the label and if for no other reason so just for the sake of simplicity. And the artists are: Nacho Monetto, Maschinenschlosser, Node, Psonikadia, Foudish, Pliir, Plaktogen, Switchcraft. It’s not impossible that a text or four related to El-Ljud will surface right here in the near future, excellent stuff!
*After re-listening to both El-Ljud 013 and 010 I see myself forced to introduce a genre, new [Sic!] to resurface and that genre would be ‘dubstep’. The reason for this is simply that Soul’d Out is in part just that, a really well executed and highly personal take on the dubstep genre.
‘Biotron Shelf’ is Murray Fisher’s and Wil Bolton’s collaborative project and as any returning reader would surely know Murray Fisher records as Mint and Wil Bolton as Cheju and together they run the record label Boltfish Recordings. The first Biotron Shelf release was ‘33 Minutes North’ on U-Cover’s CDR series in 2006. Two years later they released ‘Transmissions’ (sadly yet resurface-unheard and extremely limited CDR-release on Smallfish Records).
‘Cloud Bands and Arabesques’ is as far as I know this is the first Biotron Shelf release ever on Boltfish (which is kind of funny given they’re the label owners). The production standard of these two electronic musicians is as high as ever. The Biotron Shelf you know and love from ’33 Minutes North’ are very much represented on this release to the novelties you could add the tracks with a more acoustic setting, like the equally lovely ‘The King’s Horses’.
In the 10 tracks on the album they successfully merge their two styles into one unique sounding treat once again. ‘Cloud Bands and Arabesques’ is scheduled for a summer release (JUL2011). More information at: Boltfish Recordings.
‘Plastic Sound Supply’ is the name of a friendly label hailing from Denver, Colorado in the USA. Although not unknown to me this is still the first release being written about at resurface and I must confess it is due time, because their latest offering is also their twelfth release: Iuengliss’ debut album ‘Blank Matter’.
Lovely offbeat action in fourth runner up ‘Malaysian Caning’ and more of the same; somewhat dirty sounding and nostalgic straight-forward drum machine music in ‘Level Test’, ‘Time’, ‘Death Comes In The Rays’ and last but not least the up-tempo homage to days long lost in ‘Jungbeats’ (makes me smile).
All-in-all I like the playfulness of this album a lot and ‘Malaysian Caning’ and ‘Jungbeats’ are simply put excellent tracks! Preview, download and CD purchase opportunity possible at: Iuengliss Blank Matter . Visit Plastic Sound Supply for more audio and visual delights.
This 15 track album opens up with a classic take on electronic beats born on the other side of the Atlantic and may not be groundbreaking for 2011. However, the workmanship is most definitely there and it continues on with more lush US references and in a very good form at that.
Track four ‘Screaming Bulb’ is nothing short but excellent, effective; warm yet mildly complex, very nice build-up and nice processed vocal based melody and stretching 10:19 to boot. The Sabi remix of ‘Mano’ is more than good, it brings out the sun and beach in an instant and in all its straightforwardness it is simply put a beautiful piece of music.
I don’t know much about who Sabi is, however the talent is obvious and so is the display of knowledge of the output of contemporary electronic music the past decade or so. Not excluding Boltfish and the nearby musical surroundings, the reason for making that comment is that there are more than one or two unmistakable influences in there, it is a very well executed album nevertheless.
For more information please visit: Boltfish Recordings.