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viewing 1 To 25 of 26 items
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2LP
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BLKRTZ 055LP
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Double LP version. Over the past 24 years, Scott Monteith's Deadbeat project has spanned a dizzying array of musical references and genres, exploring everything from left-field reggae to downbeat experiments, purifying drone excursions and ambient noise, extranational percussion workouts, and hypnotic techno and house. On his first solo album in five years, Monteith offers up what is perhaps the most powerful, tightly dance floor focused album of his storied carrier, and a soul cleansing, poignant sound track to the fears and hardships of a world gone mad, entitled Kübler-Ross Soliloquies. The Kübler-Ross model describes the five stages of grief: denial, anger, bargaining, depression and acceptance. A soliloquy is defined as an act of speaking one's thoughts aloud alone by oneself or regardless of any hearers. Over the album's eight tracks, Monteith explores each of these stages with a clear-eyed focus and confidence that are a testament to his dual role as a kind, smiling musical selector and monkish technological nerd ball of the highest order.
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BLKRTZ 055CD
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Over the past 24 years, Scott Monteith's Deadbeat project has spanned a dizzying array of musical references and genres, exploring everything from left-field reggae to downbeat experiments, purifying drone excursions and ambient noise, extranational percussion workouts, and hypnotic techno and house. On his first solo album in five years, Monteith offers up what is perhaps the most powerful, tightly dance floor focused album of his storied carrier, and a soul cleansing, poignant sound track to the fears and hardships of a world gone mad, entitled Kübler-Ross Soliloquies. The Kübler-Ross model describes the five stages of grief: denial, anger, bargaining, depression and acceptance. A soliloquy is defined as an act of speaking one's thoughts aloud alone by oneself or regardless of any hearers. Over the album's eight tracks, Monteith explores each of these stages with a clear-eyed focus and confidence that are a testament to his dual role as a kind, smiling musical selector and monkish technological nerd ball of the highest order.
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2LP
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BLKRTZ 019LP
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"Expertly-made dub techno for the dance floor. As Deadbeat, Scott Monteith's last album, Wax Poetic For This Our Great Resolve (BLKRTZ 018CD/LP, 2018) was both a lament and a message of hope for a world in turmoil. On that record, the Canadian artist embedded speech in an often-instrumental form. On Waking Life, his latest LP, he's less poetic, reflecting not on the world around him but on a festival he played last year: Waking Life in Portugal. In the process, he's made some of his most straightforward dub techno in recent memory. Waking Life has the same rich sound design that's characterized so much of Monteith's music. Lush synths glimmer in the dark expanse of the aptly titled "A New Sense Of Purpose." The gently percolating lead on "Waking Dub" evokes sunlight reflecting off a river. The 14-minute closer, "A Last Swim," is immaculate dub techno. Waking Life feels made for the dance floor and flows like a night out, peaking with "A Last Swim." The album's midsection is heady and nocturnal, with a tech house-inflected groove on "Midnight In The Garden" and a bleepy lead on "A Thousand Shining Stars" that wriggles and shimmies endlessly. Most of Waking Life has this feeling of perpetual motion, as if the whole record poured out of Monteith in a single studio session. Waking Life may be Monteith's most satisfying work since his career masterpiece, Drawn & Quartered (BLKRTZ 001CD/LP, 2011). Like that album, it strips down the Deadbeat sound to its core elements -- house, techno, and dub -- the results of which are undeniable. But where Drawn & Quartered was almost intimidating in its heft, Waking Life seems intent to serve the kind of uplifting and communal experience that spawned it." --Resident Advisor
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2LP
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BLKRTZ 018LP
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Double LP version. On his latest studio album, Scott Monteith, aka Deadbeat, ruminates with hard-earned wisdom and confidence upon the notion of carrying on in the face of worldwide nonsense. Wax Poetic For This Our Great Resolve began with the simple idea of asking friends from across the globe for messages of hope. No musical input was provided beforehand, and each participant was free to interpret the request as they saw fit. Though some of the names involved will be familiar to electronic music listeners (Gudrun Gut, Thomas Fehlmann, Mike Shannon), the common thread linking all of them is their friendship with Monteith and the many hours he has spent enjoying their company over the years. As so often happens when good conversation is shared among good friends, the results are as surprising as they are inspiring, spanning original prose, dialectic word games, and timeless quotations in six languages. Each song on the album was then composed around the content received, and named after the people who did the speaking. Ranging from the overtly political to the tenderly inspirational and many points in between, Wax Poetic For This Our Great Resolve provides verbal expressions of hope as diverse and rich as the experiences of the people who so generously delivered them. Musically the album sees Monteith taking his well-honed sound design abilities and widescreen arrangements to new heights, and exploring a deep interest in traditional analog recording methods to mesmerizing effect. Every sound on the record, whether generated from his tried-and-tested array of software-based tools, or from the enormous collection of guitars, organs, pianos, and percussion instruments found in the Berlin-based studio he now calls home, was recorded via microphone. Even as the very first track slowly fades into existence, it's clear that the smoke filled atmosphere of the place has penetrated the recordings to their very core. Indeed, it is no understatement to suggest that without the physical confines of the magical studio Chez Cherie, and the countless late night conversations and musical contributions of all the other beautiful souls who occupy it (T. Raumschmiere, Ben Laubner, Tilman Hopf, PC Christensen, and of course Cherie herself), this latest Deadbeat album would have been an impossibility. Wax Poetic For This Our Great Resolve is a document of collective action, and the power of community.
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BLKRTZ 018CD
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On his latest studio album, Scott Monteith, aka Deadbeat, ruminates with hard-earned wisdom and confidence upon the notion of carrying on in the face of worldwide nonsense. Wax Poetic For This Our Great Resolve began with the simple idea of asking friends from across the globe for messages of hope. No musical input was provided beforehand, and each participant was free to interpret the request as they saw fit. Though some of the names involved will be familiar to electronic music listeners (Gudrun Gut, Thomas Fehlmann, Mike Shannon), the common thread linking all of them is their friendship with Monteith and the many hours he has spent enjoying their company over the years. As so often happens when good conversation is shared among good friends, the results are as surprising as they are inspiring, spanning original prose, dialectic word games, and timeless quotations in six languages. Each song on the album was then composed around the content received, and named after the people who did the speaking. Ranging from the overtly political to the tenderly inspirational and many points in between, Wax Poetic For This Our Great Resolve provides verbal expressions of hope as diverse and rich as the experiences of the people who so generously delivered them. Musically the album sees Monteith taking his well-honed sound design abilities and widescreen arrangements to new heights, and exploring a deep interest in traditional analog recording methods to mesmerizing effect. Every sound on the record, whether generated from his tried-and-tested array of software-based tools, or from the enormous collection of guitars, organs, pianos, and percussion instruments found in the Berlin-based studio he now calls home, was recorded via microphone. Even as the very first track slowly fades into existence, it's clear that the smoke filled atmosphere of the place has penetrated the recordings to their very core. Indeed, it is no understatement to suggest that without the physical confines of the magical studio Chez Cherie, and the countless late night conversations and musical contributions of all the other beautiful souls who occupy it (T. Raumschmiere, Ben Laubner, Tilman Hopf, PC Christensen, and of course Cherie herself), this latest Deadbeat album would have been an impossibility. Wax Poetic For This Our Great Resolve is a document of collective action, and the power of community.
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2LP
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BLKRTZ 017LP
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Deadbeat offers up a limited vinyl reissue of one of his most critically acclaimed albums, Roots And Wire, originally released on Wagon Repair in 2008. New mixes and mastering. From Resident Advisor: "Roots And Wire brings Deadbeat's Scott Monteith project full circle. [Roots And Wire] is something of a return to his musical roots as well, being infinitely dubbier and more ethereal . . . That's not to say that Roots And Wire doesn't pack any heat. The album may kick off with two slower numbers, but the arrival of the next trio of tracks turns the tide. All three tease, building patiently before showing their true colors. Tikiman/Paul St. Hilaire opens and closes the album with two impeccable vocals, conveying a feet-up reefer madness vibe rather than hedonistic/hell-for-leather. The title track caps off the album with brisk dubstep beats and ~scape-styled melodica. . . . Roots And Wire succeeds because the different intensities and beat structures of each track offers a more dynamic ebb and flow, all bound together by a homogenous dub reggae spirit. Monteith's refusal to aim for moody, vacuous postures aids in letting the whole thing breathe -- and helps to give back some of the life and energy he puts into it. Being so good, the only complaint you'll have is that isn't just a little bit longer."
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12"
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ECHOCOL 036EP
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Echocord Colour welcome back Scott Monteith, aka Deadbeat. Scott originally comes from Canada but he has lived in Berlin for a while now. Scott is mostly known for his own BLKRTZ label, but he has released on many other labels over the years. The track "Put On Your Red Shoes And Trance" is a peak time bomb - a dubby, deep, powerful and melodic track. The B-side, "Just Jackin Around Man" is a techno bomb full of dubby chords and build-up madness.
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3LP
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BLKRTZ 014LP
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Deluxe gatefold triple LP version. Scott Monteith's tenth Deadbeat album, Walls & Dimensions, sees Monteith showcasing his wide-ranging musical interests with a striking sense of gravity and cutting lyricism not heard in his previous works. The album features vocal contributions from a diverse range of Berlin-based artists, and, for the first time, vocals from Deadbeat himself. "A wise old curmudgeon once said that all great art is born of great suffering, and if that sentiment holds true this album has had plenty of fuel for its proverbial fire," says Monteith of the writing process. "The last month of 2014 and first half of this year were not kind to me and my family to say the least. Thankfully I was able to turn to music and writing to work through those feelings over the last year, and found some absolutely lovely people to voice them when I wasn't up to the task of expressing them myself." Featuring guest vocal contributions from Fink, Delhia de France, and Elif Biçer, as well as cello performances by Maarten Vos, Walls & Dimensions sees Monteith exploring all facets of his musical interests with deadly focus and passion, from pure ambient drones to heartfelt reggae blues and dubbed-out late-night club bangers.
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BLKRTZ 014CD
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Scott Monteith's tenth Deadbeat album, Walls & Dimensions, sees Monteith showcasing his wide-ranging musical interests with a striking sense of gravity and cutting lyricism not heard in his previous works. The album features vocal contributions from a diverse range of Berlin-based artists, and, for the first time, vocals from Deadbeat himself. "A wise old curmudgeon once said that all great art is born of great suffering, and if that sentiment holds true this album has had plenty of fuel for its proverbial fire," says Monteith of the writing process. "The last month of 2014 and first half of this year were not kind to me and my family to say the least. Thankfully I was able to turn to music and writing to work through those feelings over the last year, and found some absolutely lovely people to voice them when I wasn't up to the task of expressing them myself." Featuring guest vocal contributions from Fink, Delhia de France, and Elif Biçer, as well as cello performances by Maarten Vos, Walls & Dimensions sees Monteith exploring all facets of his musical interests with deadly focus and passion, from pure ambient drones to heartfelt reggae blues and dubbed-out late-night club bangers.
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12"
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BLKRTZ 013EP
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Deadbeat presents the second vinyl-only release (following BLKRTZ 012EP) in advance of his 2015 album Walls and Dimensions, forthcoming at the time of this release. While the first installment featured a luscious extended ambient drone piece over two sides, this 12" features extended dubs of two of the album's dancefloor cuts, filled to the brim with the space-age dub effects, mournful melodies, and rumbling basslines Deadbeat fans have come to expect.
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12"
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BLKRTZ 012EP
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"In November of last year I closed up my studio in Berlin to embark on a 3 month journey with my family... I limited myself technically to focusing on collecting field recordings and renewing my interest in free form software synthesis experiments... the tragic death of my father in law in an accident in mid December would ultimately lend these exercises an entirely new level of gravitas... Music offers a singularly powerful opportunity for catharsis beyond any written word. It is my hope that others may find similar room for reflection amongst these humble drones." --Deadbeat, March 2015
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6LP BOX
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BLKRTZ 011LP
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Deadbeat reissues the 2002-2005 albums in a deluxe vinyl box set. Featuring three classic albums that introduced his intimate brand of dub-techno to the world. "Ever since launching his production career at the turn of the century, dub-techno auteur Scott Monteith has been nothing if not deeply prolific. The Canadian-born, Berlin-based producer's nine Deadbeat albums and nearly two-dozen singles represent one of most prolific and consistently rewarding catalogs in the 21st century electronic music canon. Continuing the reissue campaign of his early output that began with 2001's Primordia (BLKRTZ 006CD/LP), Monteith's BLKRTZ imprint now releases a massive 6-vinyl box set of his most iconic Montreal albums: 2002's Wild Life Documentaries, 2004's Something Borrowed, Something Blue, and 2005's New World Observer. Taken together, these three Montreal albums capture the Deadbeat project at its most contemplative and intimate, as far from the club speakers as it would ever get and tuned inward instead. Released a year after moving to Montreal, the roots-reggae revisionisms of Wild Life Documentaries proved to be Monteith's international calling-card. The album pitted the Montreal producer alongside contemporaries such as Jan Jelinek and Kit Clayton. Two years later, Monteith returned with Something Borrowed, Something Blue, the most introspective album of the entire Deadbeat catalog, and also the album from this early period to attain the most critical acclaim. Monteith quickly turned the corner and released the bristling, politically-charged New World Observer album in 2005. A year later, the producer would make the move to Berlin, joining a generation of Canadian producers who'd launched careers to become frustrated with the limited growth potentials of the North American market at the time. Whereas his most recent BLKRTZ albums have been defined by Berlin's ever-morphing club culture, these long out-of-print early albums that first elevated the Deadbeat moniker to international recognition are reflective of another time, another place, and ultimately another context than the one familiar to a new generation of electronic-music listeners. There's a degree of depth and texture to these recordings that simply bypasses any notion of minimalism that was all the rage in discussions of the meeting ground between Kingston's dub low-ends and Berlin's fin-de-siècle avant-garde electronics. Looping repetitions swirling out ad infinitum are simply not part of the Deadbeat aesthetic at this juncture. Instead, the listener finds an inordinate amount of attention being placed on narrative and musical storytelling. These albums are dubby, yes, and not quite techno at all. There are refractions of Krush, Vibert, and Vadim-like trip-hop pacing at work here. There's the moodiness and syncopation of Warp-era IDM at work here, too. Micro-house collage techniques emerge in the sampling. All of this is to say that, in hindsight, the Deadbeat at work on these three albums is a synthesist, not a purist. His vision of dub-techno was less keen on sonic formula and more open to narrative concept than the standards set by the pioneering dub-techno of the mid- to late-'90s. Removed from the timeline that defined them within the footsteps of dub techno, listeners shouldn't be surprised if they hear something altogether different at work here." --Dmitri Nasrallah
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12"
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ECHOCOL 026EP
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Echocord welcomes back Scott Monteith aka Deadbeat. Scott comes from Canada but now lives in Berlin. The track "Mercy Cage" comes in two versions. The original track is a stomping, powerful techno track, with the typical Deadbeat feeling -- dubby elements and heavy chords, perfect for the peak-time hour on the dancefloor. The dub version is more deep and dubby but still powerful and heavy. Scott has been doing a lot of records and remixes on Echocord and Echocord Colour over the years, and this will not be the last one. Scott is a busy producer and DJ, releasing on many labels, mostly now on his own super imprint BLKRTZ.
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12"
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BLKRTZ 009EP
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The third installment in Deadbeat's Infinity Dubs series sees him submerging his rhythms deep into the echo chamber, offering up two solid-state dubs with bass lines so low, only the largest systems will even register their presence. Enlightenment through stoic repetition is the order of the day here, and Deadbeat once again proves his unrivaled skills as a master hypnotist on both cuts. Don't sleep.
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12"
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BLKRTZ 007EP
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Deadbeat continues his Infinity Dubs series with two more peak-time burners of dubby dancefloor goodness. "I.D. 3" features the unmistakable vocals of frequent collaborator Paul St. Hilaire aka Tikiman, while I.D. 4 takes things into vintage hardcore territory with razor-sharp classic analog stabs and power-techno kick drums. Whether prime-time at the club or beach-side, these salvos are sure to kick any summer dancefloor worth its salt into a frenzy.
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2LP
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BLKRTZ 006LP
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CD
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BLKRTZ 006CD
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Originally released on Montreal's long defunct Intr_version label in 2001, Primordia was Scott Monteith's first foray into the album format, and some 13 years on serves as a remarkable document of the driving aesthetic touchstones which even at this early stage were bubbling to the surface and have gone on to define the sound of his Deadbeat project in the many years since. Over the course of seven colossal slabs of crackling digital atmospheres and rumbling drone, a dirge of muted kick drums serve as the only steady anchor in a sea of wildly unhinged and naive sound experimentation, with the whole lovely mess plummeting into an endless cloud of decaying echoes, granular processing, and cracked software reverb plug-ins. With its production coinciding with the first years of his tenure at the Montreal-based music software company Applied Acoustics systems, Primordia is the sound of the young dub Padawan reveling in the endless possibilities of modular software synthesis, and relishing each and every new discovery and mistake along the way. Re-released on CD with re-mastering by long-time friend and cohort Stefan Betke aka Pole, Primordia is an essential cornerstone in Monteith's now vast catalog, and a must-have addition to the collection of any serious dub techno historian.
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12"
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BLKRTZ 005EP
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Deadbeat's first salvo of 2013 sees him settling into a looping state of mind with a new series of techno excursions ending in locked grooves entitled The Infinity Dubs. Comprised of two tracks efficiently titled "ID1" and "ID2," volume 1 sees Deadbeat deftly skirting the lines between classic techno and post-hardcore/garage dynamics with long, patient mixes and elated, dubbed-out chord structures looping ad infinitum to the horizon to create two shuffling, peak-time rollers quite unlike anything else in his vast catalog.
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3LP
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BLKRTZ 004LP
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Triple LP version. Of all the personalities to emerge from the Mutek-affiliated Montreal electronic music scene, Scott Monteith aka Deatbeat has unquestionably established himself as one of dub techno's greatest champions, showing himself to be its most prolific and restless spirit. Having burrowed to the very deepest depths of echo and dread of the Jamaican variety with 2011's hypnotic Drawn and Quartered( BLKRTZ 001CD), Deadbeat once again sets sail into uncharted waters with his latest hour long salvo, humbly entitled Eight. Proceeding over eight tracks and a wide range of tempos, and featuring collaborations with fellow Canadians Danuel Tate, Mathew Jonson, and outer national techno prankster Dandy Jack, Eight is without a doubt the most upfront, muscular Deadbeat record to date. Recorded in his new studio in Berlin, Deadbeat utilizes the unmistakable analog low end and full spectrum bombast from Moog and Prophet 600 synths, and his new rhythms show a level of intensity and raw power not seen before in his previous work. In a genre dominated by stoic reverence to the creative framework laid down by Mark Ernestus and Mortiz von Oswald's Basic Channel and related projects of the mid '90s, Monteith has consistently charted his own course over the last 13 years, tearing up and re-writing the rule book several times over. Deadbeat is as restless as ever and Eigth firmly establishes his position as one of electronic music's most distinctive voices.
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BLKRTZ 004CD
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Of all the personalities to emerge from the Mutek-affiliated Montreal electronic music scene, Scott Monteith aka Deatbeat has unquestionably established himself as one of dub techno's greatest champions, showing himself to be its most prolific and restless spirit. Having burrowed to the very deepest depths of echo and dread of the Jamaican variety with 2011's hypnotic Drawn and Quartered( BLKRTZ 001CD), Deadbeat once again sets sail into uncharted waters with his latest hour long salvo, humbly entitled Eight. Proceeding over eight tracks and a wide range of tempos, and featuring collaborations with fellow Canadians Danuel Tate, Mathew Jonson, and outer national techno prankster Dandy Jack, Eight is without a doubt the most upfront, muscular Deadbeat record to date. Recorded in his new studio in Berlin, Deadbeat utilizes the unmistakable analog low end and full spectrum bombast from Moog and Prophet 600 synths, and his new rhythms show a level of intensity and raw power not seen before in his previous work. In a genre dominated by stoic reverence to the creative framework laid down by Mark Ernestus and Mortiz von Oswald's Basic Channel and related projects of the mid '90s, Monteith has consistently charted his own course over the last 13 years, tearing up and re-writing the rule book several times over. Deadbeat is as restless as ever and Eigth firmly establishes his position as one of electronic music's most distinctive voices.
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12"
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BLKRTZ 002EP
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Working with the source material from "First Quarter," Scuba turns in a slow-burning, sci-fi techno monster sure to appeal to fans of Monolake and his own early work. Rife with reverb-drenched sonar pings and mechanized groans in the periphery, the track lurches towards its epic crescendo like an alien-infested star ship. Efdemin transforms "Fourth Quarter" into a chugging, deep pocket house journey. Without a doubt, two floor-ready reinterpretations and a great sign of things to come from Deadbeat's new curatorial venture.
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2LP
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BLKRTZ 001LP
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2LP version. Scott Monteith aka Deadbeat releases an album for his own label BLKRTZ. It has been 12 years since Monteith quietly launched his Deadbeat music project with an unassuming performance on the street outside a Montreal café as part of the first edition of the city's now internationally-lauded MUTEK festival. And while the venues and audiences have grown steadily and seriously in the years since, the crackling dub sonics, deep grooves, and rumbling bass which characterized that performance have remained a constant in his live and recorded work, and earned him a substantial number of devoted followers the world over in the process. Having worked with a virtual who's-who of the most respected labels in the industry over the last decade, Monteith now takes the plunge into the murky depths of labelhood, launching his BLKRTZ imprint with no less than a full album of new material. "When I received the news a few months ago that ~scape was officially closing its doors, I was incredibly sad to hear it." says Monteith from his new home in Berlin. "Though I hadn't worked with them in a few years, I always saw ~scape as the natural home for a very important part of my work. Not necessarily the more listening side of things per se, but certainly the most unconcerned with genre or function, from a creative standpoint the most free, I guess. Barbara and Stefan worked very hard to promote a great deal of quite marginalized material over the years and did a lot to help me and many other artists out personally who otherwise would have had a much harder time of it. Though I'll be concentrating on my own work for the first few releases, it's my hope that BLKRTZ can serve a similarly honorable purpose in the years to come." In celebration of the label's inaugural release, Monteith has teamed up with long-time friend and world renowned video artist, Lillevan, to create an immersive audio/visual performance quite unlike any other. Spot-varnished lettering on cover.
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CD
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BLKRTZ 001CD
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Scott Monteith aka Deadbeat releases an album for his own label BLKRTZ. It has been 12 years since Monteith quietly launched his Deadbeat music project with an unassuming performance on the street outside a Montreal café as part of the first edition of the city's now internationally-lauded MUTEK festival. And while the venues and audiences have grown steadily and seriously in the years since, the crackling dub sonics, deep grooves, and rumbling bass which characterized that performance have remained a constant in his live and recorded work, and earned him a substantial number of devoted followers the world over in the process. Having worked with a virtual who's-who of the most respected labels in the industry over the last decade, Monteith now takes the plunge into the murky depths of labelhood, launching his BLKRTZ imprint with no less than a full album of new material. "When I received the news a few months ago that ~scape was officially closing its doors, I was incredibly sad to hear it." says Monteith from his new home in Berlin. "Though I hadn't worked with them in a few years, I always saw ~scape as the natural home for a very important part of my work. Not necessarily the more listening side of things per se, but certainly the most unconcerned with genre or function, from a creative standpoint the most free, I guess. Barbara and Stefan worked very hard to promote a great deal of quite marginalized material over the years and did a lot to help me and many other artists out personally who otherwise would have had a much harder time of it. Though I'll be concentrating on my own work for the first few releases, it's my hope that BLKRTZ can serve a similarly honorable purpose in the years to come." In celebration of the label's inaugural release, Monteith has teamed up with long-time friend and world renowned video artist, Lillevan, to create an immersive audio/visual performance quite unlike any other.
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12"
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ECHO 042EP
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Scott Monteith aka Deadbeat returns to Echocord with an absolutely killer EP. From 1999 to late 2003, Scott worked for the Montreal-based company Applied Acoustics Systems, makers of a range of critically-acclaimed software synthesizers. Having now moved on to pursue his own musical efforts full time, the experience has left him with a passion for the development of new creative interfaces, and a strong grasp of some the most cutting edge technology in the industry.
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12"
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WAG 039EP
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This is Deadbeat's second Wagon Repair release in quick succession. Versionist Carmot blends dubstep and house in a pulsating techno workout. "Boil" progresses sharply with off-beat rhythmic melody and probing percussion. "Freeze" soothes with icy-cool looped dub guitar and reverberating percussion. "Evaporate" is a deeper house number, with cymbals riding high alongside sampled machinery and a throbbing synth melody. "Incinerate" closes procedures with a combustive climax -- a fiery mix of percussion and bubbling melody.
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