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viewing 1 To 8 of 8 items
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LP
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YNFND 033LP
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Swiss intergalactic three-piece experimentalists lean on a Dadaist theme for their late-night, jam-inspired, and smokey beat laden trip to the cosmos. Distilling surf rock, jazz and ambience, energized and patched together with spoken word samples, wind instruments and, blunted hip hop beats, Ali Dada's album SUM is their invitation to "dadaversum" -- their eccentric universe of sound and emotion. Featuring Orlando Ludens (guitar and ambient soundscapes), Rulla (beats and field recordings), and Max Licht (brass and trombone), experimentation is the trio's constant and SUM is the result of jams and associative distillation, always with a fluid sense of genre. Whilst SUM clearly takes new and furtive steps, Ali Dada's sound is wholly their own. Nothing feels rigid here and rules don't apply. Improvisation lingers in the air, even after the last note fades. A series of sound sketches, dense in detail, stylistically rich, SUM gives license to couch-melt, sungaze, or for those used to wintry climes, add another log on the fire. Who belongs to the band and who doesn't is open to interpretation. Though a core group exists, the spotlight remains on experimentation through jam sessions. Ali Dada is a construct, a dadaverse. Highlights include the album's opener "abolish the police," a mix of guitars, weirded-out wind instruments and Häuserfrau's ever chilled vocal presence. "tone print" is the band's first single from the album, which combines sliding guitar, the infamous psychedelic Tim as a narrator, some early CPU game sound-splats and a meteoric dope beat, providing the head nodding groove. "ohnedi"'s ambient charm features some gorgeous manipulated choir moments and some fidgety electronic synths.
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LP
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YNFND 031LP
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Rekorder is "a kind of retrospective of myself", says M.RUX about his second, long-awaited solo album. For over 10 years, Marten Rux aka M.RUX appears as a DJ, producer, editor, remixer and multi-instrumentalist all over the world and has developed an idiosyncratic sound that opens up subtle fields of tension: M.RUX mixes a sound between experimental sound design and hooklines that stay in your ears forever. Between wild percussion and contemplative harmonies, between ecstasy and meditative calm. In his DJ and live sets, M.RUX usually steps up to the controls with a smile, discreetly bobbing his head, while the audience goes wild. He circumnavigates clichés with trustworthy certainty and develops his very own guiding threads in his selection beyond BPM or genre straitjackets. One constant is his warm, often stoically slow kick drum, which holds all that playfulness together. Rekorder is a manifestation of this typical M.RUX sound. Similar to his concept album Vermonische Melodien from 2020 (PING 069LP), the artist's curiosity is directed towards the musical visions of the past. When new music technology projected great visions of the future and when new sounds had not yet solidified into clichés. Rekorder refers to the recording device, spelled in a German way, because most of the recordings were made in Germany (and in England as well). Rekorder draws deeply from its own archive, which has flourished quite splendidly during the pandemic. Multi-instrumentalist M.RUX mixes his own recordings of banjo, guitar, auto-harp, synths, percussion and jews harp with fragments from sessions with friends that have accumulated since 2020. They unfold in the process of re-listening in the mix and transform into a solid musical tapestry. M.RUX bows deeply to the history of pop music -- especially the blues and its melancholy, coolness and shuffling groove. The harmonic framework of the album is based on blues scales throughout. Instead of conveying blue emotions via lyrics or the tone of the voice, as the original genre does, the synthesizer takes on this role on Rekorder. With his sound design, M.RUX achieves an ecstatic sorrow in his melodies, this gurgling portamento that is reminiscent of R&B (or even the ingenious title melody of the series Bojack Horseman). If voices are heard on Rekorder, then as hypnotic fragments that guide you through the groove as conjunctions. There are no lyrics, no literal weariness, no love-songs or storytelling, Rekorder processes all of this into timbres and groove as vessels for the album's individual, contemplative melancholy.
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YNFND 031RED-LP
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LP version. Red vinyl. Rekorder is "a kind of retrospective of myself", says M.RUX about his second, long-awaited solo album. For over 10 years, Marten Rux aka M.RUX appears as a DJ, producer, editor, remixer and multi-instrumentalist all over the world and has developed an idiosyncratic sound that opens up subtle fields of tension: M.RUX mixes a sound between experimental sound design and hooklines that stay in your ears forever. Between wild percussion and contemplative harmonies, between ecstasy and meditative calm. In his DJ and live sets, M.RUX usually steps up to the controls with a smile, discreetly bobbing his head, while the audience goes wild. He circumnavigates clichés with trustworthy certainty and develops his very own guiding threads in his selection beyond BPM or genre straitjackets. One constant is his warm, often stoically slow kick drum, which holds all that playfulness together. Rekorder is a manifestation of this typical M.RUX sound. Similar to his concept album Vermonische Melodien from 2020 (PING 069LP), the artist's curiosity is directed towards the musical visions of the past. When new music technology projected great visions of the future and when new sounds had not yet solidified into clichés. Rekorder refers to the recording device, spelled in a German way, because most of the recordings were made in Germany (and in England as well). Rekorder draws deeply from its own archive, which has flourished quite splendidly during the pandemic. Multi-instrumentalist M.RUX mixes his own recordings of banjo, guitar, auto-harp, synths, percussion and jews harp with fragments from sessions with friends that have accumulated since 2020. They unfold in the process of re-listening in the mix and transform into a solid musical tapestry. M.RUX bows deeply to the history of pop music -- especially the blues and its melancholy, coolness and shuffling groove. The harmonic framework of the album is based on blues scales throughout. Instead of conveying blue emotions via lyrics or the tone of the voice, as the original genre does, the synthesizer takes on this role on Rekorder. With his sound design, M.RUX achieves an ecstatic sorrow in his melodies, this gurgling portamento that is reminiscent of R&B (or even the ingenious title melody of the series Bojack Horseman). If voices are heard on Rekorder, then as hypnotic fragments that guide you through the groove as conjunctions. There are no lyrics, no literal weariness, no love-songs or storytelling, Rekorder processes all of this into timbres and groove as vessels for the album's individual, contemplative melancholy.
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YNFND 030LP
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For eighteen revolutions of the sun, they have engaged in the ephemeral symphony of real-time discourse, sans pretentious airs. Two to nine illustrious ladies of Berlin, weaving through the rich tapestry of styles and narratives, have, over time, summoned forth nearly two hundred ensembles. Each performance, each musical troupe, irrevocably entangled in the prose and nomenclature of all participants, venue, and set-up. Repetition, though a rarity, has, in some instances, been grudgingly sanctioned. Yet, lo and behold, there exists now: Festplatte. A compendium. Upon the A-side, Spassbremse, possessed of an angelic voice, yearns for the elusive essence of liberty, whilst Die Abstände in somber, pulsating offbeat, smirkingly, critique the dominion of control. Pimmelbett, with lyrical poise, and epic reverie, expounds upon the "Infinite Nature of Dreams." Subsequently, as Die supersymmetrischen Teilchen indulge in elegiac ruminations on solitude, Leh Kokott jubilantly resurrects their 2015 summer opus, "un Bouton." On the B-side, Fräuleinschein assumes a fourfold rhythm, contemplating, in the process, the ethereal sustenance of "Kartoffelpüree", provoking an unknown ensemble to mourn their local tavern in Finnish tradition. The vigor of self-pleasure is exalted in the blues, and Puncikák, in the manner of Balkan minstrels, melodiously intones a pressing yearning through the entirety of her available vocal range. Die Flöhe and the Drunken Sinkers, therein, finalize the anarchic symphony. In the ethereal cadence of the vocals, the very essence of each musician reveals itself, accompanied by the harmonious assembly of a classical musical ensemble, punctuated by playful ornamentations, and the enchanting resonance of that alluring cello. Festplatte -- an ode to the platter of revelry. In the heart of punk, a serpentine melody entwines itself within the confines of your auditory senses. Also featuring Polyzysten, Betonmascha, Bruchstück, Omas Jukebox für Andi, and Puncikàk.
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LP
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YNFND 026LP
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Kundan Lal is a highly understated artist. Little is known about his background, though some refer to him as Kunsaf Halil, his personal life remains largely a mystery. Gathering a cult following amongst people like Den Sorte Skole or DJ Marcelle with his previous releases, he is now set to sail new shores. There is a sense of wanderlust as he opens his box of field recordings, collected on his many travels. From the buzzing streets of Alexandria, early Sunday markets in Tafraoute or a crackling bonfire down by the banks of the river Ganges. Each track takes you places. Kundan's second album is a captivating blend of dubby beats, collages, and exotic instrumentation. Drawing from classic tools like the Roland 808, SC7 and the famous Space Echo, Kundan has created a unique and minimalistic sound that is sure to captivate listeners. At once nostalgic and experimental, Power of Ra is a must-listen for both electronic music purists and fans of adventurous soundscapes. Compelled to work from home on his computer during lockdown, Kundan dusted his pawnshop e-piano, downloaded some orchestral soundkits and started to digitize almost forgotten field recordings. The Power of Ra came to him. "Illgrimage" is a good example of his approach. Combining atmospheric soundscapes with swirling strings, trombones and pianos. Echoes of birds and children playing in the streets. A small town filled with life and a theremin leading the way while you hear the faint yet powerful words of Greta Thunberg saying: "Imagine..." "Raqaqa," a powerful orchestral journey with a hip-hop edge. Tinkling chimes add a groovy vibe, while lush layers of wind instruments weave a masterful soundscape. It's the slow-burning intensity of this track that pulls you in. "Nasi Chip" is a signature song that exemplifies Kundan Lal's musical prowess. An engaging beat coupled with chopped up vocals, 8-bit synth melodies and an arpeggiated piano provide an energetic atmosphere that is both cunning and unique. "Cen" lures you into the Egyptian realm. A harmonium slithers serpent like around a pounding beat. Horns gently swaying to the rhythm of the desert. It is hard to put your finger on his style or genre. You can feel Kundan Lal's DIY spirit in his production, carving his own ethnic genre. For enthusiasts of Roberto Musci or Muslimgauze, this avant-garde album is one for your collection. Keep your senses open and let the Power of Ra pass you to another world.
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7"
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YNFND 024EP
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Cosmopolitanism is creeping into the bedroom studios of producers worldwide. Romanski is another agent evolving transcultural hybrids, which blend from retained folkways to modern aged club grooves. A mixture of electronic beats in a rigid machine order and handmade organic moments woven together to form an eclectic sound. With a bit of drama, the Hamburg based DJ and producer Romanski, invites you on a diverse journey with his unique vision of club music. Balearic groove patterns accompanied by repetitive bongo motives and dimmed synth themes flow along the four tracks (two of them featured on 7" vinyl) of this EP. The title track "Karma Calling" is a passionate homage to Mulatu Astatke, "Tagh Tagh" is surrounded by an Iranian children's song, "Gaugin" features a Tahitian vocoder line about the French painter and on "Ants" Romanski reflects on lyrics that came to him when resident at a sanatorium years ago. Romanski is using his custom sound range and tools to express his downbeat grooves in this well-balanced release. Hide below or turn around the umbrella with devotion and delight.
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10"
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YNFND 017EP
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Kundan Lal returns with new outernational downbeats. Three of the tracks on مجلس | Majlis are based on Pakistani dance classics by Muhammad Ashraf ("Paky Life"), Khalil Ahmed ("Ovo Rhaps"), Sohail Rana & the Five Caps ("Vulgar Dragons"), and one on Turkish psychedelia by Moğollar ("Tudamus"). Selected micro-sequences of these old recordings are tangled up in a dubby soup of Dr. John-esque swamp percussion, off-beat bass lines, drone-y organs, a creaking synthesizer assembly, and the trademark oriental field recordings by Kunsaf Halil, which are spread all over the record. مجلس | Majlis can perhaps be seen as the missing link between Débruit and the Contact Field Orchestra.
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LP
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YNFND 016LP
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Kusht surfaces with a playful release full of tottery synths, crisp percussions, and mind-bending samples. On this six-track LP released on almost occult YNFND from Germany's ever rainy Baltic coast, the Scottish producer easily blends bluesy guitar riffs with wailing electronic pads. Shuffled backbeats melt with ominous samples into a sticky glue, trapping every listener into a bouncy dance. Kusht can already look back on a vivid and versatile back-catalog but still manages to top it off with a many-sided and thought-out work of art in his signature style. Full of folkloristic beats, Together has what it needs to become one of 2019's secret weapons, with early support of some of Germany's acknowledged tastemakers.
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