Hainbach may be known to most as the YouTuber with a bespectacled gaze, talking to you about weird old sound gear. But his ambient music is absolutely beguiling.
“Gestures,” his new LP this month, is a gauzy, sensitive reverie, as ghosts of piano loops slip between washes of delicate oscillator tones. Nothing is overthought or precious; there’s a gentle openness to each sound.
From the description:
Gestures is an album of disappearing and acceptance. The sense of loss is lifted by interweaving piano phrases, harmonized by fragile oscillators. Gentle movements above radio antennas guided the recording process, adding an incorporeal, dreamlike feel.
Cassettes are sold out, but vinyl is still available.
Digital is through today only name what you want, because the artist says he just wants it to be widely heard.
But maybe there’s the resonance between Hainbach’s art and his YouTube channel – he’s someone who is simply glad to welcome you into his home and share what he’s doing. So that transparency is there in his labor-of-love discussions of his tools, but also there in the easy intimacy of his mixes and compositions, too.
Here’s a new music jam from him, as well:
In art it is possible to create a sense of clarity that is difficult to attain in everyday life. That is a huge attraction to me. Here I am playing the Bellinger eKalimba and OP1 into the Ciat-Lonbarde Plumbutter, with Thyme generating lovely rhythms.
And in case you missed it, our last stop by Hainbach with our new MeeBlip geode:
Let’s transport you to Berlin for a while – with three of us who share interests in techno and experimental electronic music, drawn from broader music and technological background.
I’m fortunate to get to join Jessica Kert, Lana Lain, and SDX tonight at Berlin’s Suicide Club. I’ve been a fan of Jessica’s music ever since first giving it a deep listening on her Detroit Underground outing. And as Jessica is deep into technology, it’s also worth noting that Lana Lain’s backround in techno is drawn from classical education. I think the days when there was a line drawn between such things are over. (That also means, in turn, erasing the attitude toward dance music as being a lesser form of expression, which speaking as an American to me suggests some fairly racist overtones.)
But let’s skip directly to the music. I’ve also got a new mix out this week, revealing some of the heavier sounds I’ve been into.
Jessica Kert(pictured at work, top) is a familiar face as one of the experts staffing Schneidersladen, but you should know her music as well – both solo and as half of the duo ZV_K.
Her outing on Detroit Underground DW is a modular magnum opus and one of my favorite DU releases of late:
But she’s also an adept live performance improviser – which will be on showcase tonight.
Check out her mix, too:
She’ll be joined on live visuals by defasten, who has been up to some superb alien eye candy, produced with software (modular, of sorts) Notch:
Lana Lain was born in Russian Karelia, but established herself in Stockholm before recently moving to Berlin. She’s been hyperactive in the music scene, including building her ФОМО party series (and accompanying radio show on the UK’s Fnoob Techno Radio. That has carved a space in Sweden for international art friendly to gay, queer, and fetish culture. I hope to talk to her more about that network soon, but in the meantime, here’s the terrific techno mix she did recently for Fast Forward:
I’ll also share a new mix of my own, channeling some harder, driving sets and favorites – and digging through this, I’m encouraged by how the darker, weirder sides of electronic music have gotten some real popularity in techno. These artists aren’t fringe any more, at least getting a growing following around the rich networks of fans in parties in Europe and abroad.
ˈYO͞ONƏˌSEKS is the new podcast and party series from ANRI, the Yokohama-born, prolific producer, DJ, and party organizer. Her work got her deep into Tokyo’s underground, before bringing that sensibility to Berlin, where she’s served as a bridge between the techno communities in Japan and Germany. So it’s a pleasure to reflect a bit of what I’ve gotten to experience from her circle into my own response:
Track listing – go find those folks and labels on Bandcamp or your favorite store (like Rotterdam’s Mord, who I didn’t repeat her intentionally, but whose Bandcamp page is well worth a splurge):
Pris – Ad Infinitum [Avian]
Donato Dozzy – Parola featuring Anna Caragnano (Rework) [Spazio Disponibile]
Some things are labeled in misleading ways. Some people will lie to you about who or what they are. Air Liquide’s “This Is A Mind Trip” is … a mind trip. That is all.
“You can’t really understand music / xxx if you haven’t had drugs” always struck me as one of the most annoying and narrow-minded things people say. But you know, if your day is overly normal, and all you have is your computer here or computational device – which I can presume from the fact that you’re reading this – I give you this video:
It’s a music video for Air Liquide, which is to say there’s tons of stacked, chemical-seared chaos melting into your screen. the29nov films, the Berlin-based outlet specializing in music videos, provide the visuals, but under the influence of Air Liquide go somewhere way trippier than usual. Mind trip, not a body trip. (Poet Mary S Applegate, ongoing collaborator, provides the voiceover and poetry.)
There’s a whole wonderful EP to go along with this. “Die Singende Saege” is a chilled out eye of the storm in the center, a dubby interlude that stutters and melts. Then “Zeitgeber 3” powers through at the end.
Liquid Sky have been up to other visual mayhem in its new undisclosed outpost in Portugal (having fled Germany). Acid more of the 303 variety gets densely packed with 90s-ish video layers, in an artist special with guest Sascha Mueller:
And then if you keep scrolling, you get to opera singers overdubbed with modem sounds. You’ve scrolled here, too, so I think you’ve earned this. Bravo.
2019 – it’s a year when many of us are, let’s say, having some trouble chilling, relaxing, or … uh sleeping, to say nothing of meditating or studying. Fortunately, if you want a Eurorack modular solution, your ship has come in.
“Life can feel too fast sometimes,” say the creators. Yeah, no s***, especially with a world that is apparently actively on fire and run by people who seem to want to fan the flames rather than put it out. Wait, sorry, what was I talking about? Oh yeah. Chill. Slow down. Om.
Or rather, turn that Om into Ohm.
Dawless Jamming has an open call for meditative modular, extending on the channel’s patches and whatnot. Literally it came to the moderator in a dream, they say – “Rings into Clouds Forever.”
More details on the YouTube link above.
Breathe in, breathe out. Your patch cables are getting very heavy…
Let go of your fears and attachments. Do not worry about personal possessions… oh, wait, you let go of all of those already, you’re in modular…
Great stuff, though for me it still can’t top the soporific impact of this:
It’s the Detroit-Croydon connection. But for innovative electronic dance sounds, you really don’t want to miss James Ruskin – either his new EP or the refreshed Bandcamp page for Blueprint Records.
First, out today, you get a new James Ruskin EP – and it’s brilliant, worth the five year wait from the last one. This time, we’ll get a second solo Ruskin by the fall, plus something new on 12″ from the always-excellent Truncate, all on Ruskin’s stalwart Blueprint Records (founded back in the storied 1990s with (Richard) Poison.
I mean, blah blah, techno is dead, nothing new is happening, I can’t hear you over this track, just for example –
Yes, techno is perhaps overly driven by influencers and Instagram accounts, except I can’t really think of anything intelligent to say other than “go hear it.” Maybe I should work out my wardrobe and just tell you that from Instagram and adapt to the times.
You can have it today on vinyl – still in stock at Decks for a slim 9 bucks:
But don’t stop there, as it appears the full Blueprint Bandcamp page has gotten a refresh, chock full of re-released back catalog. Also this week is this lovely collab with Mark Broom:
And then Blueprint just goes on and on from there, from Samuel Kerridge and Surgeon, whose St. Petersburg sets last weekend are part of the reason CDM news has been a bit slow on the road this week, to Lakker and O/V/R and (obviously) Sigha. Have at it then. It’s summer (for one hemisphere), and music is still endless joy (for everyone, I hope).
James Ruskin will release his first solo EP in five years later this month.
Reality Broadcast Off, the influential UK techno artist’s first solo EP since 2014’s Nan Nife,
has three tracks that find Ruskin in the sort of deep techno mode of
Ostgut Ton peers like Marcel Dettmann, who played “Disaffection” on a recent mix for BBC Radio 1. The EP will come out on Ruskin’s long-running label, Blueprint Records, on July 19th.
Blueprint also has two more releases in the works. A second solo Ruskin EP is scheduled for this autumn, followed by a new Truncate 12-inch. More details will follow soon.
Dear young Buster: why do you look so sad and lonely? Don’t you know that having a yellow Teenage Engineering pocket modular is all the love you need?
Okay, so Buster is in fact Millenial Swedish pop star up and comer Emil Lennstrand, and he is the first face of a record label (really) from the perpetually-open-to-creative-distraction crew of Teenage Engineering. You see, having done cameras for IKEA and marketing campaigns and various synthesizers and … bicycles and lamps and other things … the Teenagers are now getting into a record label.
It’s surprisingly silky-smooth pop from this otherwise fairly hypernerdy and experimental Stockholm shop. But it does predictably feature Teenage Engineering instruments – in this case the pocket operator modular.
They bill the song as “partly produced” by that system 400 (what – the modular isn’t used on the vocals?). But it’s slick stuff, for sure.
The other star of the music video is this – TE’s pocket operator modular series.
So what’s up with the record label? It’s tough to tell from this one track, but here’s what the Teenagers say for themselves:
first teenage engineering started their own band to field test their instruments. now they are taking the next step starting a record label for songs made with teenage engineering products. there are just two rules, it needs to be a good song (easy) and have at least one of teenage engineerings instruments used in the song. the main distribution platform for their releases will be spotify.
Now that’s some serious Swedish loyalty, going Spotify only.
I’m slightly confused, but intrigued. To my mind, the OP-Z remains the best thing recently from Teenage Engineering hands down, but stay tuned for my explanation of why I feel that way.
And there’s more Teenage Engineering stuff to come, including me joining them in Barcelona during SONAR+D this summer – which means a chance to grill them for more information, of course.
If you need a break from buttoned-up techno, dance music as business and fashion statement and morose wallpaper – take a holiday with some “trippy mindfkk-muzzikkk.” Here, we’ve got 170 tracks from 1991 Cologne to today to get utterly weird.
In 1990s Cologne, if the techno scene was spread too thin, you could just manufacture a few dozen aliases and DIY the whole thing. At least that seems to be the approach taken by our friends Air Liquide, aka Cem Oral and Ingmar Koch, and a half dozen or so core artists – a band of buddies making weirdo sounds. See the full alias list at bottom, but DJ DB (aka DB Burkeman) traced the history of the duo for the now-defunct THUMP from VICE:
Now, just when you thought it was safe to go back to Germany, Air Liquide have returned to make European electronics mindfkked again.
We’ve got over 16 hours – 170 tracks – on streaming services like Spotify, chronicling the evolution (or whatever it was) of Air Liquide from 1991 through today. The sounds are futuristic, spacey, hyperactive, bizarre – everything in turns. You know you need some broken ultra-fast acid piping through Spotify on your next workout, of course:
But in addition to that history, their label Blue is back.
Maybe this comes at an ideal time. With so many records sounding like generational loss – copies of copies of 90s records, watered down and sanitized and fed through Instagram – the new Air Liquide project is both real media archaeology and real invention. You get remasters and rereleases of the actual original records, and – this is important – they’re making new stuff.
Air Liquide are back.
So albums like Liquid Air and Mercury EP are returning on colored vinyl and cheap-for-everybody digital. But you can also expect new creations, like a mini-album called “ALTR” which they’ve let CDM know they’re finishing now with German rave legend t.raumschmiere. And there’s upcoming collaboration with American poet Mary S. Applegate – yes, the cousin of Christina Applegate – later this year, along with other releases.
There’s even some unreleased 1992-93 era stuff in store, they tell us.
Included is “some crazy tripmusic we love – paired with some of our own brain fkk trax” – up to 94 tracks and over 8 hours so far, from around the world and the years:
Their favorite machines
One thread through all this music is a real, profound love for sound and electronics – and synths and noisemakers and effects, like, everywhere.
CDM asked for some of the duo’s favorite stuff, and here’s what they’ve come up with:
erica synths technosystem
akai mpc3000 (modded)
akai mpc60 mk 1 (modded)
ensoniq asr x (modded)
superpocketoperator build by doc analog with 2x teenage engineering po32, ipad with patterning2 and erica synths fusion valve filters. all in an old army flightcase
endorphin.es black noir with twisted electrons crazy8beats
ninja tune zendelay
erica synths & gamechanger audio plasmadrive
bastl instruments dark matter
crazy tube circuits stereo splash mk III
snazzy fx wownflutter
on the wishlist:
korg prologue 16
emu e II+ (modded)
roland 750 (modded)
superlatives sb1 spacebee
Postlude: namedrop this, m************:
Yeah, okay, starting a sentence with “maybe you’ve heard of” with Air Liquide could take a while if you want to check on all their aliases. From the VICE report – amazingly, possibly even incomplete:
Madonna 303, Black One, Digital Dirt Inc, Ingy-Babe, John Amok, Unit 700, Acid All Stars, Der Tote, DR. Echo, Free Radicals, Flüssige Luft, G 104, Message, Oral Experience, Alpha Unit, Basstards, The, Bionic Skank, Cipher Code, Cube 40, Denpasar, Electronic Dub, Ethik II, Even Brooklyn Grooves, Fridge Pro 1, Future Shock Project, Futuristic Dub Foundation, G.L. Posse, German Electronic Foundation, M.F.A., Mental Bazar, Multicore L.T.D., Non Toxique Lost, Outernational Steppers, Restgeraeusch, Rub-A-Slide, Set Fatale, Slime Slurps, , Time Tunnel, Titanium Steel Screws, Tone Manipulators, Trancemagma, Dzeta Walker, Ultrahigh, UMO, Vene, View Point Odyssey, Zulutronic, Black One, Digital Dirt Inc, Dr. Walker, Ingy-Babe, John Amok, 370°, Acid Force, Air Liquide, Alternate States, Atlantic Trance, Bleep, The, Brotherz In Armz, Cipher Code, Commando, The Creature, Denpasar, Dr. Walker & Electro Atomu, Dr. Walker & M. Flux, Electrochic, Electronic Dub, Elevator 101, Ermionis Phunk Crew, Ethik II, Fridge Pro 1, Future Shock Project, German Electronic Foundation, Gizz TV & Walker, Global Electronic Network, Helden Der Revolution, House Hallucinates, GEF, Khan & Walker, Lovecore, Mental Bazar, Mono-Tone, Multicore L.T.D., Pierrot Premier, Planet Love Ink, Planet Lovecore, Psychedelic Kitchen, Radiowaves, Recall IV, Red Light District, Rei$$dorf Force, Resist 101, South 2nd, Stardate 1973, Structure, Tantra-M, Technoline, Time Tunnel, Trancemagma, Trip 2001, Unbelievable, Unlimited Pleasure, Vermona, View Point Odyssey, Dr. W and X-911.
They have shared this new short bio/history with us, to give you the full story:
Born out of innovation & originality, Air Liquide are for many people one of contemporary electronic music cultures most pioneering, important and inspiring projects.
Cem Oral aka Jammin Unit and Ingmar Koch (Dr.Walker) first met in 1989 in a Studio in Frankfurt Main, in Germany. As it often is when like attracts like, it wasn’t long before they recognized their mutual love, not only for experimental, abstract and lo-fi musics but also for Alien, Bigfoot, Telepathy stories of Parallel Universes and Fairytales with a somewhat darker side. So it was just a matter of time before the two were getting together in the studio at the end of their respective dayshifts, to commence their own nightshift recording sessions of abstract noise, cut-ups and experimental soundscapes.
As well as Techno itself, likewise Acid, Industrial Noise, Ernste Musik, Ambient, Kraut Rock, Space-rock, 70s Psychedelia Underground Hip Hop and Musique Concrete were all somehow present and in the mix of the evolving Air Liquide sound, sitting comfortably and perfectly at home with elements of Turkish and Arabian traditional Music’s. The production process took on board a similar innovative and pioneering approach in its fusion of Modern Dub paired with the intensity of the all important groundbreaking Roland 909, 808, 303 and 101 must have technology of the day.
In 1991, they formed Air Liquide.
The fusion that was created boldly incorporated a past it was proud of, free of revivalism or plagiarism, clearly created in and reflecting undeniably a soundscape for the here and now that proclaimed uncompromisingly and assuredly, welcome to the future!
In keeping with every other aspect of their venture, Cem and Ingmar followed their intuition and instincts rather than established tradition, and immersed themselves in freestyle jam sessions, recording the entire one or two hours that they lasted. Upon later listening it would be decided if any parts of the jam session were up to the pairs criteria to be edited out and tweeked into tracks for release.
This is the paradigm within which the Air Liquide creative process birthed “Neue Frankfurter Elektronik Schule”, their first record, released in 1991 on their own label ”Blue”. The first pressing of 1000 copies, released on coloured vinyl, sold out in the first hour after its release!
This was a remarkable achievement, for an unknown band without any direct link to the House Music Scene. Via experimentation Air Liquide reintroduced a living breathing life affirming energy into contemporary music culture, much the same as techno and house did via rave and most importantly dancing. No surprise then that in a very short space of time, accolades like ‘The true heirs to Can’, ‘The Greatful Dead of Techno’ & ‘The spearhead of German Techno’ were incoming thick and fast from the International Music press. Their mixture of Hip Hop, Psyche & Krautrock, Acid & Techno endeared them to a rapidly established and increasing fan base around the Cologne area.
Their eclecticism, originality and self respect, as apparent in a seemingly “no respect for any rules” approach endeared them to that international music press, fans and professionals alike, especially as those professionals were born of the same spirit, as it had been in their own break through years. Like attracts like, the true fans of such musics, such fusions and the spaces that are created for and by these musics, of course could and can feel that, and step up to support it without question.
Then you have guests at your live jams like Michael Rother, Holger Czukay, Luke Vibert, Helmut Zerlett, Craig Anderton, Arno Steffen, Caspar Pound, Fm Einheit. Then your 100% improvised live shows successfully bring surprise, ecstasy, the unexpected and exactly all that people are wanting from you, as well in ways they are not expecting, all in a guaranteed we deliver way, regardless however it may be presented. Then you will be invited to join the roster of USA sm:)e records, the cult sub-label of Profile, that being the label of Run DMC. Likewise in UK, being asked to release on Casper Pounds all important Rising High Records.
And when your fusion of the experimental soul of contemporary electronica and krautrock creates such a superb and flawless fusion that fans from both sound spectrums love you for it, well then one of the all time forward thinking labels ever, Harvest records, will come out of retirement and re activate solely for the purpose of releasing your recordings.
Which is exactly what happened in 1993. That happens if you mean what your doing and if what you are doing is truly valid and unquestionably relevant.
Air Liquide were inspired, moulded by and arose from within that timeless borderless creative Freezone that births truly great Sound & Vision in every respect. It is where they still reside, and it is from there that they now re-emerge to mark 3 decades of living on the frontiers of International ground breaking contemporary ahead of the curve Music, Art, and attendant Technology subcultures.
Air Liquide represent the ultimate fusion of ideals, not believing the hype, not being swayed by past or present dogmas and staying true to their innermost aims and feelings, without question. The real thing if you will. Air Liquide were since their inception in 1991, always have been and still are very much the real thing, through and through!
Modern photos by George Nebieridze; all pictures courtesy Air Liquide.
Computer and modular machine textures collide with explosions of projected particles and glitching colored textures. Now the full concert footage of the duo Belief Defect (on Raster) is out.
It’s tough to get quality full-length live performance video – previously writing about this performance I had to refer to a short excerpt; a lot of the time you can only say “you had to be there” and point to distorted cell phone snippets. So it’s nice to be able to watch a performance end-to-end from the comfort of your chair.
Transport yourself to the dirigible-scaled hollowed-out power plant above Kraftwerk (even mighty Tresor club is just the basement), from Atonal Festival. It’s a set that’s full of angry, anxious, crunchy-distorted goodness:
(Actually even having listened to the album a lot, it’s nice to sit and retrace the full live set and see how they composed/improvised it. I would say record your live sets, fellow artists, except I know about how the usual Recording Curse works – when the Zoom’s batteries are charged up and the sound isn’t distorted and you remember to hit record is so often … the day you play your worst. They escaped this somehow.)
And Belief Defect represent some of the frontier of what’s possible in epic, festival mainstage-sized experimentalism, both analog and digital, sonic and visual. I got to write extensively about their process, with some support from Native Instruments, and more in-depth here:
While we’re talking Raster label – the label formerly Raster-Noton before it again divided so Olaf Bender’s Raster and Carsten Nicolai’s Noton could focus on their own direction – here’s some more. Dasha Rush joined Electronic Beats for a rare portrait of her process and approach, including the live audiovisual-dance collaboration with dancer/choreographer Valentin Tszin and, on visuals, Stanislav Glazov. (Glazov is a talented musician, as well, producing and playing as Procedural aka Prcdrl, as well as a total Touch Designer whiz.)
And Dasha’s work, elegantly balanced between club and experimental contexts with every mix between, is always inspired.
Here’s that profile, though I hope to check in more shortly with how Stas and Valentin work with Kinect and dance, as well as how Stas integrates visuals with his modular sound:
April is a generous month for fans of unusual Ukrainian compilations – now having covered new braindance from the country, we’re directed by readers to another set, giving a tour of experimentalism and electronic composition.
Flaming Pines is a wonderful label for experimental music, also setting up its virtual home on Bandcamp, that last best hope for underground digital downloads and physical releases. Check their full catalog for adventurous sounds from 9T Antiope (great stuff) to Kate Carr (seriously, just go give those a listen). The label, a transplant from Sydney to London, has also taken on a number of tours of experimental electronic scenes in far-off locales, including a gorgeous Iranian compilation called Absence, and up-and-coming Vietnamese avant garde in Emergence.
It’s not so much exoticism the label seems to find as threads connecting kindred spirits. And now, having plumbed the depths of mystical sound in Ukrainian duo Gamardah Fungus, the label brings back half of that duo to curate a selection of sounds from that motherland. Igor Yalivec is the guide here, leading us in just twelve tracks to some highlights of established compositional voices and younger contributions alike. Igor you’ll also find showing off modular musicianship as a solo artist in addition to working in the duo:
Guitar and electronics yield magical metallic timbres like a lucid dream, in the work of Gamardah Fungus – some potent brew of remembered folklore and time-warped futurism. It’s Slavic spirit ambient, but always inventive – modal melodies tensely wandering about layers of tape and sound:
So this was a perfect starting point for Kaleiodoscope. That leads to Alla Zahaikevych (aka Zagaykevych) – her work spanning traditional concert music training, historical folk singing technique (with over a decade singing in an ensemble dedicated to the practice), and founding the Electronic Music Studio of Kyiv’s National Music Academy of Ukraine. I can’t think of many composers covering that many directions in a single career worldwide, making her a leader on that stage as well as in Ukraine.
Or there’s Andrey Kiritchenko, obsessively prolific generation X-aged composer who founded the cutting-edge Nexsound label – and has worked with names like Kim Cascone, Francisco López, Andreas Tilliander, Frank Bretschneider, Scanner, Charlemagne Palestine, and many others.
But thinking in generations or separating academy from disreputable underground – it’s fitting that we cross those borders freely now. So it’s an easy step to a younger artist like Motorpig, a visceral, dark project spanning techno, industrial, and experimental veins – and things that are none of those, but rather ambient, undulating merry-go-rounds of texture. (Been a while since there was new Motorpig, so I’m up for any new track):
To come full circle, understanding the reason for this journey out to Ukraine, it’s worth hearing the terrifically nuanced sound world of Flaming Pines’ own Kate Carr. These are ambient soundscapes that breathe and ache, as precarious and fragile as evidently the artist was recording them – “sliding about in freezing mud on steep inclines.” And maybe that’s what this is all about – music that invokes deep spirits and puts itself in positions of extreme difficulty, all to catch fleeting moments of beauty.
So the compilation promises great things – like this utterly chilling vocal composition by Alla Zagaykevych, some evidently convolved, ghostly sound that seems to be about to blow away like frost:
Also in future-vocal territory, Andrey Kiritchenko delivers a chanting vocoder:
The art, at top, also comes from Ukraine – artist Alina Gaeva. I look forward to the compilation coming out on April 22 – but there’s plenty of link holes to drain our PayPal accounts on Bandcamp in the meantime.
And all of this makes a nice contrast to that naive nerdy braindance business from a couple of days ago. Previously, on “there’s a lot of really cool music from Ukraine on Bandcamp now and it’s worth dropping doing other things to talk about it”:
The letters titling the release spell out, in Cyrllic, “sh**s.” And more than just another dull compilation, this collection of tracks is a statement – in opposition to commercialism and homogeny, in favor of “braindance” weirdness.
The earnest voices of the ШЩЦ creators intone their explanation in an ‘intro’ track you get with the download. “We have power to … make it not commercial, to make it true, to make it native,” they explain – “emotional music, true music from true people.” 23 artists were picked out of hundreds, and the result is a pay-what-you-will Bandcamp release plus a DVD physical copy. (Just got a confirmation – the DVD I impulse-bought is coming in the mail. This should complete my antiquated release format bingo, alongside floppies and game cartridges and VHS tapes and so on….)
ШЩЦ is a party in Kyiv as well as this first music release, and so in addition to lots of new names, you’ll see the likes of Stanislav Tolkachev. The collective itself is based in the capital city, but connects a group from around the country.
You’ll find some magical and surprising arrangements here. And in an age that so often trends between molasses-thick irony and nostalgia on one hand, or dark dystopia on the other, this is music that that’s free, experimental, and optimistic. Just to name a few favorites, and I like this top to bottom – Xtal’s “A-Body” shimmers with cascades of glistening tunes across a frosty-rich percussion bed. Sztvo’s “Heaton” is equally gorgeous, sunlit-warm stuff. “Famergame” is total insanity, by Potreba – please, please DJ with this and invite me. Jubex “Pass In The Dust” feels almost like the Detroit-Kyiv electro connection, with some dry digital newness thrown in. “Hibernation” by S+ is frenetic and urgent. And yeah, Tolkachev’s contribution sounds like there was a transporter accident on the disco floor. Everywhere there are rhythms that range from frantic digital streams to dorky awkward irregularity.
We’ve heard these timbres and rhythms before, but to me ШЩЦ is a sign that what was once high-falutin’ computer craft has become downright punk – and just as easy and spontaneous, rather than sounding overworked or off-putting.
Ukraine now post-revolution is like UK 90s, they argue. But hey, UK or not, why not go oldschool by making connections just by putting together some tracks and being decidedly weird. More of that, please.
“Listen on Bandcamp … and also, wherever in Internet.”
I also dig that their description reads like a manifesto:
ШЩЦ (SHITS) is a new Ukrainian label that started as a club night in December 2016. It was founded by A-Body, Bodya Konakov and their friends and promotes ‘Braindance’ — a much loved and misunderstood genre of electronic music, forgotten by some and indeed new to others, especially in Ukraine. Label founders want to show a kind of ‘family’ of ukrainian artists (by no means a monopoly) who introducing more freedom and versatility to music. These artists feel that there is a void in the country’s dance music that few were attempting to fill so ШЩЦ (SHITS) aims to demonstrate to the rest of the world that Ukrainian braindance music can be entirely original. Also, it disregards the all-to-common commercial genres and wants to show alternative side of dance music.
They tries to demonstrate this in VARIOUS ARTISTS ШЩЦ01, a DVD compilation.
The compilation features 23 musicians from Ukraine, which makes innovative, but at the same time emotional music. This is the friends of the label who have repeatedly performed at concerts and parties of the ШЩЦ (SHITS), including such names as Stanislav Tolkachev, A-Body, Wulffius, Potreba, Sommer, Tofudj, Sasha Very, Acid Jordan, etc.
Also label places equal importance on the evolution of fresh artists on the scene and aims to offer a fair contract for everyone.