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viewing 1 To 18 of 18 items
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2LP
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SVS 018LP
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Debut LP from upcoming artist Kalas Liebfried. Amp Wall Monument Confrontation critically engages with the imperialist history of the Otto von Bismarck Monument at the Deutsches Museum in Munich by re-contextualizing it through sound and performance. For one day in June 2021, a sculpture made of 21 guitar amplifiers was installed in front of the monument, with seven electric guitars connected to it. Seven guitarists performed a four-hour drone composition. Sides A and B comprise arrangements of the sound material recorded on site, taking up the structure of the score. Sides C and D feature interpretations of the same material by Lamin Fofana, Sarah Badr aka FRKTL, Elsa M'bala, Cedrik Fermont, and Jay Glass Dubs. The double LP is accompanied by a booklet with the original score and an essay by the Australian art historian Damian Lentini (curator, Haus der Kunst, Munich), which proposes further perspectives to a critical engagement with German colonial history and current polyphonic postcolonial discourses.
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LP
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SVS 017LP
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Positivity. Lucidity. Velocity. In his second solo release, Kamron Saniee presents six animated studies of concentrated, rhythmic electronica -- Euphoric Studies -- in search of an "everyday euphoria" for the sunlit hours. The works are characterized by a playful yet incisive energy, harkening back to the exuberance of early 2000s post-techno experimentation. Bubbling synthesizer melodies and emergent textural grooves serve to guide listeners towards a lucid, stimulated state. Saniee acknowledges his classical influences on the track "Badinage", in which a theme by Marin Marais played back on the violin is repurposed and diffused into a radiating sonic tapestry. On the ten-minute opus "Rhythm Force", raining percussive elements and drifting, formant harmonies create a prolonged and invigorating environment. The use of overlapping meters in "Amnion" creates a similarly buoyant energy. Kamron Saniee is an electronic musician and composer based in NYC. One of eight US producers selected for the 2016 edition of the Red Bull Music Academy, he has presented his electronic works in New York, Montréal, Berlin, Moscow, and Budapest, where he collaborated with fellow SVS artists Maxim Wolzyn and Lukas Rehm on the 4DSound spatial sound system. In addition to his solo practice, he hosted a monthly radioshow for "Classical, Traditional, and Systematic Music" on the Lot Radio for two and a half years. Edition of 300.
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12"
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SVS 014EP
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SVS Records camp in Budapest and stick to the plan: one track a day. This time they have guests: Marimari, Arihirua, and Ryoko. "Gekko No Odoriko" ("Moonshine Dancer"): the rhythm, as usual, is a driving force in the music. "Holy Water": visiting the holy mountain near Nara national park, the impossible seemed so simple: capturing water. "Amanogawa" ("Milky Way") extrudes the blink of an eye to an endless state of floating in a field of zero gravity. With "Ortho Vision" the last sprout of zest for action is moving along the handrail of the beat grid until it's complete evanescence.
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LP
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SVS 016LP
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Zoë McPherson on Belp's Crocodile: "As a first listen it was 2AM, 46° in a village Portugal, in a convent, after a good night out. That moment struck me as being magic, the energy was perfect, we were laughing and relaxing amongst friends. That listen was pushing the magic further because of the surprises it has all along the journey. A first groaning. A simple rhythm. Soft realms. Noisy Round sounds. Type machine sounds, of a sampled hi-hat that never reveals, 'cut cut cut cut'. Just because it's fun to not reveal it. And put that fist cut part of the upcoming timber that is not 'yet' one. It's like if the drum pack was used the wrong way, which is a great way. Flipping. (= to flip something) Belp has this ability to bring the most horrible samples in front, and turn over your mind to enjoy what first sounds like 'horrible'. Facade. Crocodile is flipping it over. Rhythmically vibrating, ears are wide open, full attention. I'm into the non-repetition. Track Crocodile's call reminds me of the call in 'Klabb' by Deena Abdelwahed as well as within its playful change of tempo, of notes. Who cares? The album is like a randomly composed pack. It is not random. It's flipping something, and I like that disturbance, it's what I want to hear. It is alive, through composition, arrangements, falsely randomized, non-arranged, it is a trick; it is the drunk clown playing 'endless preparations for a ceremony' and 'catch'. Not bothering about anything reveals a deep understanding of music and of arts, a crafted album in details. It is years of listening, it is years of challenging one's ears, and putting it all together in this piece. It feels like the producer enjoys disturbing his own ears as much as other ppl's ears. Playful, energizing, demands attention. Challenging your ears somewhere where nothing is constant, lively. But overall let's not forget the real stuff, the bass and soulful part. The round groove is still there. Each track transmits Belp's open mindness to all type of music, whatever makes sense. It just all makes sense, it's a strong critic, it's a joke, it's emotion, it's playful, it's fucked up. All musical 'styles' are touched. Maybe it is a compilation? It is about rethinking "music", And not giving a fuck, although with still having an incredibly musical ear to all of it. Just listen, this might be one of your best lessons to stop giving a fuck about everything you do."
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12"
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SFRMX 001EP
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String Figures Remixes is a series of remixes that follow the previously highly-acclaimed LP String Figures by Zoe McPherson (SVS 001LP). Remixers for this EP include Ben Vince, N1L, Hester-1, Bartellow, and Sukitoa O Namau. The EP is pressed on transparent vinyl and comes along with transparent sleeve.
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LP
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SVS 015LP
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Specimens' In The Dust Of Idols is an album exploring mortality, existentialism and the dread one can feel in the face of an apparently meaningless world. The journey one embarks on when trying to create meaning where there is perhaps none. These initial senses of dread can be brought about by the insignificance one feels in the face of greatness, where others have seemingly found meaning and purpose in the face of your own wavering path. Whilst these moments in time may hold no specific meaning, despite their impressive nature, one can be driven into senseless awe. In The Dust Of Idols ties in this sense of wonderment coupled with the overarching dread of contemplating one's own existence, to quote Ruth Tallman, "The search for answers in an answerless world". "I wanted to create something dense and heavy. When you listen through, it makes you feel like it has the weight of time stitched into it," explains Alex Ives, the man behind Specimens. As well as expanding the range of instrumentation used on In The Dust Of Idols,his second album, Ives also enlisted the talents of cellist Charlote de Burgh-Holder and experimentalist Joe Summers on the tracks "The Unread Library" and "Twisted Necks" which adds to the dynamic depth and range on this record. It's not all dark, though; moments of optimism and cracks of light pepper the record giving enough hope to the listener to pursue questioning the unanswerable. Accompanying the release of the record is a short film set to music from the album, produced and shot by photographer and director Lucie Rox. The film is a visual expression and representation of identity and the many ways this is challenged, perceived and adopted. Whilst taking forward the concepts explored throughout the album, the film looks to reduce the great vastness of confusion and self-doubt put forward on the record and focusing instead on a more intimate and personal perspective laid bare and shared by both Rox and Specimens, with a heavy focus on race and heritage. Both Specimens and Rox are mixed -- Caribbean and British/African and French respectively; the objective of the film is to show one of the many angles where an individual's search for meaning and identity can be expressed. Artwork from Australian painter Kieran Ingram and mastered by Lawrence English. Edition of 300 on white/blue splatter vinyl.
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LP
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SVS 013LP
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Born in Munich, Sebastian Schnitzenbaumer, aka BELP, partially grew up on the Seychelles Islands off the coast of East Africa. Educated in classical piano, those two gravitational poles, European and African influences, became the basis for his musical development. Having traveled extensively with a closer connection to London over the years, BELP kept his base in Munich, becoming part of a small alternative scene questioning the predominantly rich and posh surface of the city. Blending jazz, dub, and noise, an emphasis on darkness in his broken beat-oriented works evolved as a reaction to a rather hedonistic society preferring warm and uplifting sounds.
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LP
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SVS 012LP
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Lybes Dimem is a project by visual artist and musician Lukas Rehm. With a focus on digital sound design, elaborate beat structures, and the use of error, the music plays with cognitive phenomena and abstraction while maintaining an emotional refuge. Lybes Dimem is presented in formats ranging from spatial sound experiences to synesthetic shows complementing the auditive layers with visualizations of real-time data, computer graphics, and moving image. Lukas Rehm's installation art and compositions have been internationally presented and awarded with multiple emerging arts prices. Syncleft Chronem is the first album released by Lybes Dimem in both digital and vinyl format and accompanied by a moving image artwork. The title reflects the project's interest in the potential of difference, cognitive frictions, and exertion: sync = variability in the processing of auditive and visual signals, syncleft = the synaptic cleft, which is a crucial empty space in biological neural networks, chronem = the chroneme as a theoretical unit to measure the time of an articulated sound. Mathematically clean sounds juxtapose patterns and transitions familiar from the realm of organic acoustics. Multi-layered noise textures explore the simulated space. A temporary continuity is provided by percussive and melodic elements, right until the next escalation, eventually awaiting a concluding resolution. The visual language explores different phenomena and techniques of cognition inspired by the rhetorics of big science (computer graphics, discontinuity of material, pop cultural references). Both the moving image artwork and the graphic design of the release pay tribute to the multi-layered approach of the music. The design of the vinyl cover by studio BNAG.cc uses subtractive color synthesis to interchange between abstract formality and representationalism. Syncleft Chronem is the first release by Lybes Dimem on SVS Records following a first encounter at the SVS residency at the 4D Spatial Sound Institute in Budapest.
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LP
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SVS 001LP
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A multi-platform production that explores the overlap between the digital and the organic through field recordings of Inuit throat singing may sound, on surface level, to be something that is a rather niche. However, Zoë McPherson's exploration of this world on String Figures is a deeply rhythmic, immersive, and forward-thinking piece of electronic-leaning music that remains just as danceable as it does experimental. The album is fundamentally one of duality, exploring the traditional and the contemporary, organic and electronic, audio and visual, history and the future. Rooted in this duality is also a core theme around string being one of the most ancient and playful art forms and the seemingly infinite possibilities it offers in terms of shapes, structures and figures lines up with this as a trans-global art project. String Figures is an album that, over time, will involve video art, choreography, 3D motion design, macro film, instrumental, and electronic sound. Although for now it's being presented through an AV performance, films, and a record with McPherson collaborating with director Alessandra Leone. Over the seven tracks -- which are laid out as chapters -- the record explores glitchy electronics, dub-tinged grooves, polyrhythms, and a huge array of instruments that takes in quiet blasts of atonal sax alongside wonky synths. This of course cross-pollinates with the throat singing and experimental field recordings to create an utterly inimitable sonic sphere. For McPherson it's about mixing worlds, histories, and timeframes and she uses a 1991 quote from Laurie Spiegel to hit home how she has elaborated upon this original thought of history and future overlapping: "Folk music is considered anonymous common property in a culture and that's what a lot of computer music and other kinds of music data may end up becoming." However, there's also a purer reason for the exploration of these worlds and colliding them together. "Basically I thought that electronic music that is only digital is a bit boring and as I'm connected to jazz music for many reasons, I wanted it to sound organic: real instrumentation, field recordings."
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12"
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SVS 008EP
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2015 release. Belp alias Sebastian Schnitzenbaumer, founding member of Munich's pop-label Schamoni Musik, debuts on SVS Records with a palladium of crazy energy overdose-jams titled Elephants. His musical playground is lo-fi, nerdy, and very digital. The six-track mini-album is his unique exegesis of experimental broken electronic music, based on harmonic algorithms and programmed structures using Linux and a plethora of over 600 half-baked, buggy, highly innovative, yet trashy open-source software algorithms. Keeping in sync with this, all the artwork was completely auto-generated by software using an evolution-based artificial intelligence engine called QBist.
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12"
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SVS 007EP
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2015 release. Konrad Wehrmeister, known from previous releases on SVS Records, Public Possession, Paradise Now!, and as part of the Günther Lause duo, joins forces with Jakob Hohman for a project called Twoman. Their first release collides jungle grooves with techno.
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12"
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SVS 009EP
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2016 release. Another compilation on SVS Records. This time, it's titled Cosmos #1. A mixture between kraut-dubby live jams and club tracks for early hours. Features: Tropicana, Konrad Wehrmeister, and Bartellow & Maxim Wolzyn.
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LP
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SVS 006EP
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2015 release. Zaquoir alias Matthias Groß is a producer and musician currently living in Leipzig. After sending more than ten gigabites of great music to SVS Records, the label sat down together and tied a selection of his really eclectic styles of production together into one LP, creating a sort of show reel created in the timespan of over 15 years. The tracks on the LP were produced in six different places. The record playfully finds itself somewhere between early Rephlex releases, AFX's Ambient Works and The Other People Place.
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12"
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SVS 010EP
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2016's SVS residency took place in Budapest at 4DSOUND's Spatial Sound Institute, where SVS artists from LA, NY, Osaka, Seoul, Berlin, London, Tel Aviv, and Munich worked for ten days preparing a showcase on the 4DSOUND system. During rehearsals for the showcase, Bartellow alias Beni Brachtel met Grun alias Daichi Furukawa. During three long nightshifts, the tracks emerged out of a continuous great vibe. Always joined by several artists from the SVS family, it became the soundtrack for a very special event. First pressing comes with limited 24"x36" sized hand-folded poster and silver sticker.
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2LP
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SVS 004LP
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The Innercity Express album was created by Maxim Wolzyn over a period of three years, mostly while touring throughout Germany by train as part of the Günther Lause duo. Spread over eight tracks, the LP poetically captures the complex networks of railways and tunnel systems that carry with them the thoughts and feelings of millions of people, aspiring to attain an overall impression of the collective consciousness of a society on the move. Inspired sonically by the soundscapes of urban spaces, rail stations and the pulsing motions of modern mass transportation, various field recordings are mixed with reverberating synthesizer patterns and percussive composition, creating a mixture of straightforward techno and dystopian ambiences. While being reminiscent of Berlin's dub techno tradition, it also transcends the typical club context, moving into the realm of the intimate and personal. On black vinyl and limited to an edition of 300. Features a remix by Deadbeat.
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12"
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SVS 003EP
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SVS Records reflects the musical output of the musicians who are part of its constantly growing collective. Volume three of the Polyrhythmic Series contains tracks by Zaquoir, Larkin & The Sky, Bartellow, and Lukas Rabe, plus a remix from Maxim Wolzyn. All tracks have (besides their origin) one common theme: the subtle workout of layers and layers of rhythm. While fit for play in a club, the whole series is produced for listening, whether on the floor or at home. One of the series' principles is not to over-compress anything -- just to win the volume battle.
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12"
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SVS 002EP
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SVS Records was set up by Beni Brachtel and Daniel Hermann-Collini as an imprint of Brachtel's sister project Selbstversorgersound (SVS). A compilation titled SVS 1 was released in October 2012. This was the first official collection made up of songs from the last three years by various artists whose backgrounds could hardly be more diverse. Next up is a three vinyl series named Polyrhythmic Series 1-3. Volume 2 contains exclusive productions from Gnther Lause (Karlsruhe/ Berlin, Crosstown Rebels, Paradise Now!, Laut und Luise, SVS), Larkin & The Sky (London/Munich, Paradise Now!, Goldsmith, SVS), Bartellow (Munich, Pollyester, Tambien, Columbus, GTA Hoffmann, SVS) and Konrad Wehrmeister. Four techno tracks of the highest caliber ranging from dubbed-out to tripped-out and way beyond.
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12"
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SVS 001EP
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SVS Records was set up by Beni Brachtel and Daniel Hermann-Collini as an imprint of Brachtel's sister project Selbstversorgersound (SVS). SVS takes different artists out of their comfort zone and confronts them with a primal lifestyle far away from their familiar periphery. This is part 1 in a series of three limited vinyl releases named Polyrhythmic Series 1-3. This first volume contains exclusive productions from Günther Lause, Larkin & The Sky, Bartellow), Zaquoir, and Lukas Rabe. Five techno tracks from dubbed-out to tripped-out and way beyond.
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