Ohrwert

Oneiron is the perfect blend between the hypnotic and deep, letting for long the sign owned by Nühn's concept last years. This is the two tracks album by Ohrwert from Netherlands. Experienced man taking control on how to produce quality production. We are excited on this work for now opening the door to Arjen Schat this 2024 on Nühn Records main label, focused in club music.

La más bonita

del mundo

Aphex Twin / Paul Nicholson

Company: Aphex Twin

Designer: Paul Nicholson

Date: 1991

Note: This is a recreation of the logo and construction grid using the dimensions given from an original document.

Nicholson highlights that he wanted to share the images to set the record straight, citing the “many incorrect versions of this logo floating about” on the internet. “I thought it about time to release the definitive logo construction,” Nicholson wrote on Instagram. Further images reveal the designs of a matching typeface. The logo was drawn by hand using just “circle templates and rulers.” It remains just as innovative as the album.

Source: https://www.dazeddigital.com/.../aphex-twin-logo-designer...

Disclaimer: LogoDecks respects intellectual property rights and is committed to conducting business in an ethical and legal manner. The logo recreated by LogoDecks is intended for educational purposes and is not meant to infringe upon the original creator's rights.

Merzbow is just antipopular

This is released today by a writter from Barcelona, this book speaks about how experimental music can be related with popular music, but not only experimental basic terms, if not noise music, and many more, this book speaks about Merzbow, as founder of a electronic music label and having at least a 0,5 per cent of knowledge of all music information there is in all the music history, "at least" I know that Merzbow can not be related with popular terms, we would have to listen bit more about Merzbow character to understand that him can not support listening to no any popular music, he is not here then to be related with no any group or band into popular music of no any age in music history. If anyone is interested to know to Merzbow character there are lots of interviews of him around internet, and if you are a music writter or try be a music writter do not commit these mistakes.

Global Communication

Global Communication – Transmissions

Label : Evolution Records/Beat Records

Catalogue Number: BEVOR11

Format : 3xCD Box Set

Country: Japan

Release Year : 2020

Global Communication are Tom Middelton and Mark Pritchard. They began recording in 1991 and in a short space of time released a huge amount of music collectively and individually, in a broad range of styles, including records under names such as Link, E621, Reload, The Chameleon and Jedi Knights. It’s the work they made together as Global Communication however that has proved to be the most enduring.

"This is in no small part down to the formidable reputation of their sole studio album, 76:14, widely considered to be an ambient techno classic, hailed by The Guardian as "an unfathomably beautiful out-of-time masterpiece" and no.11 in Mixmag’s best dance albums of all time.

This new anthology is the most definitive overview of their music to date, issued on the group’s own Evolution label and remastered from the original DAT tapes, with care taken to retain the full dynamics of the original recordings. Every detail has been painstakingly overseen by Tom and Mark, accompanied by in-depth sleevenotes by Ben Cardew and beautifully updated sleeve designs by Mark Gowing. As well as 76:14 presented in stunning new sound quality, it also contains two other albums. Pentamerous Metamorphosis was their revolutionary full album overhaul of the Blood Music album by labelmates Chapterhouse. Whilst retaining some elements of the shoegaze guitar music of the original recording to use as building blocks, Global Communication essentially crafted their own album out of the results, and the result is a lesser known but equally fine-crafted companion to the much-loved 76:14.

The third record in this set is a special compilation Mark and Tom have assembled of classic non-album 12” tracks and radical remixes of other artists, something also flipped on it’s head by a brand new cover version by Lone (R&S Records) of the anthemic 5:23. Curated Singes & Remixes highlights that even within the framework of Global Communication, Tom and Mark were music enthusiasts first and foremost and their restless experimentation did not rest on one particular musical genre. As well as the tracks from debut EP, Keongaku, which signposted what was to come with 76:14, there’s also the house classics “The Way” and “The Deep” and their stunning reconstructions of tracks by The Grid and Sensorama (Roman Flügel and Jörn Elling Wuttke). On the CD is a previously unheard cassette demo of 7:39 which will be a must-hear for fans of the group."

Mr. Scruff

Keep It Unreal is the second studio album by English disc jockey, Andrew Carthy, under the alias Mr. Scruff. It includes the hit single "Get a Move On!", which is an electro swing track built upon samples of Moondog's "Bird's Lament (In Memory of Charlie Parker)" alongside vocals from T-Bone Walker's "Hypin' Woman Blues." The album ends with "Fish", a track made up of samples about marine life, which is a motif of Mr. Scruff. 25th Anniversary Album Released 7 June 1999 

Thank you

Thank you for all the awesome critics Nühn is receiving these last months via email, I did not expect that

5th June 2024

🤟 

Pero una barbaridad

Léo Dupleix

Léo Dupleix / Resonant Trees

Black Truffle presents Resonant Trees, the first vinyl release from French composer-performer Léo Dupleix. An active member of the international community of younger musicians working with just intonation, Dupleix has composed works for solo instrumentalists and ensembles in Europe and Japan, as well as performing extensively on harpsichord, piano and electronics. His music is distinguished by a formal clarity and elegance of surface, gently shaping pure intervals into delicate melodic patterns and shimmering harmonic planes. Resonant Trees presents two side-long pieces for harpsichord and ensemble, both setting slowly repeating patterns played on harpsichord and guitar within an environment of sustained tones. Dupleix performs on a French double manual harpsichord and Prophet synthesizer, joined by Juliette Adam (bass clarinet), Johanna Bartz (traverso flute), Cyprien Busolini (viola), Fredrik Rasten (6- and 12-string guitars), and Mara Winter (traverso flute). The harpsichord begins "Resonant Tree I" alone, slowly sounding out a series of arpeggiated chords that emphasize the unique (and for unaccustomed listeners, sometimes unsettling) harmonic and timbral qualities of justly tuned intervals. Long tones from synthesizer, bass clarinet, viola and Baroque traverso flutes slowly creep into the spaces between the arpeggiated chords, joined after several minutes by delicate patterns of harmonics played by Rasten on acoustic guitars. On "Resonant Tree II," a similar structure and ensemble (without the flutes) are used with quite different results. Joined again by long tones from the ensemble, here the viola is particularly prominent and its interplay with the harpsichord creates fascinating acoustic effects. In both pieces, repetition gives the music a static, stable quality while, at the same time, the exact shape of the repeating patterns remains difficult to grasp. As Dupleix writes, these pieces dream of music as "space and a sound that one could grasp in one's hand." As the near-static quality of the repetitions and long tones with little incident make these two stretches of musical time feel like spaces for the listener to inhabit, the small variations on a narrow range of related material act like a three-dimensional object whose each facet is examined in turn. At once austere and seductive, Resonant Trees takes its place beside the work of contemporaries like Catherine Lamb, while also calling up the languorous melodic world of Mamoru Fujieda, the dignified melancholy of Satoshi Ashikawa's classic Still Way and the espaliered chamber atmospherics of the Obscure catalogue.

ARTCORE MACHINE

ARTCORE MACHINE, a project formed by producers Moreno Padoan and Roberto Beltrame, ventures into experimental electronic music with the aim of creating a sound experience beyond conventional boundaries. Their concept of composing abstract music for the expansion of consciousness reflects a revolutionary spirit similar to 60s/70s psychedelia, reshaping the role of electronic music.

IDM, Industrial, Rythmic Noise and downtempo sounds blend perfectly in AM's work,

creating a unique sound collage. Using both analogue machines and digital software

showcases their technical versatility, seen on albums such as 'Polybius' (2011),

'Lamina' (2014) and 'Dubh' (2019). The duo's music, characterized by a dark, anxious, cerebral and chaotic style, guides the listener through a unique sensorial/emotional journey. AM's impact is evident through the live sets performed from 2011 to 2018, both in Italy and abroad, which demonstrate their ability to transform their work into engaging live experiences. The dissolution in 2019 and the reform in 2024 add an element of evolution to their artistic path. In conclusion, AM boldly explores new sonic territories, transforming abstract electronic music into a means of artistic expression and awareness.