sabato 27 dicembre 2014
The days before Xmas have been so exciting that we can still feel that mood. Discosafari family went to Paris for a big occasion, for which we were preparing from months: to assist to the live show debut by Boot & Tax, the milanese duo of producers exploded in 2013 with Acido Ep on Optimo Trax.
After the success of their second work, Fusci EP, and after being included in FABRIC 77 by Erol Alkan, rumors keep spreading with the news that Boot & Tax are preparing their first album to be released in the early 2015. And now we can say it's true, since we heard a lot of new tracks played live during an amazing performance in Paris!
The date was on 20th December 2014 at Zig Zag Club, hosted by Remain from Meant Records and including the djset by Tim Paris and Ivan Smagghe as It's A Fine Line). That night, the atmosphere was really hot, but suddenly became hotter and hotter as the duo started with the live.
Here we have some breathtaking footage from Boot & Tax Live debut in Paris - have a look and enjoy yourself!
Boot and Tax next confirmed gigs and info for booking
Stay tuned for more!
martedì 23 settembre 2014
Mercoledì 24 Settembre vi aspettiamo in store per un aperitivo a suon di dischi. Poi tutti al nuovo OSSERVATORIO ASTRONOMICO in DUDE CLUB per ballare su un dancefloor mozzafiato, in viaggio con il djset di JD TWITCH, leggendaria metà del duo Optimo Espacio e label manager di Optimo Music. Non mancheranno i local heroes, storia presente e futura di Serendeepity:The Barking Dogs, Boot & Tax, VG+.
*5 YEARS SERENDEEPITY - Line Up*
18:00 - 21:00 > FUTURO TROPICALE
Osservatorio Astronomico at Dude Club:
23:00 - 00:30 > VG+
00:30 - 01:30 > BOOT & TAX
01:30 - 03:30 > JD TWITCH (OPTIMO)
03:30 - closing > THE BARKING DOGS
* Ingresso libero fino a mezzanotte
* Dopo mezzanotte, 10 € con consumazione
lunedì 15 settembre 2014
Following up from the stunning ‘You Will Soon Find That Life Is Wonderful’ 12” on Phonica’s Special Editions imprint, Sad City returns to the label with his new EP ‘Introduction To Lisboa/ Sloe’.
Glasgow-based producer Gary Caruth has evolved a highly original sound; deep, lush and widescreen electronics, from melancholic to ecstatic. Sonically, he continues where his last record left off and feels like the perfect companion to that well-received debut for Phonica. The record as a whole is composed of field recordings, with the basis for the first half of the EP, 'Introduction to Lisboa,’ utilising sound recorded in and around Lisbon. He explains, "I wanted the music and field recordings to meld at times, to obscure what was conventionally the musical element and what were field recordings, blurring the line between found sound and composition in the creation of a whole other.”
Opening track ‘Introduction To Lisboa’ builds and builds from near silence to a cacophony of field recordings and looped horns. It melds into ‘Baixa Saxaphone’, where carefully paced percussion patiently enters over a wash of synth. From then on a delicate balance of restrained percussion and spine-tingling atmospherics interplay before descending into a blissful outro.
As with the previous EP, the 12” is packaged in technicolour artwork by acclaimed London designer Jack Featherstone.
A1. Introduction to Lisboa
A2. Baixa Saxophone
venerdì 12 settembre 2014
mercoledì 10 settembre 2014
All nervous energy, ill-defined brilliance, detached emotion, and subdued minimalism, Man is Deaf is the debut album from London based electronic musician Brassica. Sophisticated and distinctive it distills Michael Anthony Wright’s storied musical past; capturing new wave, psych, synth music, avant garde electronics, house, and italo disco; without sounding consigned to any part of it.
Brassica’s obsession with sonic detail and fascination with composition have created something self-consciously experimental and intellectual yet wonderfully refined and thrillingly accessible. Seamless, idiosyncratic and immaculately produced yet wilfully lo-fi, the album is rich with musical and lyrical detail and while the originality and non-conformity at play is to be applauded, this album will not scare off anyone with an interest in music beyond the mainstream. Man is Deaf is not exactly a dance album; and although there is music you can dance to on it, it’s ability to excite is accomplished with no diminution on its makers creativity.
With the album full of melody lines by Moog and Fender Rhodes, rather than Roland 303s or 909s, Brassica is more likely to cite paragons like Talking Heads, King Crimson or Return to Forever as inspirations than Derrick May, Cabaret Voltaire or Aphex Twin, yet all these influences and more are cultivated to create something new that still manages to be oddly familiar. It’s in the pathos of the promiscuous liaisons between noirish anxiety, elements that could have been caned by Belgian new beat and Italian Cosmic DJs, naughty MIDI riffs and orchestral moments that this album generates a gripping power of its own.
Brassica’s vocals appear on three tracks; the hope giving and Arthur Russell resembling Tears I Can Afford, the theological questioning in Air esque Psychic Heartburn, and Deplore, a song for Travis Bickle. Guests vocalists include long time col- laborator Stuart Warwick, avant garde electronic producer Ghostape and notably Veronica So from celebrated noise/art band Teeth; (who begins her contribution on album opener Be Lost with the line “Everything Not Saved, Will Be Lost”, famously the unintentionally profound quit screen message from a Nintendo console).
Appealingly non-linear Man is Deaf is able to throw you off balance, grabbing your attention with moments that seem alternate- ly unnerving and endearing. Many overt eccentricities hide in this record. A vocoded Italian translation of Slayer’s “Dead Man Skin” in Ballo Dei Morti. Brian Ferry’s Saxophonist Jorja Renn appears on Be Lost and Psychic Heartburn. Anagrammatic Art Eb Lull Us was written on an old Hammond Organ with a nod towards Mike Oldfield. The Lodger contains the breaths and grunts of a contemporary dance troupe recorded in a collaboration 15 years prior, and the voice of Emile Bojesen (whose little doc- umented collaborations with Brassica as synth punk band Gold Blood) appears on No Apocalypse.
Louis Pasteur said “Chance favours only the prepared mind”. In creating the record Brassica adopted this ‘prepared- minded’ approach. As he tells it...
“This means I can generally go beyond the limits imposed by my education, social conditioning, etc. Rather than write with a theme or clear vision in mind, I work with semi-informed but broadly indiscriminate strokes, throwing ‘paint’ around, ob- serving where it lands. This can take various forms.. giving an experimental piece to an MC or an electro beat to a cellist, trying to play an instrument I can’t play or I dare say, overcoming a lifelong fear by exploring my own voice and lyric-writing ability..... Then there’s a process of looking for patterns amongst the chaos, After a while words form sentences, sentences form paragraphs, paragraphs form chapters of a story and eventually you end up with something more profound than if you’d planned the journey outright.”
Man is Deaf is released on 10th November on Civil Music and follows standout EPs ‘Hayat Zor’ and ‘Temple Fortune’ for the label and much coveted 12”s for innovative underground labels including Andy Blake’s Dissident, Tartaruga and Cyber Dance. Brassica’s remixes include Bicep, Errors, Ford & Lopatin, Alison Moyet, Fan Death, James Yuill and Teeth. His excellent an- alog live show features much of the ageing analog equipment used to create the album, and with it he has performed alongside artists like I-F, Egyptian Lover and Factory Floor at many of the europe’s top venues including London’s Fabric and Berlin’s Renaté in addition to being showcased by Dazed and Confused and I-D Magazine.
Listening to Man is Deaf is an easy pleasure, the sequencing, the pacing, and the mixing make it punchy and nervy, there is movement in it’s fibre and it gleams with the thrill of creating such appealing musical moire.
“Nature isn’t mute... Man is Deaf“. (Terence McKenna, Opening the Doors of Creativity).
A1. BE LOST (FEAT. VERONICA SO)
A2. DANCE (FEAT. STUART WARWICK)
B1. TURN ME (FEAT. GHOSTAPE)
B2. PSYCHIC HEARTBURN
C1. TEARS I CAN AFFORD
C2. ART EBB LULL US
D1. THE LODGER
D2. BALLO DEI MORTI
D3. NO APOCALYPSE
lunedì 8 settembre 2014
'Push’ sees the bridging of two minds, a spontaneous event of shared loops, ideas and vision. My Panda Shall Fly & Mau’lin join creative forces giving birth to five abstract free-form compositions. Having followed each others work for some years, the pair found themselves in an East London studio first commencing a sonic dialogue just days before Christmas.
Each track breathing a new life; a conventional genre is hard to pin down. Fusing elements of neo-jazz, broken house and down-tempo ambient, results as an eclectic product of unforeseen creativity.
Opening track ‘Sea Beast’ heralds entrance into a murky journey through time and space. With jilted, broken keys drizzled upon a throbbing bassline, a distant moan finds its way through dense textures. ‘Red', eases up tightened bolts, it lifts a hazy smog with its loose, almost 'Buddha Lounge’ melodies. A poly-rhythmic venture of crossing synths, snares and percussion each teasing the other in & out. Taking you into a videogame-like realm, ‘Gingerbread House’ summons intrigue with a conflict of virtuous and sinister emotives. Its minimal pulsing bass line transports an ethereal synth with playful bleeps and shuffling stirs.
Calling in Irish outfit Lakker, they instinctively gravitate towards the more organically moulded ‘15Keys’. Dismembering a canon of cascading marimbas and chromatic percussions, they splice and reconstruct it into a euphoric slow burner. Marking the last leg of an enchanted journey, ‘I’ finds its dance-floor energy in swelling melodies and a confident staccatoed bass gifted with sharp hi-hats & breaks. Twinkling keys descend as if embossing a newly-cleared night sky with falling stars. Devoid of preconceived concepts, MPSF & Mau’lin have managed to bind together their own musical idiosyncrasies creating an EP of seductive suspense and intelligent textures.
A01. Sea Beast
A03. Gingerbread House
B05. 15 Keys (Lakker Remix)
B06. 15 Keys (Bonus Digital)
venerdì 5 settembre 2014
2014 has been a continuation of what was a very busy and successful 2013 for Midland. Having set up his own imprint, Graded, last year he has gone on to contribute to JD Twitch's Autonomous Africa project, a yearly charity release which raises money for different African Charities. This has been swiftly followed up by the release of 'Before We leave' on Phonica White - the label that fathered his first solo release. And it doesn't stop there as we welcome Midland back for the 'Duster EP,' out on 15th September.
The secret to Midland’s success perhaps lies in his ability to keep his listeners guessing; with each new release, a new sound palette is presented, always adding more colour to his catalogue. This new EP is no exception as this time he draws out immersive pads and understated melody over the top of percussive grit, in parts channeling some of that irresistible Autonomous Africa flavour.
The release has already garnered support DJs and radio alike with Jamie XX playing out ‘Reflex’ on both his recent Boiler Room and BBC Radio 1 Guest mix, while another early unveiling of 'Pitch Drift' dropped recently on Benji B's show.
B2. Pitch Drift