|
|
|
|
|
|
|
|
|
|
|
CD
|
|
BINE 029CD
|
It's been 287 years since Antonio Vivaldi wrote his popular masterpiece "The Four Seasons." Following in these musical footsteps, Lars Leonhard now takes on the idea of molding the distinct characteristics of Spring, Summer, Autumn, and Winter into 12 pieces of electronic music. After the previous, purely instrumental releases by the Düsseldorf artist -- the remix EP No Comment (2012) and his debut album 1549 (2011) -- his new 12-track album Seasons - Les quatre saison features singer Alvina Red lending her voice to the first of each four seasons' three tracks in pure French -- a language whose natural melody is tailor-made for Leonhard's synthetic yet warming sounds. Living in Stockholm, Alvina Red is no newcomer either, gaining her first professional experience at the age of ten as a background singer for Agnetha Fältskog: the blonde Abba singer was looking for beautiful children's voices for her song "Take Good Care of Your Children" (the B-side of her hit single "The Heat Is On"). Following further engagements in professional choirs and as a singer, songwriter and keyboard player for several band projects, Alvina and Lars Leonhard get together on this joint release. With all tracks written in their respective season to add authenticity, production of Seasons - Les quatre saison took almost exactly one year. Leonhard starts the awakening of nature in Spring with the sleepy minimalistic "Le Printemps," a digital spring of tiny and frail sound-flowers on whose meadow Alvina's voice flies like a soft breeze. Following its soft doze are spheric ambient landscapes, deep house rhythms and dubby chords like on the feather-light "L'éte," and by "Dancing in the Noonday Sun" the dancefloor is open -- Leonhard's signature grooving dub-techno flows like a tequila sunrise at the Café del Mar. Just as the seasons' influence on our lives gets more or less intense, songs like the cryptic then rhythmic "Colors of Autumn" enter the listener's soul both wittingly or unwittingly before unfolding their energy. And once Winter's last frozen sound dies away with "Frozen Landscape," you can look forward to the next seasonal cycle.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
BINE 028CD
|
Many years have passed since Fingers In The Noise has decided to spend every last ounce of energy painting with melodies. Since 2011, he is living proof that harmonies, space and rhythm go hand-in-hand when it comes to creating exquisite music. No matter what your mood is, this diverse album will offer a track to go along with it. It is strongly recommended that you let each tune unfold itself, since every passing detail leaves a mark for the next one to follow, creating a silk-like path for the overall message to walk on, straight into your soul. You might find yourself listening to this album four times in a row, without sensing the time passing by. Embrace the mature and elegant sensation this album brings. One can almost touch the texture of every sound, due to the great care and attention to detail put into every tune.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
12"
|
|
BINE 027EP
|
Lars Leonhard releases No Comment, a six-track 12" EP including bonus remixes by renowned label colleagues. The dynamically-dense title track features pumping beats layered with soft pads and has been further edited by the artist into two additional versions. "No Comment - Before Sunset" is Leonhard's decelerated take and the outer space sound of "No Comment - Anywhere" invites the listener to drift into another world. His chilled versions are followed by dancefloor remixes from Thomas Touzimsky, Sven Schienhammer and Scanner.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
BINE 026CD
|
This is Lars Leonhard's full-length debut album 1549. Its name derives from U.S. Airways Flight 1549 which was ditched in the Hudson River after a bird strike about three minutes into the flight in January 2009. The overall theme runs like a common thread through the album, with Leonard mostly working with warm, deep pads and minimal sound effects. And as nature sets the agenda, hammering basses are obviously absent from this release.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
BINE 022CD
|
Named after a condensed, rainfall-including weather situation, Sven Schienhammer develops a directorial melange of dub influences, chord arrangements, minimalism and field recordings over the course of 11 tracks. Both individualistic and drawer-defying, Schienhammer arranges compressing instrumental compositions without any copycat allures whose sensitively spreading emotionality draws from the analog production methods. Its emphasis on warm and cold chords in particular in combination with playful fields of white noise files shifts the album near Wolfgang Voigt's minimal Gas imprint as well as the early pre-'90s home-listening era in both dramaturgy and sound. On Altostratus Translucidus, Sven Schienhammer puts across technical skills in combining the diffused intensity of minimal club aesthetic with powerful chords whose unpretentious minimalism modulates the first half of the album, making it easily recognizable. The album's final quarter is heavily devoted to resonating dub and abstract trip-hop interconnections between the pads which reflect Schienhammer's influences in aesthetic modesty. Thus all the tracks form a closed system which portray the essential quintessence of the album's meteorological title: volume - concentration - discharge. The associated focusing of auditive expression manages the balancing act between new age chill-out and half clock-steered club feeling. Altostratus Translucidus draws its energy from the unparalleled presentation of not being pigeonholed in a single genre while musically reflecting current events. Often labelled the heir of Basic Channel , the artist softens the basic attitude of his musical lead and wipes out his traces in the raw and analog grain of his music through meditatively-unfolding rhythms.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
12"
|
|
BINE 024EP
|
A\B\C\D forms sounds into structures, turns loops into rhythms; starting from recordings of acoustic objects, Steinbrüchel segmented and wove them into new textures. Every sound becomes a string -- some stronger, some weaker, interlacing with each other and turning themselves into new structures. Once more, Steinbrüchel uses atmospheric and melodic sounds built upon micro-loops, layered and arranged to create a repeating structure. The overlay of all these loops is held together by clicking particles which lead through the compositions like a seam.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
12"
|
|
BINE 025EP
|
The heat of summer in an urban canyon's night of fresh air. In Berlin. Or Manchester. Maybe in Budapest, even. It is warm, but not that close and hot anymore. A soft wind blows through the leaves and ripples the surface of the small puddles the rain left on the streets. With three reworkings of one of their tracks from the album 13, Marconi Union conjures such an atmosphere on this 12", inviting you to (day-)dream or bob across the dancefloor.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
BINE 023LP
|
Vinyl release. Like all its previous releases, BineMusic's first compilation is more about quality than quantity, so it had to be released on double vinyl. At the end of the day, new and upcoming artists like Severence should be accommodated just as much as those the label has fostered for years. Düsseldorf artist Lars Leonhard, who's already well-known among fellow techno freaks, makes his debut for Bine and starts off with the Twin Peaks-ish and lovely grooving "Citylights," while Thomas Touzimsky pleases with a chirring beat on "Insect." A remarkably straight Scanner track showcases the better side of trance, followed by the minimal house sounds of Tol. Move D's live recording back from the '90s paves the way for a warm, guitar chord-driven ambient piece by New Zealand's Ben Swire. Along with Move D, Benjamin Brunn is one of the label's cornerstones and finds his place among Taylor Deupree aka Ando and Marconi Union. What unifies all of these artists is the idea of combining abstract, emotional thoughts, which also reveals itself in the formidable, cosmic artwork.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
12"
|
|
BINE 021EP
|
The tracks bought together on this release feature many of the live jams and improvisations Bedouin Ascent and Move D immersed themselves in over short summer nights almost 15 years ago. The sessions remain as they were laid down in 1995 -- no post-production, overdubs or re-editing; just the simple interplay of TR808, TR909, MS-20, Pro-One, Frontline X2, Yamaha TX802, etc. These tracks were as much a blueprint of the future as they captured the sensibilities of an era.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
BINE 020CD
|
This is UK-based Marconi Union's first release for the Binemusic label. Since 2003, Marconi Union have recorded albums for a number of different labels and created pieces for art installations, film and TV in Europe and America. In 2008, Marconi Union established their own label, Mu- Transmissions. Marconi Union's music is an evocative combination of electronica and ambience. Often incorporating organic sounds from field recordings, acoustic instruments and guitars, they create a distinctive sound-world where beautiful melodies are offset by darker undercurrents. In a genre of music that is frequently accused of being clinical and dispassionate, their music is unanimously recognized as having a deep, emotional resonance. On Tokyo, the band wanted to produce an album that had a hi-tech ambience in order to conjure up images of the Tokyo of films, books and TV. This record isn't about creating "authentic" Japanese music, or faithfully documenting the actual city (which neither of the members have visited). Rather, it is an attempt to capture a sense of the imagined and often-iconized version of Tokyo.
|