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New 12"s @ Amoeba Hollywood, 7/20: New Workshop, Shed, Morphine, Jam City, Der Zyklus & Albert Van Abbe + more

Posted by Oliver / Matt / Jordan, July 20, 2012 05:19pm | Post a Comment




808 Mate / Marcellis / Schweiz Rec / Frak

Workshop 15
Workshop

A Workshop family House affair

Purchase Workshop 15 here:








Shed
Killer LP
50 Weapons

Gatefold double LP version. The third full-length from Shed eschews gimmickry for serious signal noise, strong beat-patterns, and massive power in the bass area. Rich in variety on tracks like "Silent Witness," a massive groover, to "I Come by Night," a real big four-to-the-floor slammer, to nice and lovely melodic tracks like "Gas Up" or the album version of the pre-single track, "The Praetorian." Once again the album feels like one big piece. Every track accepts the subordinate role in this game, and all the tracks are hits. Made for the pimping PA in your car, for home listening (at your neighbor's cost) or also to enjoy with a good pair of headphones. Aimed to be more homogeneous, the album is first and foremost a true techno love story.

Purchase Killer here:




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New 12" Releases @ Amoeba Hollywood 3/1 - Locussolus, Moritz Von Oswald, Benoit & Sergio, Sven Weisemann, Golf Channel & More

Posted by Oliver / Matt / Jordan, March 3, 2011 12:36pm | Post a Comment

Harvey presents Locussolus
I Want It 12”
International Feel

Harvey is back with the third and final installment of his Locussolus adventure before his album release. "I Want It" tells the story of midsummer heat that builds into a cacophony of phuture discostep tension and shuddering, dubbed-out synths. "Next To You" finds the Disco Administrator in a slinky mood, with Harvey's crooning bedside manner competing with sultry female vocals. This is liquid funk/nocturnal vibes for lovers, Harvey-style.

Purchase - I Want It here:



Moritz Von Oswald
Horizontal Structures 2LP
Honest Jon’s

Gatefold 2LP version. This is the third album by The Moritz von Oswald Trio, comprised of members Moritz von Oswald (Basic Channel, Rhythm & Sound), Max Loderbauer (NSI, Sun Electric), and Sasu Ripatti (Vladislav Delay, Luomo). This time, the album is enriched and expanded by guitar contributions from Paul St. Hilaire (also known as Tikiman), and double bass courtesy of Marc Muellbauer (via ECM). Horizontal Structures is palpably a more open, more expressive album than the previous studio recording, Vertical Ascent. There is more contrast, more light and shade. St. Hilaire and Muellbauer add fresh drama and swing to the intimate tonal and rhythmic interactions of the core grouping. The coherence of the five-piece is remarkable, the boundary between acoustic and electronic undone. The group's evolution is firmly signaled in the opener, "Structure 1." There's a lush, romantic quality to the playing and arrangement that has not been heard before: the guitar licks have a bluesy lilt, the bass imparts melody as well as physical presence, the synth sequences are more painterly, looser somehow, and Ripatti's percussion roams feelingly. "Structure 2" is like '70s spy-flick jazz or groove-heavy Krautrock stripped to its barest essence, Loderbauer and von Oswald's electronics glistening in a sticky cobweb of reverb and delay. The languidly stepping "Structure 3" faintly recalls von Oswald's work with Mark Ernestus as Rhythm & Sound, with St. Hilaire's chords hanging thick above bone-dry drum machine drift. Lastly, "Structure 4," the track structurally closest to techno, is pervaded by a sense of mischief, with Muellbauer's strings -- plucked, bowed, scraped -- coming to the fore. For all its complexity, this is also a very playful album, and the Trio's increased confidence and empathy as improvisers allows them to indulge flights of percussive fancy, sudden about-turns, and vectors into the unknown. Horizontal Structures sounds, above all else, free.

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