The second volume of Black Quartz features a couple of favourites from the last couple of years and is available now for limited download and unlimited stream.01. Dedekind Cut – Tahoe [kranky]
02. Tim Hecker – This Life [sunblind music]
03. Dalhous – Methods Of Elan [Blackest Ever Black]
04. Huerco S – A Sea Of Love [Proibito]
05. HTRK – Give It Up [Ghostly International]
06. Rezzett – Worst Ever Contender [The Trilogy Tapes]
07. Laurel Halo – Chance Of Rain [Hyperdub]
08. Hashman Deejay – Mozaic [Future Times]
09. Lifted – Silver [PAN]
10. Dean Blunt, Inga Copeland – 8 [Hyperdub]
11. Anno Luz – Por Que [Music from Memory]
12. Carla dal Forno – Make Up Talk [Blackest Ever Black]
For the download, please subscribe to the newsletter.
On this very day, ten years ago, the first article on this blog was posted. And while the blog is no more, Nutriot lives on as a record label. In order to celebrate, we’re launching a new series of mixtapes called “Black Quartz”. Unlimited stream and limited download for all subscribers!
Mashups have been a huge thing in the early 2000s and you either love or hate them – it’s a tricky territory for sure! I’m not saying that D. Begun’s second volume of Nasimoto is a pure love affair, but there are some tunes on it that are more a reminiscence to your youth, definitely worth checking out the free download. If you missed the first one, let me explain: both records are basically mashups of the Quasimoto albums with Nas lyrics on top.
Don’t let the title confuse you, apparently Warp’s own patten has decided to reset the counter for his long running series of edits (volumes eight and seventeen came out in 2014). But that’s just the details, what’s more important is the music.1. J$tash x Andy Milonakis x Kohh – Hiroi Sekai (2014, Relax Records)
2. Cocteau Twins – Suckling The Mender (1988, 4AD/Rough Trade)
3. Tim Hecker – No Drums (2011, Kranky)
4. Rihanna – James Joint (2016, Roc Nation)
5. Boards of Canada – Amo Bishop Roden (2000, Warp Records)
6. Death Grips – Warping (2016, Harvest/Third Worlds)
7. Cypress Hill – I Want To Get High (1993, Columbia/Ruffhouse Records) / dialogue & additional sound – Beverly Hills Cop 3 (1994, Paramount Pictures) / My Bloody Valentine – Instrumental B* (1988, Creation) *via Public Enemy – Security Of The First World (1988, Def Jam/Columbia)
8. Julianna Barwick – Nebula (2016, Dead Oceans)
I recommend you download these as soon as you can, before anyone decides to take them down!
Having seen both Dorian Concept and Taylor McFerrin at last year’s Worldwide Awards, it’s inevitable to wonder if that’s where the idea for this remix was born. Somewhat an odd choice to remix the intro to Taylor’s 2014 album “Early Riser”, one of my favourites of that year. Enough talking, let’s get that remix while it’s available as a free download – at the cost of your email address.
While there’s still no sign of “Cite”, the new album by Dim Grimm (formerly Dimlite), we’re happy aboutany activity from our favourite Swiss producer. It’s been about a year since he shared his interpretation of Dorian Concept’s The Sky Opposite, but this weekend he uploaded a new mixtape called “From it / To it”, which seemingly contains a new track.Messiaen – Introduction to Turangalila
Yuji Nomi – Procession of the cat king
Iannis Xenakis – Orient-Occident
The Trees Community – Psalm 42
Jake Holmes – Did you know
Erik Satie – Gnossienne 3
Fadimoutu Wallet Inamoud – Yelalela
Dim Grimm – Unity
SQURL, not Squirrel – Spooky Action at a Distance
John Barry – Capsule in space
Go straight ahead and grab the download on his website!
For the most observant of our long-time readers the name Abby Lee Tee might ring a bell. The Austrian producer hailing from the city of Linz has been making beats for a couple of years and most recently released an album title “By accident” with guest spots by Mieux, Affine-signed Wandl and Ritornell-collaborator Mimu Merz. What follows is an interview with the man, spiced up with snippets from his new record and lastly his guestmix.
First of all, can you start by introducing yourself?
I’m a musician (producer & DJ) living in Linz, a tiny town in Austria, despite being the country’s third-biggest city. Beside any kind of sound, records and odd instruments, I’m also in love with silence, visual arts, books, my cats & otters.
I always like to ask about two key moments: do you remember the first time that you responded to music and when was it clear to get involved in makingmusic?
One of my first memories concerning music is my mum listening to Santana’s Black Magic Woman. Also, my older brother used to listen to some nice jazz records back then. Later on I got in touch with hip hop, mainly through skateboarding, radio and music television. Soon after I bought my first turntables and became part of the hip hop group Hinterland, leading from there to music production and a growing interest in other genres.
Tell us about an ordinary day in your hometown, Linz. What’s the city like?
As it’s not the biggest city (about 200k inhabitants), there’s not too much distraction, which makes it a good place to work for me. But for it’s size, Linz also got a remarkably big (independent) art scene, nearly everyone knows each other after some years of living here and you see a lot of different people (from different genres) collaborating with each other. While you can enjoy the river Danube’s beaches and the woods just minutes away from the centre, it’s also only a short hop of a bit more than an hour by train to vienna. And I still find interesting music at the local (second-hand) record stores.
You run a night called “the future sound”, how did this come up and who’s playing at your parties?
Starting point was a night called “The Future Sound of Vienna” in 2010 with Dorian Concept. After that my friend F!no and I teamed up to continue cultivating this kind of sound with a monthly club night, which we’ve been doing for more than 5 years now, hosting artists such as Prefuse 73, Dimlite, Jeremy Ellis, Shigeto, Nosaj Thing, Floating Points, Flako an Julian Sartorius.
Your album “by accident” was just released. Tell us about the process and what it’s about.
While working on the album for the last 1.5 years I bought and tried to work with a lot of acoustic instruments. Besides, I’ve always been into field recordings. After using at least a couple of samples back in the days, I’m now completely stuck into using my own sounds only. The title “by accident” also refers to the more or less randomly layered field recordings, building the foundation of most of the tracks. Also, I’m pretty happy about the lovely collaborations with Wandl, Mimu, Mieux and GC (the latter being responsible for mix and mastering), plus the perfectly fitting visual concept (artwork, video, A/V-show) by System Jaquelinde!
And what’s next in music, is there any new work coming up?
Besides gigs and guestmixes, I’m back into making remixes , but really looking forward to use all the sounds I recorded during the last months preparing the release. And there’s a “by accident” remix-album in the making.
Lastly, tell us about the mix you recorded.
It’s a pretty wild mixture of stuff which inspired me while producing “by accident”, focusing on the more ambient and weird kind of records.
Subscribe (iTunes)01. Julian Sartorius – Tscholi
02. Kutin / Kindlinger / Kubisch / Godoy – Introspection
03. Sun Ra – Atlantis
04. Brainticket – Era Of Technology
05. Shaolin Afronauts – Abyssinian Suite Part 1
06. Slow Riffs – Gong Bath
07. Jar Moff – Commercial Mouth
08. Tim Hecker & Daniel Lopatin – Instrumental Tourist
09. Toju Kae – Buscheli
10. Mischmeister M – My Brain Is Mashed Eggs
11. Julian Sartorius – Huli
12. Abby Lee Tee – Efeu
13. LV – Quick Return
14. Holden – Self-playing Schmaltz
15. Flako – Gone (reprise)
16. White Noise – Love Without Sound
17. Dimlite – Zoo In Fluttering Red Pt. 1
18. Tim Hecker – Amps, Drugs, Harmonium
19. LV – Carillon
20. Ages – Chances (Abby Lee Tee Remix)
21. Zanshin – Esmeralda The Swift
22. Downliners Sekt – Hors Phase
23. Rolf Liebermann – Les Echanges
24. E.S.T. – Contorted
25. Sculpture – Unhitch Your Program
26. Soft Machine – Out-bloody-rageous
27. Fred Jüssi – Lahemaa Lindude Hääli
28. David Fanshawe – Tarka The Otter O.S.T.
29. Yatha Bhuta Jazz Combo – Untitled (Afrojazz)
30. Stereokonzert Der Vogelstimmen – ?
31. Alfred Klapper – Hirschbrunft
32. Dimlite – Stromausfall (interlude)
33. Electric Egypt – Kundalini
34. Prefuse 73 – The Last
You can stream the full Abby Lee Tee album on his Bandcamp page, find more of his music on SoundCloud, and if you want to stay up-to-date, follow him on Twitter or Facebook.
We have neglected our podcast series for way too long and are more than happy to bring it back with an interview and guestmix from Berlin-based Canadian Mike Davis, a young producer we got to know through his release on the Sector 12/12 label.
Hello Mike Davis. You released your first EP on Sector 12/12 last year and that’s pretty much everything I know about you. Why don’t you start introducing yourself to our readers?
Sure, I’m Mike, an unknown electronic musician, who moved from Toronto to Berlin in 2012 to study in the Humboldt University and also find out what electronic could really means to me. I was DJing in Toronto as part of a crew & party called the Deep North, and decided Berlin was where I’d like to grow musically, rather than wait (or hope) for a big release or something before coming here, like many artists do. The three year anniversary of my arrival was just the other day actually, and I’ve since finished studying, put out a couple records, a tape, and co-founded Carousel and a label of my own, Brenda.
How long have you been making tracks and how did that all come together on Baniza?
For only four or five years, maybe two years or less in a serious way, and even less in a relatively calculated way. Only recently have I developed a technique from which I can, to some degree, truly realize ideas. It terms of that coming together for Baniza, it exists early in that process, the tracks are all around two years old, experiments with limited resources and techniques, simply exploring sound and writing some music along the way. The alternate versions of all the tracks on the EP might better illustrate it, but the project is a mess. I think even my old computer failed at some point and I had to remake some of it, I was just pleased that Sector12/12 wanted to release it. It was completed after a bike journey from Berlin to Sofia. There I became acquainted with the baniza, a traditional Bulgarian pastry. It’s not really nice looking, quite messy, wants nothing but to fall apart, but tastes good… so I believe that EP is a baniza.
Do you remember what sparked your interest to make music?
It originated pretty early, I suppose due to my parents. They put me in piano lessons as a kid, and I remember making terrible music on my dad’s Yamaha CS01 and MR-10 drum machine maybe around 8 or 9 years old. High-school in the late 90s brought all that was 90s and my first guitar, a birthday present from my dad. In college I played drums and bass in some punk projects, but nothing too serious. Eventually I became disillusioned with bands. Between jamming and beer drinking, creating was often challenging, so I was drawn to electronic music. I could produce on my terms, ideas and execution are completely up to me, I like that.
Having moved from one continent to the other, how has that influenced your image about electronic music? Are there still that many differences in culture in this globalized world?
That’s difficult to answer, as the move was still quite early in this budding career, I suppose it played a more developmental role than an influential one. Berlin has shaped me more than Europe, outside of Toronto I’ve only played in Germany and France, so there’s still much I need to experience. The accessibility here in Berlin has continually been a motivator, being a more vibrant and tangible scene has made it easier to reconcile the energy input. It’s not just felt at parties… record shops, rehearsal spaces aren’t 90% rock bands, even the small bars and cafes have decks, [ebay] kleinanzeigen is full of gear, albums and events are advertised in public transit, it’s hard not to feel it being part of the social fabric.
What are you future plans for the record labels and your own music in general, is there anything we can look out for?
Well Owen and I are currently working out details for CRSL002, hopefully will be out in 2015. We’re at the same time growing Carousel into a record shop which will soon be operational as an online shop, with the plan to go physical once it makes sense. It will be carefully curated music, nothing we plan to take over the scene with, of course. The second Brenda record, another 12″ from CNCPT, just came out a few weeks ago and I believe is pretty much sold out everywhere it was available, which is good. The third will also come out before the year is over. Personally, I’ve got a couple of collaborative projects actually. One with Owen on his other label Shades later this year, and another with part of my Deep North family Dan (as Jerry Riggs), I’m in on two tracks on his upcoming Run Out Run release.
Tell us about the mix you made
Yeah, as you know, it was not the first one I sent you, but the delay between recording and releasing had me always tiring of what I recorded. Anyway what I’ve settled on are some recent finds and some older stuff selected spontaneously while recording. Nothing so deeply planned, very Baniza.
Download | Subscribe (iTunes)01. Michael Holman – Gauntlet of Wriggly’s
02. Steve Moore – Logotone
03. Burnt Friedman & Jaki Liebezeit – 124 0 09 (played at 33rpm)
04. Chra – Landmine
05. Dorisburg – Splade
06. Devianza – I Droni A Torvijanica
07. Vakula – Life Internal Sounds
08. Green Gums – Zozomono
09. Beat Detectives – Somethin’s Rippin
10. Bookworms – Exotic Auto Boutique
11. Broken English Club – Glass
12. Mistake Made – Loaded Memory
13. Charlie – Spacer Woman
14. Hiver – Vorticism
15. Obtane – Tericore
16. Johan Hansson – Vassvik
17. Jatoma – Helix
18. Roll The Dice meets Pole – Echo Hands (played at 33rpm)
19. Lena Platonos – Love in Summer
20. Moon B – Moments in Slank
Lukid keeps the “old ivories tinkling”, with this piano music mixtape for Blowing Up The Workshop. Debussy, Ravel, Cage and everything you’ll be looking for on a Sunday.
Not only that the new Solid Steel website is nothing but a disaster in user experience, it appears their mixes are no longer available for download. Fortunately, there’s still the Mixcloud option to listen to their mixes, which makes it more bearable. This week, you can listen to mixes from Anthony Naples (above) and Four Tet.
Stones Throw also has a bit of a weird podcast policy, since there’s no way of listening without iTunes. However, I suggest you give latest episode a try, since it was compiled by the label’s very own Mndsgn.
And since we like to end the selection with and oldie, here’s a Kemistry & Storm mixtape, originally recorded in 1995.
Since I figured that I haven’t posted a mixtape in quite some time, here’s one I enjoyed a lot recently. How about you, do you figure out the Hashman/Bluntman connection? Same guy I presume? Whether it’s the producer behind last year’s brilliant Sandopolis album or not, this is taken from Bake‘s show on Rinse FM and is brilliant on its own. Available for free download!
Mmmh, that’s interesting. I heard this Mo Kolours track before, but it has such a classic feel to it that I expected it to be and old Theo Parrish or maybe a Kenny Dixon Jr. tune. Instead it’s the title track from his latest EP, available digitally and on vinyl from his Bandcamp store. You can probably tell the video is the work of London’s animation studio Plastic Horse, who you might know for their work for Paul White, The Heliocentrics or Nochexxx.
Yesterday on March 29th, Berlin’s composer, producer and pianist Nils Frahms introduced the world to what should now be know as “Piano Day”, a holiday to celebrate this very instrument. On the occasion, you can download a new album entitled “Solo” on the Piano Day website. Erased Tapes also sells physical releases on CD and vinyl in order to provide funding for a unique instrument, the Klavins M450, a 4-meter high piano construction by David Klavins. All music on “Solo” was performed on an early prototype of the M450.
I suggest if you like the music, you consider a small donation to the funding of this wonderful project.