| synonyms: | pause, break, gap, lacuna, interval, intermission, interlude, interruption,suspension, lull, respite, time out, time off, recess; More |
Melodic and playful techno interactions in particularly cohesive form from one of the most crucial occupiers of the freaked out sweet spot inbetween the hypothesized club/anti-club binary. Gobby’s skill for sampling anything and everything into strange and insanely funky techno loops is particularly apparent on this six track release that has eyes on ultra serene trance heights as much as the most fucked streaks of purist techno.
Somewhere beyond the historic thump of Black Dice’s rhythmic experiments and classic acid and freaked out, Gobby’s beats are both sludgey and vivid. On “Wallet and Cellphone”, Gobby comes out in particularly high spirits that affirm his desire for shredded joy rather than purposely weirded out dance obfuscations.
The circular glee of “Y Smart Car” segues into the bubbling four-four of “MaybeImLying”, casually jumped up and wobbling with a classic acid mood. “Clifford” is a giddy two minute flotational refrain with a steady 140bpm pulse under super beautiful and starry melodic sample that leads perfectly into the reverb damaged gramophone ballad that introduces “XM Whimsy”, a 7-minute almost Avanlanches zone of shuffled beats.
Gobby has produced beats for Mykki Blanco and Le1f and recenty linked with DFA’s Dan Bodan recently with a shredding remix. He’s on that “distinctly Gobby” weird-as-I-wanna-be tip with particular clarity and linear groove objectives on “Wallet & Cellphone”.
"the idea for 'anniversary' was originally conceived in 2012, and it was supposed to be a 'serious' LP with the release date being the anniversary of my first release/when i started making music (aug 21st 2011).
needless to say, this didn't necessarily happen. the cause being 'life' happening, me scrapping songs, losing inspiration, and just changing my mind in general the more time i spent trying to make this album a reality. the aforementioned took place for a little over a year, and most of the songs/song ideas that were originally intended for this LP resulted in the 3-part 'STRESS' project.
then came fall of 2013. in late july/august, my contract at my previous job ended, which (obviously) resulted in me being unemployed. this is still the case at the time of this writing (feb. 26th, 2014), but i say all this to say; after much time and money spent applying for various things in my area/surrounding cities, i soon realized that i'd be stuck at home with a bit more free time on my hands than i had previously thought.
knowing this, i decided to finally give this idea the time and attention i had envisioned initially. and now here we are. as the project started to flourish, the original theme i had in mind was a bit lost for lack of a better word (especially in terms of timing for the completion/release), but it's all fitting.
i think it's fitting because this is how all of my projects have been. i've never been good at spending a really long (long meaning 2+ months) time on anything i make. if you notice, the first half of this LP is drastically different in terms of mood/tone/production in comparison to the the second half (track 7 and up).
this is because they were all created in succession at two separate times, with me being in two different states mentally and emotionally. it's all self-expression and 'stream of consciousness'. i feel like i'm rambling, but what i'm trying to say is that although the album doesn't really follow a clearly defined theme and is more so just me indirectly paying homage to some of my favorite artists, experiences, and other various things, it's all still 'fitting' in my opinion because it is 'me'. none of it was made with a pre-planned end result in mind.
now it's time to see if any of this matters"
Enjoy this compilation of Lil Bad Swagga tunes that look more like an psychedelic mushroom trip to a gangsta magic kingdom than an actual gangsta beats.
"All those tracks were composed in less than 4 hours and weren't mastered. That's part of the concept bitches." - Lil Bad Swagga
Krake is an annual Berlin based festival for challenging electronic music. Krake means octopus and the festival is organised in a comparable way: reaching out to selected locations during one week presenting the best in electronic music whatever style it is. The festival is not huge, not expensive, does not have big sponsoring deals or four different colour are passes.
Editions Mego is proud to release Articulação, the latest work by Florian Hecker. Articulação deepens Hecker’s collaboration with Reza Negarestani, author of the libretto created for Hinge. In two distinct renderings this piece articulates a complex scene in which the two obelisks of the script - one from the perspective of nature and one from the perspective of culture - are recited simultaneously in an informational yet dramatic style.
Hinge* features the legendary artist Joan La Barbara as its main voice and is delivered in microtonal ly converging pitches with sparse sample accurate time lags, shifts and twists. The repolarizing phrasings of Hinge recall Artaud’s Theater of Cruelty as much as Beckett’s minimalist narratives. Here the listener may construct a hinge, a pendulation between the right and the left obelisks; embarking upon navigation and synthesis while tracing the chimeras of nature and culture.
In apparent contrast, Hinge** engages the disparate modalities of its sources, complicating any assimilation of their respective traits. With an insight on the complexities of Hecker’s chimerized pieces, Robin Mackay summarizes: According to psychoacoustical research, the brain functions that serve to identify the ‘what’ and the ‘where’ of a sound operate upon different timescales, a finding Hecker exploits to produce sequences in which the fine time structure of one voice is sheathed in the amplitude envelope of another, producing an entity that remains recognizable as a voice while being spatially delocalized and semantically scrambled, and which the listener must reconstruct as a unified yet impossible synthetic creature - a chimera.
Between these pieces, Modulator (... meaningless, affectless, out of nothing ...), reveals, in a structural and formal manner, the synthetic means of modulation and topological transformation that appear in disguise in Hinge**. In a sequence of short episodes and chronics Modulator celebrates the notion of sound as an Immaterial. Its syntheticness and modern generation occurring as a bottom up and top down process across different scales, exciting the human minds hallucination of objects on the basis of auditory cues, without obvious compounding of a narrative progression.
Articulação is an isolated masterpiece of text, sound and synthesis.
Following in the footsteps of the stripped down minimalism of Superskin's Descent, is its apparent antithesis, Lanuk's vV, part glitchy, part psychotic, with ventures into techno, only to come out in breakcore or IDM-influenced noodly mentalism, which is far from inaccessible. Then again, there are tracks on this album which are stripped down and mellow, an ethereal comedown after the buoyant juggernaut.
