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Where To Now? Vinyl, CD & Tape 15 Items

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Dale Cornish - Clap
Dale Cornish
Clap
12" | 2017 | EU | Original (Where To Now?)
8,39 €* 11,99 € -30%
Release:2017 / EU – Original
Genre:Electronic / Dance
Fresh from guesting on the debut Powell LP ‘Sport’ (XL Recordings), and having released on labels such as The Tapeworm, Entr’acte, and Halcyon Veil, Dale Cornish now presents ‘Clap’ - four rhythmic experiments that explore the mesmeric tones of the digital clap using the ever-popular TR909 clap pre-set. Sharing similarities in intention with N.M.O’s “as strict as possible” approach, pieces subtly evolve and mutate around the clap to generate motion, tension and action. ‘Oolovka’ takes an unashamedly joyous look at the clap, where melodic repetition whirls and whirls until it takes on a form of mesmerising minimalism – perhaps taking its cues from a modern take on Steve Reich’s ‘Music for 18 musicians’ as a backdrop for the clap to playfully roll over and mutate into a sound which is both refreshingly light hearted yet steeped in rhythmic experimentation. ‘Cxema’ takes us a into a tenser, more claustrophobic space where a heads down pulse keeps the body locked until the fog is occasionally broken and the tension momentarily cleared via delayed claps and familiar sonar tones. This vibe continues into ‘Isolate’ with Cornish upping the anxiety by using the clap as a foreboding menace. Coming across like an inspired soundtrack to a military performance piece the concern appears to revolve around strict precision and strict movement and how the clap can be used to enforce and heighten this functional display. ‘Before Encore’ winds things down by stripping things back to the bare minimum for movement – a single effected clap gradually layers and layers itself to create pleasingly odd high tension atmospherics solely through a meticulous process of delicate rhythm and repetition.
Melly - Flying Ducks
Melly
Flying Ducks
12" | 2016 | EU | Original (Where To Now?)
13,99 €*
Release:2016 / EU – Original
Genre:Electronic / Dance
Where To Now? Records are proud to present the debut 12” from Dublin based Melly. On ‘Flying Ducks’ Melly gives us four varied cuts that showcase his unique and unrestricted style of body music beautifully. On ‘Skip Fire’ Melly takes sinister raves sounds and fires them across a core of ever intensifying percussion. The drums, with their apparent simplicity and almost swaggering or brutishly insistent presence, become a powerful statement. When placed amid elements more readily associated with techno / hardcore we are invited to enjoy a, perhaps, more rudimentary sounding form of rhythmic embellishment, but one that becomes just as deep, complex and intrinsic to the composition's power. The roaring percussion morphs into a sustained and highly pressured pulse … The sirens sound, bodies assemble, the firing range begins, melee ensues. The title track ‘Flying Ducks’ comes across like a reflection on an attempted aura of organisation and calm amid a scene of chaos. Much like the assumed title association of the duck presumably struggling in flight, v-shaped and temporarily structured, battling against the tumultuousness force of nature… perhaps. The beat threading it's way through the track guides us through a seemingly spontaneous and ever present soundscape that calls to mind the crepuscular canopy of an imagined digital rainforest with all its strange interjections and growing chorus of unique voices. Throughout this track, and the whole record infact, Melly’s sound takes on an almost Post-Punk/Minimal wave edge that also completely embraces the level of experimentation and universal musical influence associated with that era. On hand to assist in remixing ‘Skip Fire’ into a ferocious dancefloor destroyer is friend and fellow Dubliner Lumigraph (Mister Saturday Night, Opal Tapes, Major Problems), moulding the roaring percussion into a complete blaze of fury, demolishing everything it touches whilst still holding close a deep low end groove. A woozy synth line eases the pressure at times, but after every break the fire returns with further intensity and rage. Melly rounds things off with ‘Windproof’. The strutting pulse returns but this time concerns are certainly centred more on experiments in bass and timbre rather than an all out exploratory descent into controlled chaos. Coming across like a lost On-U-Sound cut, ‘Windproof’ allows itself the space to explore dubbed out ghostly sonars, radiophonic transmissions, and haunted rewinds.
Space Afrika - Primrose Avenue
Space Afrika
Primrose Avenue
12" | 2015 | UK | Original (Where To Now?)
12,99 €*
Release:2015 / UK – Original
Genre:Electronic / Dance
Where To Now? records are proud to welcome back Space Afrika, following their long sold out debut release ‘Above / Below the Concrete’. This four track 12” ‘Primrose Avenue’ can be seen as a continuation of the themes and ideas explored on that debut, but pushes the Manchester duos palette of scorched inner city soundscapes, considered field recordings and rolling dubbed out techno dread further than ever before.The record opens with ‘Contemplation’, the glassy surface you break through to reach the murky, sub-merged depths of ‘Primrose Avenue’. ‘Contemplation’ stands as a shimmering and immense, mentally purifying preparatory reboot process.‘Resolutions’ warm and spacious pads suspended, looping in the mix would be soothing if set apart from the swung beats and exhalations of gaseous metallic tremors. It’s the music of a landscape that is simultaneously urban and aqueous, where odd melodic enquiries are posited through a pulsation of sound that possesses the curious ability to evoke both spiritual engorgement and utter desolation.On ‘On The Way’ Home that strange shuffle Space Afrika create using percussion laden with lingering, hissing reverb wraps around a more upbeat pulse. The bass worms under a seriously jazz touched chordal workout that chimes with a similarly soul-hugging vibe sound as before. These elements, combined with the filters applied to the beats, give the production a quality that sounds like a preterit form of Drexciya’s atmosphere-focused application of Techno.The pace of ‘The Sudden Walk’ is set to beats that live by an irregular heartbeat and digital-sounding sideswipe, where generously mixed cymbals cut through haunting, fx shrouded concrete. This sonic architecture intrudes on the trancelike rhythm of the mechanical & robust drums, processed sounds of the city interrupt its interplay with the bell-like orbs of low-ringing chimes, perhaps signalling the final undoing of the cleansing process experienced at the record’s beginning. Reboot required.Mastered by Rupert Clervaux at Grays Inn Road.Sleeve design by Studio of the Immaculate Heart.
N1L - Mud Diver
N1L
Mud Diver
12" | 2017 | EU | Original (Where To Now?)
12,99 €*
Release:2017 / EU – Original
Genre:Electronic / Dance
After releasing two 12”s for Lee Gamble’s fledging UIQ label, Latvian artist N1L flits to Where To Now? to present four new compositions of smudged, innovative, and completely otherworldly bass mutation. ‘Mud Diver’ begins with the aptly titled ‘Chasing the Sun’, at first holding all the intentions of aiming for a big room anthem – introducing itself with familiar melodic pads and focused, drop friendly peaks. Anyone who knows N1L’s work though will understand that this settling for a straight forward approach is not his vibe… at drop point the anthemic nature absolutely plummets face first into the grit and accelerates away into layer upon layer of revving synth mayhem, transforming with grace into the complete polar opposite of its initial gambit. Title track ‘Mud Diver’ takes us further down into the realms of machine trouble and its mechanised cyclical movements. Held together by the deepest of off beat kicks, we wade through this horrorscape of construction and collapse in search for light. This light comes in the form of ‘Jaget Och Maskerna’ where swathes of rapid-fire signals weave through the darkness and speed away towards the hopeful bloom, holding an escapist and otherworldly aura, a hallmark of much of N1L’s work. Submerged for 9 minutes ‘Clockroach’ takes us deeper and deeper down into the basin, where dubwise flutters of percussion and sparks from the breaks of rolling dread bubble around the vessel. Recalling the deepest moments of Raime, the tensest moments of Kode 9, and the most desolate moments of Demdike Stare, ‘Clockroach’ best embodies N1L’s ability to respectfully reference a rich history of bass music, whilst injecting his own deeply experimental learnings and leanings at every turn. “Listening to the music of N1L is at times like staring into a vast, bleak expanse where time moves at a different rate to the rest of the world…N1L’s music feels stretched and compressed in equal measure, combining a nostalgic traces of 90s techno, jungle and rave into something that sounds like it’s been torn from another era and warped in the process.” – Scott Wilson (FACT)
YPY - 2020
YPY
2020
12" | 2017 | EU | Original (Where To Now?)
15,99 €*
Release:2017 / EU – Original
Genre:Electronic / Dance
YPY is the work of Osaka based Koshiro Hino. Having recently released on labels such as Nous, his own label BirdFriend, and the legendary EM records Koshiro now presents the 7 track LP ‘2020' for Where To Now? Records. The LP leads with the slow building, off kilter title track ‘2020', where flurries of eastern horns skitter beneath evolving layers of wonked yet beautifully balanced percussive movements, coming off like a technoid homage to the fourth world works of Eno & Hassel. As is the case with much of Hino's music, as the piece develops it takes on heavier and heavier modes of experimentation and excitement – turbines whirr and fizz alongside layers and layers of percussion, constantly teetering on the edge of No-Wave breakdown whilst never losing sight of the rhythmic backbone, recouping from every moment of collapse with total grace. Hino swings from this cacophony of rhythms on ‘2020' to the playful, straight-laced ghetto tech burn of ‘Soup', using layer upon layer of low key jazzed melody and percussion to gather pace and momentum, showing another side of the YPY palette with a deep groove and melody indebted to the work of Carl Craig as Psyche/BFC and the like. Hino creates a musical world that veers from the frantic to the sublime seamlessly and appears to ground his interest in the potential harmony of these two states – or more specifically, how the two can exist in a way which keeps heads down and bodies moving in a dancefloor capacity whilst challenging the listeners expectations at every turn. Whilst obviously this is not a new concept, it is Hino's own historic steeping in experimental drone, improvisation, and his work with his intense, hypnotic, minimalist psych outfit Goat which allow him to hold a unique position in this electronic realm. Yusaku Shigeyasu (Juno Plus) further conveys this aura of Hino's work in a YPY feature piece for Juno Plus, writing - “Intensity is a common thread that runs through all of Hino's sprawling productions. It isn't necessarily synonymous with a boisterous, forceful sound. He eschews conspicuous structures or overt arrangements and brings a sonic potential out of sober materials, creating deceptively stark pieces with a dramatic impact that capture and hold the attention from the off.” - Yusaku Shigeyasu / Juno Plus Hino's more rockist influences are perhaps most pertinent on ‘Ash' which embodies this improvisational and stark approach to rhythm. ‘Soup' is a doomy, sludge hybrid of fizzing electronics and stoner swagger, owing as much to contemporary artists such as Earth and Om, as it does to the first wave of Japanese and German experimental psych of the early 70's. It's a piece which is unlike anything else on the record, a vital piece of the puzzle when understanding where Koshiro is coming from, yet leaving no clues as to where he is going.
CVN - Exposure
CVN
Exposure
12" | 2016 | EU | Original (Where To Now?)
11,69 €* 12,99 € -10%
Release:2016 / EU – Original
Genre:Electronic / Dance
CVN is the work of Japanese electronic artist and core member of the now defunct Synth punk duo ‘Jesse Ruins’ -Nobuyuki Sakuma. A work that is distinctly Sci-Fi in it’s intention, ‘Exposure’ is comprised of six tracks that veer from battered & scorched weightless warfare workouts to bright & melodic mutant electro to desolate and longing fragments of cracked ambience. Nobuyuki’s interest appears to lay in the imagining and exploration of an otherworldly zone of warfare, destruction and ruin. However Nobuyuki is not simply interested in representing this melee of chaos, rather he is more concerned with an exploration of what is born out of, and remains intact after this futuristic & sci-fi representation of war. The after effects of this destruction manifest in truly touching and human snippets of hope – throughout the record the noise frequently drops away to expose haunting passages of skeletal, longing dub horns and blistering ambience. When CVN does veer towards the dancefloor the transitions between styles are vicious and warping, sweeping from deep Detroit vibes on ‘secondary infection’ to the bold and bright machine shuffle of ‘Golgi Complex’. ‘Exposure’ is a record of oscillating weights, seamlessly shifting from sparse pounding throbbing drums to completely featherweight tremors.
Tom Hang - The New World
Tom Hang
The New World
12" | 2016 | EU | Original (Where To Now?)
11,99 €*
Release:2016 / EU – Original
Genre:Electronic / Dance
Tom Hang is the solo electronic work of Lobster Theremin label owner Jimmy Asquith. Despite being ridiculously busy either quaking dancefloors across the globe and flowing into the world a continuous catalogue of acclaimed electronic heat, Jimmy has found time to follow up his ‘Tidy Bedroom Versions’ release with more original tracks from the heavily dusted harddrive. The record opens with ‘The New World’, where there is no space for preparation or adaptation; instead we are plunged straight into a fast evolving, rapid fire other. Despite this disorientating descent it doesn’t take ears and minds long to nestle within the groove and across the tracks seven minutes we settle into the escapism of Hang’s bodily mantra and slowly lose ourselves to this new world. ‘Chronic Delirium’ strides into focus with an exploratory intent, evoking images of a lone body battling a windswept lonely planet. There is an overwhelming sense of anticipation within the tracks pulse, and a dizzying excitement within Hang’s ever shifting percussive experiments to create this state of musical delirium. This is perhaps the moment of realisation that within this new world there is a crossroads signing towards potential encroaching solitude and despair, or a leap of faith towards seeking comfort within embracing that which is completely unknown. The record closes with the mammoth ‘In the Deep’. Across the twelve shifting minutes Hang continues this idea of the human relationship with new zones and new experience, but here Hang seems to convey the idea that the struggle is over, there is no further bodily or mental resistance to change, dystopia has captured the spirit and embrace is the only option when you’re in this deep. Buzz saw synth attacks collide with gloriously subtle yet uplifting old school bubbling melodies before the deepest techno pulse imaginable swings eyes instantly back to the floor. ‘The New World’ is a sphere where pummelling Techno burners teeter on the edge of freedom before winding and convulsing themselves into varying mutant zones that straddle the lines between experimental statement and tightly locked grooves to create a record of pure dystopian dancefloor heat. There is an odd and refreshing unity here within the strict, bare, functional, consuming percussion and the heady, playful, and freeform nature of Hang’s melodic grip.
U - Vienna Orchestra
U
Vienna Orchestra
LP | 2016 | EU | Original (Where To Now?)
19,99 €*
Release:2016 / EU – Original
Genre:Electronic / Dance, Klassik
U has always displayed an unironic conformity to his own absolutely genuine / occasionally challenging ideal as to what a release should entail. After a series of predominantly, and (in the most loving sense) maybe begrudgingly, dance floor oriented EPs, ‘Vienna Orchestra’ is a long overdue insight into his core fascination as a musician; making complex and intriguing experimental pieces that belie the humble mode of their creation - recording from vinyl records and manipulating the audio on old school samplers. This LP is an insight into scores of hours of twiddling with loops and sequences to create music far removed from its source material (dusty classical records acquired on a trip to Vienna). This is a dense, blunted world, which holds the sound of a musician indulging their own ear’s obsessions and insatiable curiosity. The record’s opening is reminiscent of Walter Schumann’s ‘Night of the Hunter’ soundtrack in its deeply unsettling, creeping feel. The droning high strings in the background prick your ears while, in the foreground, oddly syncopated staccato stabs provide the loping, lurching feel. You could be forgiven for momentarily comparing this to some kind of oddball, Deep Puddle Dynamics-esque excursion… but then the fun begins. Throughout the record, the most consistently striking element is U’s masterful ability to, with the use of relatively simple EQs, filters and basic effects, turn familiar and fairly orthodox sounds into futuristic and daring electronic experimentalism. Forceful strings become ethereal and strange in their timbre, long, drawn-out notes are oscillated to create warped riffs or motifs and the imperfections of the physical format are treated as an essential aspect of the soundscapes he creates (more on this later). His isolation of contemporary rhythms in the source material displays an impeccable musical ear. Moments of the album sound like beatless grime or techno - not in a “YO kidz, Shakespeare was the original rapper!” kind of way - but in the startling, often illuminating fashion they summon connections between styles of the past and present. It’s also fascinating and joyful to hear, in this context, the early rave producers’ technique of pitching one chord or note across several pads / keys to create increments of the scale that shouldn’t really exist. No doubt this would discombobulate a classical purist to the point of distraction but it is a constant delight to hear this fairly un-musical production technique applied within a tuneful, meticulous and unfamiliar paradigm.
Nicola Ratti - Pressure Loss
Nicola Ratti
Pressure Loss
LP | 2016 | UK | Original (Where To Now?)
17,99 €* 19,99 € -10%
Release:2016 / UK – Original
Genre:Electronic / Dance
Nicola Ratti holds a rich history in the world of experimental and minimalist composition, having released music under his own name on labels such as Kning Disk, Anticipate, Preservation, Holidays, and Senufo Editions and in recent times concentrating his energy into his collaborative project ‘Bellows’, work which has seen the light thanks to Entr’acte Records and most recently Boomkat Editions. His latest solo work ‘Pressure Loss’ finds Ratti at a potential turning point in his musical career, exploring rhythm and tonality with a new vigour, in a way which embraces the fluid and consistently evolving modern world of electronic music, yet still references a history of electronics, limiting his sound palette to work only using the Serge and ARP Modular Synthesizer.
KETEV (Yair Elazar Glotman) - Traces Of Weakness
KETEV (Yair Elazar Glotman)
Traces Of Weakness
LP | 2016 | EU | Original (Where To Now?)
20,99 €*
Release:2016 / EU – Original
Genre:Electronic / Dance
KETEV is the realm in which Berlin based sound artist Yair Elazar Glotman employs his unique ambient technoid soundscapes to explore the balance between darkness and light, fragility and strength, and tension and release. ‘Traces of Weakness’ follows up the solo contrabass LP ‘Études’ for Subtext records, and continues to expand on the themes explored on previous KETEV albums for Where To Now? and Opal Tapes. ‘Traces of Weakness’ was recorded at EMS Stockholm using their Buchla Modular Synth, and processed with reel-to-reel tape manipulations including personal archived field recordings. The sleeve photography comes courtesy of Yair’s father, the artist Yehoshua Shuka Glotman.
Manta - Etra
Manta
Etra
12" | 2015 | UK | Original (Where To Now?)
19,79 €* 21,99 € -10%
Release:2015 / UK – Original
Genre:Electronic / Dance
‘Etra' is the second LP from Portugese Manuel Carvalho, and can be seen as an extension of the ideas and themes explored on his debut 12” ‘Citadel’ for Paralaxe Editions. Here across 9 tracks Manta breathes life and light into the potentially heavy exploration of the manifestation of the human ego in architecture, and our perceptions of inner/outer space. The weight of such ideas manifests itself in an sound realm where radiophonic interstellar explorations collide head on with a smooth yet brutalist Techno vision.
December - On A Leash Low Jack Remix
December
On A Leash Low Jack Remix
12" | 2015 | UK | Original (Where To Now?)
5,59 €* 13,99 € -60%
Release:2015 / UK – Original
Genre:Electronic / Dance
December is the alias of Paris based Techno producer Tomas More. Having released a slew of respected releases under his full name, Tomas is mutating his focus towards the a more experimental realm with his work as December. ‘On a Leash’ proceeds Tomas’s sold out debut Cassette for Where To Now?, and a 12” for Blackest Ever Black ‘In Advance of the Broken Arm’.December’s latest offering for Where To Now? explores resoundingly tuff and metallic, largely analogue sounding techno jams. In fact the lead track ‘Berds’ fits this bill exactly, its tightly syncopated tribalism rumbling beneath animalistic woops and cries that imbue the composition with a kind of primal urgency that hits you right in that spot where your baser urges and reactions emanate from. A preference for tight, lo-slung rhythms and snares that punch, rather than snap, is cemented in this steroidal opener. ‘East’ and ‘West’ are haunted by the spirit of ‘90s electronica. However these tracks don’t seem so detached from the dancefloor to operate within the somewhat snobbish paradigms of the IDM tag. ‘East’s ring-modulated rhythms and pinging percussive blips roll with a kind of Warp-ed UK Garage feel beneath gossamer melodies until a grooving yet amorphous bass rumble nicely ties the soundboard together. ‘West’ has a genuinely impressive rhythmic panache to be found in the way its filtered blips and strange electro-gamelan pulses create a sub-level of rhythm around the 4/4 kicks, swipes of white noise and lo-fi claps. The strange acoustic loop that forms the basis of the track’s melody is presented in all its glory as a kind of anti-drop towards the end.Remix work for ‘Berds’ comes from fellow Parisian experimental visionary ‘Low Jack’ (In Paradisum, L.I.E.S, The Trilogy Tapes…). Low Jack transforms the direct nature of ‘Berds’, adding a woozy, narcotic substance to the machine-operated rhythms, creating a parallel soundworld to the original’s imposing and brutalist structure. The animal cries that seemed ecstatic in the origin are pitched to a point of urgency. The jungle is ablaze, all life-forms are fleeing, it’s really the end.December has forthcoming releases scheduled for In Paradisum, Jealous God, and Blackest Ever Black.
Natalia Martínez Ordonez (N.M.O) - Natalia Martínez Ordonez
Natalia Martínez Ordonez (N.M.O)
Natalia Martínez Ordonez
12" | 2015 | UK | Original (Where To Now?)
12,79 €* 15,99 € -20%
Release:2015 / UK – Original
Genre:Electronic / Dance
File under 'Military Space Music AND/OR Fluxus Techno'Tempo is a decisive factor in how we relate to music. Whole genre separations and notions of taste can revolve around the BPM at which samples are triggered or musicians play. In live music BPM is obviously often a fluctuating quantity, a loose constrict affected by the musicians' spirits / audience / etc. Electronic music genres are usually more rigid in their adoption of a tempo and the BPM often comes to define a scene's aesthetic. NMO have used this release to play with the really quite hefty and serious concept of speed (& slowness), timing, and BPM. ‘Natalia Martínez Ordóñez' is a studio recording of an outdoor piece commissioned by CO² Festival in Beirut in 2014, where the initial idea of a one hour piece has been condensed in a 30 minute record. The piece has been performed in Beirut, Krakow, and London. The sections are divided by pace, with the record opening at 60bpm and ending at 150bpm, where each section is introduced with a humble metronome and clearly separated by test signal-esque tones. The instrumentation is affectingly sparse, limited to electronic effects and that most basic unit of rhythmic interval, the snare drum. The sounds naturally increase in intensity as they are played faster, the electronics appear more manic and the effects gradually build to begin to create shifting sub-rhythms and hypnotic textures, resulting in a musical form that N.M.O themselves have termed "As Strict As Possible”. The overall tonality of the piece appears to be continuously shifting up in pitch, although whether this is intentional, accidental or intentionally accidental is intriguingly unclear. Played live the sections are delineated by the release of RGB coloured smoke grenades and flares, here represented by swathes of white noise, hissing away throughout the end of each fragment, perhaps signalling a climax or release from the rigidness and precision of each 3 minute experiment.The second side begins at the pace of a respectable techno track's pulse, but the triplet feel adds an atypical dazed lurch to the opening. Where the A side of the record feels sharp, precise, and spaced out, the B side sweeps us directly onto the weirder side of the dance floor - the drum kit becomes more fleshed out as a joyous climax of pounding, rolling percussion joins revving synths and swells of static. Without realising suddenly you find yourself deep into a groove and here you can't help but think of those ships where people row to the hammering drum but are driven to a dizzying level of insect like efficiency. By the end we have reached some sort of avant-acid approximation, frantic and intense in its delivery, towards a point so disassociated from our point of departure it feels connected only by those subtle shifts in speed that each act as a step to the piece's next level. Having previously released records on Anòmia and The Death of Rave records, N.M.O. also have a forthcoming double 12” on Diagonal records, and a split 12” with EVOL on Le Petit Mignon.
Lutto Lento - Whips
Lutto Lento
Whips
12" | 2015 | UK | Original (Where To Now?)
11,69 €* 12,99 € -10%
Release:2015 / UK – Original
Genre:Electronic / Dance
Polish resident Lutto Lento follows up his debut 12” for Charles Drakeford's ‘FTD' label with this 6 track EP ‘Whips' for ‘Where To Now?' Records.Lutto's sound places him as quite a unique figure in modern electronic music, showing a fearless work ethic in shrouding his productions in saturated tape loops, and achieving what is certainly a low-fi quality to his sound, Lutto manages to never let this lo-fi edge take centre stage - instead this expertly crafted process of tape cutting and looping provides the backdrop to Lutto's exuberantly crafted yet absolutely dance floor orientated drum work.‘Marabut' & ‘Vengo' pair similar 2 note drones with dissimilar intricate rhythmic backings. On ‘Marabut' the church organ like chords quake over layers of metallic percussion hits, hissing hi hats and clattering cymbals whilst ‘Vengo's drums have far more of a low swung swagger, where sweet string melodies with eerie atonal elements help draw you deep into the loops… when something rattles too-close to your ear and the aura of the track switches up to become a chilling experience.‘Whips' whirls us away from the spook of ‘Vengo' into an ecstasy-induced autobahn fever dream, careering down a ps2 animated, neon delineated racetrack with the radio pelting soothingly lucid disembodied vocals that drift the vehicle of your consciousness from lane to lane. ‘Whips' is perhaps the most visceral of productions here, where Lutto's use of the layered sounds of crashing cars create's a unique and twisted combination of both euphoria and destruction.‘Amarea' is the most febrile piece, operating on a more guttural and obvious dancefloor level, a downcast mutation of the same feeling that drives you to whip out Dance Mania records at 5am. A beat that draws you to the offbeat and keeps you poised amid barked vocals and booming kicks. ‘Outro' perhaps serves to encompass all that Lutto is about, where frantic tape cuts simmer over a hazy world of cosmic Laraaji esque experiments and beat work, and a vocal sample that perhaps nods towards Lutto's use of found sound and manipulation to aid his musical vision, it laments “I live on an island… it is usually very warm… sometimes we go on picnics…and eat fruits and vegetables from our garden…mmmm…mmmmm”
Eugene Ward (Dro Carey / Tuff Sherm) - Paint en Pointe
Eugene Ward (Dro Carey / Tuff Sherm)
Paint en Pointe
LP | 2015 | UK | Original (Where To Now?)
19,99 €*
Release:2015 / UK – Original
Genre:Electronic / Dance
Paint en Pointe' is a compilation of selected compositions by Eugene Ward, otherwise known to most as Dro Carey / Tuff Sherm. The tracks have been taken from a series of performance collaborations with choreographer Patric Kuo over a 5 month period.Best known for his club music productions in his Tuff Sherm and Dro Carey guises, the compilation offers an exploration of a different side of Ward’s music. Paint en Pointe showcases Ward the composer, synthesising his characteristic textures and percussion with structures that allow in some instances more formal approaches (informed by his study of composition at the Australian Film, Television & Radio school), while in others, even greater experimentation than in his – already quite singular - solo music work.'Paint en Pointe' Explores that tantalising and ultra-modern dance ethos of contrasting double & half time feels to create a juxtaposition of fast and slow rhythms that echoes the sound palette of styles such as trap, juke and footwork without aping them or even directly referring to them. Add to this Ward’s uncannily attuned ear for ‘wacky’ and almost comical sounds and you get a playful yet muscular interpretation of music for movement; one that’s stripped back enough to allow the listener to focus on the intrinsic character of each separate musical detail.
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