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The Death of Rave Electronic & Dance 4 Artikel

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Maxwell Sterling - Hollywood Medieval 2017 Edition
Maxwell Sterling
Hollywood Medieval 2017 Edition
LP | 2017 | EU | Original (The Death of Rave)
17,09 €* 18,99 € -10%
Release:2017 / EU – Original
Genre:Electronic / Dance
Stunning solo debut album by Manchester-born, LA-based artist and soundtrack composer Maxwell Sterling, originally released to much acclaim on digital formats last year and now remastered for this new edition complete with new artwork by the artist’s mother - Manchester post-punk legend Linder Sterling. Huge recommendation if you're into TCF, Philip Glass, Coil, 0PN, James Ferraro.Hollywood Medieval is an album about the glaring disparities and elaborate, underlying convolutions the composer observed and felt while working as a nanny for wealthy parents during his film composition studies at UCLA in the early part of the 2010s. Using an augmented a palette of classic DX7 and Juno 60 synths along with a severely warped bank of library samples and iPhone recordings, it spells out a queasily evocative simulacra of the city in flux, animating a sort of Ballardian tableaux that’s hyper-descriptive in its rendering of the hazy, dosed-up, and often delirious transitions between Hollywood's glamour and grime, using LA's gurning facades and ostentatious wealth as prompts for a richly visual side of sawn-off emotive signposts and jazz-taut turns of phrase that vividly etch on the memory in neon freehand.From the dizzying sugar rush of the opening sequence, Hollywood Medieval I, to its spiralling counterpoint in Hollywood Medieval II, the album is an inception-like concerto, with Maxwell smartly subverting the film score composer’s role by placing the music centre stage and allowing the narration to be carried by virtuosic flourishes owing to his classical and jazz music schooling, as he explains “one compositional intention was to push the sample libraries to their limits, testing their claims of being ‘realistic’, and finding the points at which they break and falter and become something new and less recognisable.”From the dizzying sugar rush of the opening sequence, Hollywood Medieval I, to its spiralling counterpoint in Hollywood Medieval II, taking in the Derrick May/Sueno Latino-esque $50 Curse Removal and the Lorenzo Senni like whisked peaks of Synthetic Beach, the album is an inception-like concerto, with Maxwell smartly subverting the film score composer’s role by placing the music centre stage and allowing the narration to be carried by virtuosic flourishes owing to his classical and jazz music schooling, as he explains “one compositional intention was to push the sample libraries to their limits, testing their claims of being ‘realistic’, and finding the points at which they break and falter and become something new and less recognisable.”In a sense, Hollywood Medieval resonates with the way Sam Kidel subverted the nature of Ambient music on Disruptive Muzak, and offers an alternative, lucid view of the hazy LA offered by Delroy Edwards Teenage Tapes and likewise, works like a present diagnosis of the dystopian future worlds dreamed up in The Sprawl’s dystopian, widescreen visions on EP1, effectively broadening and illuminating The Death of Rave’s own sonic hauntology.
Teresa Winter - Untitled Death
Teresa Winter
Untitled Death
LP | 2017 | EU | Original (The Death of Rave)
15,29 €* 17,99 € -15%
Release:2017 / EU – Original
Genre:Electronic / Dance
Gorgeous new album from Teresa Winter, an uncanny collection of ambient / dream pop / entheogenic reveries that comes highly recommended if you're into anything from Grouper to F Ingers to Leyland Kirby to Delia Derbyshire to early AFX.Teresa Winter’s LP debut Untitled Death is a hallucinogenic wormhole of sensuously ambiguous pop and electronic experiments primed for the after-after party and altered states of reception. Realised thru a mesh of strategies from live, lo-fi tape recordings of synths, samplers and vocals to nascent experiments with algorithmic software, it's both a divine revelation of new aspects to Teresa’s sound and and expansion of The Death of Rave’s as-yet-unidentified aesthetic, which should come as a very welcome surprise to anyone who fell for her remarkable post-rave reverie, Oh Tina, No Tina, released on tape by Reckno in early 2015 to cult acclaim.Where the artwork and collaged sound of Oh Tina, No Tina signified a serotonin-soaked pastoralism and MDMA thizziness, Teresa’s zoomed photos of magic mushrooms spattered in popping fluorescent oils which adorn the cover hint at her change of focus to a more personalised, entheogenic insight and psychoactivity, or basically a proper, lush trippiness. And just like the putative psilocybic experience, Untitled Death naturally comes on in waves of synaesthically-heightened sensuality, from strangely libidinous stirrings to utter, eat-your-heart-out euphoria with a spectrum of hard-to-explain and unexpected sensations in between.We can hardly recall a more seductive album opener than oh, which blossoms from plaintive drum machine and chiming pads to a half- or mis-heard beckon “I really like it / when you let yourself go / I really want you inside me / I want to make you my own”, before curdling into bittersweet partials and deliquescent hooks as earworming as anything from AFX’s SAW 85-92 classic. It’s devastating in its simplicity and almost blush-worthy in effect, and is soon enough lopped curtly into the soundtrack-like enchantment of Untitled Death, which could almost be a cue from some '60 Polish or Czech art-house film, serving to neatly set up the prickling, windswept scene of romantic introspection and dereliction in Pain Of Outside - perhaps Teresa’s most accomplished and affective pop turn to date; think Maria Minerva awkwardly blissing out at 9am in the corner of a successful sesh/campsite/free party.From that perfectly damaged side closer, the instrumental นรก and earth opens the B-side to a different sort of spine-freezing beauty and sense of abandonment with plangent, dissonant harmonics describing rugged Yorkshire wolds and coast as much as a radiant lightshow on the back of flickering eyelids. She then calmly follows the lie of the land into the uncanny valley of anatomie de l’enfer, where her signature coos and French whispers are swept in updrafts of distant, processed orchestral strings that come alive with staggering effect in her parting missive, สวรรค์ and earth, whose scale and impact appears like a vertiginous but digitally crumbling sky city fata morgana over the North Sea, possibly projected by some mad Dutch pharmacist-cum-holography genius, or just her own imagination.In fidelity and emotive pull, Untitled Death is a properly amazing, ambiguous and spirit-beguiling record; one which treads the finest line between anxiety-inducing tristesse, lushly uncomfortable introspection, and life-affirming oddness. Play it to a garden of turnt gurners or a bedroom of quiet souls and its effects will only become magnified, more wondrous.
Croww - Prosthetics
LP | 2017 | EU | Original (The Death of Rave)
16,14 €* 18,99 € -15%
Release:2017 / EU – Original
Genre:Electronic / Dance
The long-awaited debut release by yung new producer Croww for The Death of Rave, somewhere between a mixtape, imagined soundtrack and demonstrative showreel pieced together from a Slipknot sample pack used by the band’s Craig Jones on their landmark debut album and highly recommended if you're into Autechre, Rabit or Total Freedom.The severely gurned and kerned result is the Prosthetics (MechaMix) unique to the vinyl edition, and four constituent Prosthetics, featuring the original samples painstakingly dissected and assembled in uchronic form to suppose an alternate history of the last 20 years of pop and subcultural phenomena, one where rap metal is dissolved and alloyed with the extremities of grindcore, flashcore, late ‘90s D&B and hypermodern rap instrumentals. Safe to say it sounds like naught out there right now.Gestated from the seeds of a conversation after 2015’s Moss Side carnival, Prosthetics has grown into a sort of hybrid golem via intensely scrupulous sessions spent panning the original sample pack for flecks of precious, vantablack metals. In the process it became as much a study in coming to terms with formative influences as an exercise in sui-generis sculpturing, effectively forming a noumenal sidestep around the sub-cultural phenomena of Slipknot’s (like it or not) landmark debut record - an album which, at the time, sent shockwaves thru teenaged suburban bedrooms and the kind of clubs you could then get into with a fake ID.With the benefit of hindsight, Croww has acknowledged and figuratively taken those early influences on a vector that few would have imagined back then. From the record’s early warning of “...they’re doing something rather curious with the parts of the body, in a way we don’t fully understand…” the piece buckles and convulses in a reticulated series of wretches and spasmodic yet disciplined blast beats as much associated with Columbian paso doble as the pitching meter of La Peste’s seminal flashcore tracks or grindcore proper. Samples from Iowan public access TV are mutilated in the strangely brittle yet mercurial mix, whose Black Metal-debted pallor is unpredictably lit up with flashes of shellshocking psychoacoustic treatments in a complex, sci-fi style dramaturgy punctuated by abyssal lacunæ and intensely detailed cues. To be honest, The Death of Rave was never into Slipknot at the time, yet it was hard to ignore their ubiquitous presence if you were at all inclined to look beyond prescribed chart chaff. But, as the business end of late ‘90s house and trance has become a de facto club soundtrack in 2017, Slipknot’s awkward outsider legacy deserves some polish and attention.Croww has turned Slipknot’s cultural cadaver into a polysemous mutant that works as a brutalist DJ tool, or indeed as an introductory mixtape/imagined soundtrack boldly expressing the artist’s individuality, which feels deadly important in an age swamped by mimetic clones blindly chasing empirical populism on one hand, or all too happy to wallow in staid ideas of nostalgia on the other. It's a beguiling reminder that there’s always a third hand, a third track or third path.
Sprawl, The (Logos, Mumdance & Shapednoise) - EP 1
Sprawl, The (Logos, Mumdance & Shapednoise)
EP 1
12" | 2015 | UK | Original (The Death of Rave)
12,99 €*
Release:2015 / UK – Original
Genre:Electronic / Dance
THE SPRAWL is a scindicate of mutant soundcarriers individually known as Logos, Mumdance and Shapednoise. Following their improvised live conception at Berlin’s CTM15 festival, EP1 documents THE SPRAWL’s debut studio transmissions in the first of a series to be archived by The Death of Rave.As their moniker suggests, The Sprawl is heavily influenced by William Gibson’s eponymous and prescient trilogy of sci-fi novels; most crucially the cybernetic predictions of Neuromancer and the ways in which its notions of uploaded consciousness and the effects of technology have played out in our collective reverie.Hacking up memories of late ‘90s tech-step and the millenial dread of early grime thru a matrix of modular synths, haptic constructs and computer software, the trio))) jack-in a quartet of corrupted memory updates emulating the physical and mental impact of SimStim overload and fractious hyperreality.Head first, ‘Drowning in Binary’ plunges into a maze of recursive techno-chambers vacillating white hot dis-torsion with arcing, weightless pads, before glyding across a tumultuous topography of chrome burning flares and violent, body-quaking detonations in the morphing scape of ‘From Wetware To Software’.With ‘Haptic Feedback’ they grasp the quicksilver rush of classic Prototype and Reinforced Records in a strobing sequence of picnoleptic, kinaesthetic flashbacks and transitory segues smeared with vision-blurring noise, stranding us in the below-kelvin, post-human headspace of ‘Personality Upload’ unaware of up from down.By design or chance, the results distill a scrambled uchronia of references, incomparably conflating the obscure French speedcore subgenus of La Peste with a ruffneck take on cinematic sound design whilst also skewering the UK’s ‘ardcore continuum by way of new wave Italian noise physix. Like Gibson’s original series, The Sprawl will reveal its dimensions in due course for the DJ conspiracists, bunker dwellers and tech-noise terrorists.Mumdance also releases solo on XL, most notably with grime prodigy Novelist, and also runs the Different Circles club-night and label in London with production partner Logos, who released the ‘Cold Mission’ LP to widespread acclaim in 2013. Shapednoise is a Berlin-based native of Naples, Italy, and co-founder of Cosmo Rhythmatic and Repitch Recordings.
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