|
Search Result for Label ROBOT ELEPHANT RECORDS
viewing 1 To 8 of 8 items
|
|
|
|
|
|
|
|
|
|
|
|
12"
|
|
RER 012EP
|
Robot Elephant Records are proud to present Work It, No, a new EP by Berlin-based synthesizer extremist Dead Fader. The four tracks span experimental, grinding post-industrial dubstep and techno with touches of woozy, codeine-drenched hip-hop. Intelligently-distressed synths and deteriorated samples tap into your innermost cerebral hemispheres while unapologetic dread noise blasts through your core. Comes in full-color sleeves with artwork provided by Japanese artist Fumihiko Yokouchi. Mastered and cut by Frank Merritt at Carvery Cuts in London.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
RER 014CD
|
Woodpecker Wooliams aka UK singer-songwriter Gemma Williams has an unnerving, sweet tremolo voice. Her songs are unusual, modern and intriguing. Originally comprised of vocals and harp, the odd bell, chime and whistle, they have more recently begun to encompass an altogether fuller, electronic, droney sound. Bold and fearless, live she delivers an alluring, understatedly dramatic set. Woodpecker Wooliams was born -- the more she sang, the more she learned to play, the more well she became. Gemma grew up in the concrete shopping malls of Crawley. Music was pretty much absent at home as her mother suffers from a rare condition where she cannot tolerate repetitive or high-pitched sound. Once on the road to musical composition, Gemma quickly became bored of the saccharine, twee folk-y sound her music was falling into and in textbook rebellious fashion, found herself moving toward "mental, horrible, distorted noise," in an almost compulsive effort to bring some balance to her music. The album takes as its springboard harsh life experience, then journeys through an exploration of passivity and violence, responsibility and blame, gender roles, personal and familial histories. The songs are always thoroughly compelling, dark but never miserable. From both sides of both fences she looks at questions of identity, female hysteria and male aggression. "Assuming various personas to deliver her astonishingly dark, heartfelt, and resoundingly odd compositions, [Woodpecker Wooliams] leaves much of the crowd crammed into the indoor, intimate second stage in stunned silence. You can guarantee you've never seen anything quite like it." --Subbacultcha
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
RER 015LP
|
LP version. After successful releases on Robot Elephant Records, Disaro and Clan Destine Records, as well as a litany of digital self-releases and remixes, Minneapolis producer Fostercare releases a bold new album entitled Altered Creature. For this album, Fostercare worked 12-16 hours a day, endeavoring to create emotional electronic music that combines elements of techno, trance, rave and their many sub-genres. With heavy visual influences from the hyperrealist world of advertising, pornography, violence, virtual environments, post humanism and fetish societies, Fostercare has shaped a strange world behind his strain of electronic music. Driven by arpeggiated sequences, breakbeats and apocalyptic sentiments, Fostercare is music for the simulacrum -- a peeling away of future underworlds, neon pulses, alternate screens, genetic maps and urban sprawl. Skating between many genres, his music is connected by its emotional intensity and third-eye hyperactive visions. His credentials as a producer extend back to 2008, where he earned praise for exploring a darker, syrupy, warped-808-inspired sound teemed with surreal visuals. Inspired by Deleuzian and Zizekian trajectories of thought, Fostercare makes music that's impossible to pigeonhole. Never is this more accurate than with Altered Creature. Includes digital download code.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
RER 015CD
|
After successful releases on Robot Elephant Records, Disaro and Clan Destine Records, as well as a litany of digital self-releases and remixes, Minneapolis producer Fostercare releases a bold new album entitled Altered Creature. For this album, Fostercare worked 12-16 hours a day, endeavoring to create emotional electronic music that combines elements of techno, trance, rave and their many sub-genres. With heavy visual influences from the hyperrealist world of advertising, pornography, violence, virtual environments, post humanism and fetish societies, Fostercare has shaped a strange world behind his strain of electronic music. Driven by arpeggiated sequences, breakbeats and apocalyptic sentiments, Fostercare is music for the simulacrum -- a peeling away of future underworlds, neon pulses, alternate screens, genetic maps and urban sprawl. Skating between many genres, his music is connected by its emotional intensity and third-eye hyperactive visions. His credentials as a producer extend back to 2008, where he earned praise for exploring a darker, syrupy, warped-808-inspired sound teemed with surreal visuals. Inspired by Deleuzian and Zizekian trajectories of thought, Fostercare makes music that's impossible to pigeonhole. Never is this more accurate than with Altered Creature.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
RER 010CD
|
After 2011's similarly-themed, critically-acclaimed ISVOLT compilation, Robot Elephant embarks on a joint venture alongside Tundra with label bosses Sebastian and Ben, each curating five songs each, featuring promising talents on their respective labels' roster. On the RER side, Bologna's Husband start up with another remarkable jam that seamlessly follows up their debut EP Love Song/Slow Motion. Ritualz's "Heat" is a bastard child of trance synths and reggaeton rhythms or "raveaton" as it's called by its creator. Hailing from Bucharest, Romania, HipDieBattery is premiering on this compilation with the dark, haunting, dubbed-out techno ballad "Bones" -- a taster from the album that is looming for late 2012. The Church Of Synth brings us "Geh Ins Licht"; a track that unfortunately didn't fit on the debut LP, it is carrying on the vibe and ideas of the album perfectly. Ourobonic Plague is a mad professor of dystopian hip-hop beats and weirdo sounds, a debut album will be released later in 2012. ∆Aimon are a male/female duo from Southern California. They defy their sunny locale in exchange for beautiful, grim and sometimes harsh occult soundscapes with compositions built on anxiety and paranoia that give way to heightened, feverish sexuality and erotic ritualism. Funerals are a husband/wife duo from Columbus, Ohio, presenting a dark and atmospheric selection. Mascara dropped many acclaimed tracks throughout 2011; "Sonnambula" is another demonstration of how an ingenious and innocent approach to producing haunting disco tracks bears amazing results. Grimm Soundsystem is Ben Tundra's own creation, a playing field for his minimal dubstep/instrumental hip-hop experiments. I++ (the band name stands for a magical incantation, but if it must be pronounced, then it's "eyedoublecross") create dark, unrelenting, threatening post-industrial compositions of unmatched gloom and doom. Robot Elephant vs. Tundra Dubs is an exciting and fascinating document of worldwide experimental music through like-minded trans-Atlantic curation and co-operation.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
RER 013LP
|
Gatefold double LP version, featuring a vinyl-only bonus track by Martin Galway (music from Wizball, the game that made you fat in high school). Compilation of music from classic Commodore 64 computer games. The original pieces of music have been remastered for this release. When people talk about "Commodore 64 music," it's easy to forget they're not talking about a musical style: they're talking about a delivery mechanism. What that convenient phrase hides is the sheer amount of originality and creativity that went into creating the music for games on the Commodore 64. Included on this compilation is some of their most celebrated work, including music from games "Arkanoid," "Comic Bakery," "Last Ninja" and "Sanxion." Influence in modern music is widespread. The sub genres of 8-bit, chiptune, gabba; the lo-fi sounds of DJ Scotch Egg, the rapid arpeggios of Rustie, Crystal Castles' warped glitches and even the beats of international pop hits such "TiK ToK" by Ke$ha are all informed by developments made during the early years of home gaming. As relevant as ever, SID Chip Sounds: The Music Of The Commodore 64 is a vital collection for fans of remarkable electronic music, whether retrospective or modernist.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
RER 010LP
|
LP version. After 2011's similarly-themed, critically-acclaimed ISVOLT compilation, Robot Elephant embarks on a joint venture alongside Tundra with label bosses Sebastian and Ben, each curating five songs each, featuring promising talents on their respective labels' roster. On the RER side, Bologna's Husband start up with another remarkable jam that seamlessly follows up their debut EP Love Song/Slow Motion. Ritualz's "Heat" is a bastard child of trance synths and reggaeton rhythms or "raveaton" as it's called by its creator. Hailing from Bucharest, Romania, HipDieBattery is premiering on this compilation with the dark, haunting, dubbed-out techno ballad "Bones" -- a taster from the album that is looming for late 2012. The Church Of Synth brings us "Geh Ins Licht"; a track that unfortunately didn't fit on the debut LP, it is carrying on the vibe and ideas of the album perfectly. Ourobonic Plague is a mad professor of dystopian hip-hop beats and weirdo sounds, a debut album will be released later in 2012. ∆Aimon are a male/female duo from Southern California. They defy their sunny locale in exchange for beautiful, grim and sometimes harsh occult soundscapes with compositions built on anxiety and paranoia that give way to heightened, feverish sexuality and erotic ritualism. Funerals are a husband/wife duo from Columbus, Ohio, presenting a dark and atmospheric selection. Mascara dropped many acclaimed tracks throughout 2011; "Sonnambula" is another demonstration of how an ingenious and innocent approach to producing haunting disco tracks bears amazing results. Grimm Soundsystem is Ben Tundra's own creation, a playing field for his minimal dubstep/instrumental hip-hop experiments. I++ (the band name stands for a magical incantation, but if it must be pronounced, then it's "eyedoublecross") create dark, unrelenting, threatening post-industrial compositions of unmatched gloom and doom. Robot Elephant vs. Tundra Dubs is an exciting and fascinating document of worldwide experimental music through like-minded trans-Atlantic curation and co-operation.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
RER 013CD
|
Compilation of music from classic Commodore 64 computer games. The 18 original pieces of music have been remastered for this release. When people talk about "Commodore 64 music," it's easy to forget they're not talking about a musical style: they're talking about a delivery mechanism. What that convenient phrase hides is the sheer amount of originality and creativity that went into creating the music for games on the Commodore 64. Included on this compilation is some of their most celebrated work, including music from games "Arkanoid," "Comic Bakery," "Last Ninja" and "Sanxion." Influence in modern music is widespread. The sub genres of 8-bit, chiptune, gabba; the lo-fi sounds of DJ Scotch Egg, the rapid arpeggios of Rustie, Crystal Castles' warped glitches and even the beats of international pop hits such "TiK ToK" by Ke$ha are all informed by developments made during the early years of home gaming. As relevant as ever, SID Chip Sounds: The Music Of The Commodore 64 is a vital collection for fans of remarkable electronic music, whether retrospective or modernist.
|
|
|
|