DU20

BIOSFERA is the first full-length conceptual album from Oscar Mulero • now available from Detroit Underground.

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After twenty years on the road as international ambassador of electronic music BIOSFERA marks a return home for Muleros. BIOSFERA is comprised of seven experimental soundscape compositions each inspired by a different Autonomous Community in the Principality of Asturias — the mythical, semi-mountainous region on Spain’s north-west coast. The result is an exceptionally rich aural tapestry of lush spatial environments from one of the world’s foremost sound designers.

In Cabo Pe Muleros reconstructs through music massive white limestone chunks of Iberian peninsula emerging from the Atlantic like the spine of some ancient creature. Muleros breathes life into this ancient creature making BIOSPHERA a vehicle for us to ride upon together and generate new collective assemblage of enunciation to contest ‘austerity.’ In travelling to Asturias via sound we too defy the speed and extent to which living standards are getting worse in Spain and elsewhere.

The haunting yet uplifting track Oscos leads us simultaneously backwards and forwards in time via repositioning voice samples of an American confessing to his involvement building a secret biological weapons facility at the Los Alamos jet propulsion/nuclear bomb lab. Resituated in the context of Asturian resistance to military invasion Oscos suggests we can draw from history the power and knowledge to effectively combat emerging practices of aerial bombardment e.g. Obama’s drone warfare. Asturians, like many now under threat of drone strikes, were the first to experience aerial carpet bombing in the early-1930s, such was the fascist response to their refusal to acquiesce independence. Oscos enables us to draw parallels across disparate events of history; President Obama, like Franco before him, declares himself to be above the rule of law, when murdering others including US citizens. One of the great accomplishments of BIOSPHERA is that it refuses to allow acoustic ecology and soundscape production to be non-political.

Layers of lushly ethereal, super-chilled sound rush through Pría establishing an entirely new score with which to contemplate the results of anarcho-syndicalism leading to autonomous communities. Judging from the music one of the accomplishments of communities like Pría is that part of their ‘anarchism’ is just how pleasant and amenable they are to live in! We can only but presume that this place is profoundly tranquil, where one might reside with others, with nature and with oneself harmoniously — a track of great sustenance for those of us living in cities using sound as a means to cope with various forms of dissonance and cacophony.

Cova Rosa is an idyllic track constructed like a terraced hamlet etched into rugged hills. There is a profound sense of health and healing in these tracks. Awareness of Asturian healing and reconciliation powers goes back at least as far as Cervantes’ Don Quixote, first published in 1604. In what is now considered the greatest book of all time (as voted by the Nobel Institute) it is Maritornes ‘the Asturian woman’ who nurses Don Quixote and Sancho Panza back to health after a severe beating.

Perhaps more than any other track Ibias spans resistance, restoration and reconcilition. Muleros’ accomplishment is to produce contemporary electronic music as worthy complement to great works of literature particularly Cervantes’ Don Quixote. Through listening it appears that what Asturias has to offer the world is, like Don Quixote, invaluable. Amid the lush, chilled-out easy going vibe is contemporary experimental soundscape composition that is trenchantly political — this music is very much a critique and partial antidote to the neo-liberal demolition of civil society.

Valledor (available on digital release only) affirms the fashioning of active, participative community as a bold adventure, as a means of engagement with romance and tragedy so as to change the world. Taken as a whole the seven communities and their soundscapes emerge as anarcho-syndicalist warriors, equivalent to Kurosawa’s The Seven Samurai, Aeschylus’ Seven Against Thebes and other great works of art where the magical number ‘seven’ creates unconquerable relations of power/knowledge.

We believe BIOSPHERA is necessary because it draws upon arts of listening developed by Mulero in Asturias. wherein he listened to a unique people and the sounds of their environment. These people, the Asturians, achieved their autonomous communities as a consequence of their unique practices of listening to one another and their environment. As Pauline Oliveros says, “The way a community listens is the way it evolves.”

Each album sleeve is handmade and unique, combining design by Build, London UK and splash painting by Kero in Detroit. Limited 500 release. Screen printed in detroit at Wet House.

Download Oscar Mulero DETUND podcast here.

Oscar Mulero on Twitter™

Oscar Mulero Resident Advisor™ interview

Oscar Mulero website

Oscar Mulero Soundcloud™

Rec Overflow – Ready EP

tracklist:
Kedr feat. Adapt
Liquorice
Madrid Gris
Mariner10 feat. Adapt
Phlou
Ready

Graphics designed by EBOY™

Richard Devine : “damn these tracks are sick”

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LIMITED EDITION BLACK 12″ RECORD HANDMADE AT RVSD™
FEATURING KEDR, LIQUORICE, PHLOU & READY.  

REC OVERFLOW WEBSITE.

rec overflow bio:

Rec_Overflow also known by his DJ and Mix-Overflow, a member of the Madrid group Error. With the publishing in 2001 “Look” and “Subsurface Chronicles by mistake”, published by the label I Gano under the name of “Delicatessen”. That same year he created his website where edited www.plataforma-ltw.com Error / rrr.CD-r \ LTW0001.
In August of 2002 comes to light the fourth release of the Platform “Lptpvrflw”. The first solo LP Rec_Overflow. Like the other references the label carries a self-playing hybrid that contains info, an mp3 and a video, in this case “rgntn.mov” made by Rec_Overflow (installation and music by Bleizes).
In June 2003 he released his second LP also with extra content, a video, Mp3, info, Ep3 (7 tracks that are not in the audio cd-r) and all within a runtime for Mac OS 9, OS X and PC (designs by ErrorVisualSupport). By the end of 2005 came the Lp in spa.RK “Madrid” which had a huge acceptance in the public and magazines, even television was interested. He edited one version in digipack and another later in Sample Vinyl Lp with 4 tracks and one new.
He has appeared on compilations with artists of great stature, “VS Fibla”, “Chaos. Lovers “,” External Leakage “,” Download Folda “,” VV.AA. Xpectrum 02 “,” VV.AA. ZEMOS98-Sixth Edition “,” Tribute “…
He has exhibited in galleries such as Galeria Carmen de la Guerra “Organic Cave Software”, with software created in the programming environment MAX / MSP programming collaboration of p0l4ro [: from], and CJitter Vleizes. The installation lasted 2 months and was based on a randomized process Micro real-time environment. He has performed in theaters and festivals as Circulo de Bellas Artes, Rokolectiv (Bucharest), Colegio San Juan Evangelista, Medelink (Medellin), Kathmandu, Benicassim 01/03 Campus Party 03 ARCO’01 / ’03, Recycled Sound, After Arco 01/02/03, Post-Digital Trends, Art Museum of the Republic Bank (Bogota), Klubben, Internacinal Electroacoustic Music Festival, Soma Club, Apollo Room, The House On, Daf Lab, KlangMaschine, Sonar 04/05 , Sonikas 01/02, Werk, Photoespaña 04 Dissonant 01/02, and so …
For each direct, prepares September Rec_Overflow specific, this makes their actions “unrepeatable”. He began using hardware (Roland 505, Korg Triton), with which since He lives 98 different styles (Elektro, Hip-Hop, Techno, Ambient, …) in theaters of Madrid, Barcelona and France. All direct these performances took turns DJing, focusing his style in Hip-Hop, Elektro and Electronics. Hardware currently not used for lives. Now takes up to 4 laptops (Mac and PC) midi synchronized together.
The direct change depending on the room or event where fence to run Glitch still possible from ambient to detailed and delicate electronics through Abstract_Hip-Hop, techno or Illektro.
As a DJ also has incorporated the laptop to most of your sessions. Currently offers 4 different sessiones. Electronic / Idm, Hip_Hop, Minimal / Techno / Elektro and Drummy.
Alongside Vleizes working since 98 in graphic design, web and video production computer besides the music. In his early work collaborating on numerous video clips and 3D, in about doing the soundtrack and other riding. These jobs start at Error in the audiovisual field, the search for a visual response synchronized with sound has taken them a long time to work with Final Cut like a audio sequencer is involved. With this method of work editing multiple videos as performed to Games Addiction or those by Rec_Overflow to IRA or LPs. Also got to make a movie of 70m. about graffiti on trains.
Currently its visual applications are created in a modular program as they do with their music in visual programming environments. Treatment erratic images, perfect timing and control of real-time modulation of this with up to five laptop on stage.
In February 2007 the Spaniard PULP label released their next EP “Beetch ep” which was released in vinyl format, while edited “Acid_Tunnel” (MinuendoElectronico) in the Beatport download platform under the alias Tec_Overflow. Just released “Keep It Real LP” in Plataforma-LTW and “I_Chng” in Miga Label. Soon will return to vinyl format with two separate EPs in Kontakte rec., The Chaos and Crazy Love Language.

ORDER HERE:

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RICHARD DEVINE – RISP
DETUND™ DUCD04

RISP™ is Richard Devine’s algorithm-based exploration
of generative time structures for analog modular synths.
If you missed the limited vinyl boarding pass worry not –
gain 6 Richard Devine compositions plus 3 remixes by:

•Loops Haunt
•Vaetxh
•Valance Drakes

With the release of RISP on CD expect to breathe air on distant planets as chaotic,
broken machines speak harmonious mutant languages via RD’s human/alien™ sound design
and audio activist remixes. 14 new tracks to become alien.

CD DESIGN BY DMAS3™

1. PlonkedSpectral   7:26
2. ErkWerks     1:06
3. Oxin2lin    8:16
4. TipTopBD808   4:36
5. Varseop    4:06
6. Morro    1:02
7. Etch n Sketch   3:24
8. Plasmik    1:59
9. Vapor Wave Acid   4:28
10. York Capacitor   10:03
11. ReneAnalogueSeq  8:26
12. Plonked Spectral (Vaetxh oort cloud remix) 6:16
13. Oxin2lin (Valance Drakes Remix) 3:07
14. Plonked Spectral (Loops Haunt Remix) 5:00
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15. Plonked S. (Subjex Remix) *
16. Plonked Spectral-(Balkansky Remix)*
17. Plonked S. (DrumCell Remix)*
* exclusive for digi download.

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Vaetxh’s inaugural release Libet Tones for Detroit Underground draws on both musical themes—Electronic IDM and musique concrète—and non-musical themes from mathematics, resulting in four labyrinthine tracks that are studies in free association, a state in which ideas float from the unconscious to the conscious. Record sleeve design by Dmas3™.

Tracklist:
Unfolding mechanism
Cuntpressor
Crumbling Shuffle
List of Lists

“limited edition yellow/green/brown vinyl”

CRUMBLING SHUFFLE VIDEO:

BEYOND from Johannes Poell on Vimeo.

HANDMADE SLEEVES:

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CROSSTALK™
WORD AND SOUND™

DIGITAL:
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Vaetxh explains the production process and intention of each track:

Unfolding mechanism:

This track started with an FM synthesis experiment where each note randomized the operators, resulting in these weird bursts of atonal frequencies and harmonics.  I built the first section around this. I then introduced a melodic glaze, originally written to soften the edges of the harsher sounds. This melody started as a tool almost, but as I developed it I realized that it deserved more focus, enough in fact to later give it a solo. Before this, I wanted another breather as a temporary retreat from the intensity. To emphasize this I tried something with my binaural mics: with them in, I recorded the harsher section playing while the quieter section played through some isolating headphones. The idea was that if I recorded putting on the headphones and taking them off again, I would effectively be transplanting the mind elsewhere for a while. It didn’t quite work, but sounded pretty sweet anyway so I wasn’t too bothered.
The whole thing is peppered with binaural recordings in fact, for example the sound of the waves in the melodic solo was recorded in Pembrokeshire, sitting the sea with the water almost up to my ears. They add a recognizable natural edge to some of the more abstract sounds, and makes them more tangible I think. The contrast of having both the artificial and the natural playing together makes me appreciate how complex seemingly simple natural sounds actually are.
The final section was an experiment into what would happen if you tried to brutally force one time signature onto another. Obviously they each needed their own space or it would have quickly gotten messy as fuck (and still did), so I put on a highpass filter side-chained against the invading rhythm, which creates that swooshing effect. Luckily the new time signature was my favorite of all (3/4), so the rest of the track was just playing around with increasingly small divisions of thirds, and tying off the strange rhythms with a simple straight hi-hat rhythm to give them a reference point. It’s all about the reference points.

Cuntpressor:

The name for this track is taken from a VST I wrote that forces all audio passing through it to the same amplitude, i.e. it completely erases dynamic range. This has some interesting results: reverbs can’t decay, allowing you to hear parts of the tail that aren’t normally heard; filtered delays dissolve into harmonics normally too quiet to hear; field recordings are flattened so that quiet rustles and loud bangs are equally pronounced.
The track spawned from experiments with this effect and is divided into 4 rough sections.
The track starts with a drilling engine-like sound that came from playing with a delay that was kept alive by the cuntpressor. The single sub-bass hit that punctures through the other sounds I added as a premonition of the later parts of the track. The rumble between the first and second section is the raw sound of the cuntpressor working its charms on a reverb; notice the crackles toward the end when the reverb desperately wants to die but the cuntpressor is keeping it unnaturally alive.
The second section builds on the first by tightening the rhythm into a more shuffley mode, punctuated with bass stabs and little snippets of voice. I often add fragments of unintelligible voice to music, it makes me think of how language might sound to someone with speech agnosia (word-deafness). Here the sub-bass hits that define the following section are introduced as high pitched blips in a syncopated rhythm that morph into their later form by lowering in pitch and slowing the tempo, so that the gap between them lengthens into full bars. This gives an effect of slowing-without-slowing, similar in concept to Shepard tones or strange loops.
The third section takes this bass hit and gives it a context with an awkward minimal beat that slowly expands into a more driving 4-to-the-floor rhythm. This builds until a pause when the piano is introduced. I recorded this at home using the shitty mic in my laptop, because I didn’t have any equipment with me. I approximated a stereo recording by recording the same riff with the laptop in several different positions around the room and blending them with different pans. I couldn’t completely get rid of the tinny timbre to them but I quite liked it anyway, so emphasized it with erratic filter changes.
The outro boils the rhythm of the 3rd section down to its basic no-frills constituent – a repetitive technoish loop. This morphs into two other styles before the track glitches itself to pieces.

Crumbling Shuffle:

I wanted this track to sound like an intricate machine or robot that is both unimaginably powerful and  ancient, rusting and crumbling, and that could grind to a halt at any moment. This affected the rhythmic style – mostly stable but occasionally coming apart at the seams and falling to pieces.
The first part sets up the machine as a savage beast, but one whose old age means it can’t keep up this intensity for long before giving up and crumbling into silence. As it powers up again, the bleeping is actually an exe file interpreted as audio, the sound of raw data. The exe file was Internet Explorer – pretty much all it’s good for.
The second part is a reflection of the first but softened with a melody. Again, this soon falls apart to almost nothing before building up to the 3rd and final section.
This final section is split into two sub parts. The rhythm in the 2nd of the these parts is actually almost identical to the 1st, just shifted a fraction of a beat to change the emphasis. This section keeps going until the machine runs out of steam – the beats get clipped away to nothing and I wanted to give the impression that this was the last time the machine would ever run.

List of Lists:

I don’t have much to say about the concept behind this track, it was very much a stream of consciousness. Each section is just what seemed to come naturally after the last, so I guess in some respects it’s about that – how ideas morph into one another, taking fragments from preceding ideas but integrating new ones from external sources. This track was made on and off over several months, so there were a lot of external sources. This is reflected by each of the distinct sections; every time I went back to it I came from a different angle based on what I’d been listening to or thinking about at that time. The name is a reference to this recursive process of refinement.
It started off as an experiment with a physically modelled synthesizer. The bass sound at the start is an abused model of a toned drum, kept alive unnaturally by the cuntpressor. I then started messing with dynamics of the drum sounds using another more flexible compression VST based on the cuntpressor, giving the drums that slightly hesitant sound. The little snippets of radio I got by playing the track through a radio transmitter and picking it on a handheld radio, then detuning from that station to get a lovely static-ridden fuckedness. I then mixed this back into the track.
The tonal percussion in the section before the pad was the result of a jam I had with a realtime audio quantizer patch I made in Max. The pad that then fades in I re-recorded with my binaural mics through my monitors, getting the pans by physically moving head around. At the end of the pad section, the sound of the footsteps is me recording the track playing in my room, then leaving the room to go upstairs to see how that affected the sound.
The slower final section is a tempo change via a rhythm change rather than by changing the global tempo. To do this I introduced the beat in the pad section as a syncopation, but then turned that into the straight tempo of the following section, resulting in a slower effective tempo.
For a while it looked like this track would never get finished because while I was working on it in my wave editor, the file corrupted and I lost a days work. I almost gave up then, but I’d put so much time into it that I couldn’t give up that easily, so as a big ‘fuck you Audition’ I took the corrupted file, turned it into audio put it into the track.

VAETXH™:
Vaetxh is youthful Bristol native Rob Clouth, raised on a steady diet of mathrock until a chance exposure with high intensity electronic music led him down the digital production alley. Initial forays into IDM territory were superseded with the acquisition of a sub-woofer and his realisation of the sensory affects of bass on the body and brain. The end result is something refreshingly unique in today’s hyper-saturated sonic landscape – intricate, engaging and emotive scapes incorporating the aesthetics of dubstep, glitch, IDM, ambience and field recordings.
It’s in the interplay of natural and unnatural, of the real and the synthetic, the planned and the unexpected, the mechanical and the organic, that Vaetxh finds his inspiration.

OR FROM:

JUNO™
CLONE™
CROSSTALK™
WORD AND SOUND™

VAETXH – LIBET TONES
A PHD PERSPECTIVE.
Written by Garth Rennie.

Dreams, hallucinations, sleep walking and other forms of subconscious perception emerge as ready, necessary states of potential life in Vaetxh’s inaugural release — Libet Tones for Detroit Underground. Four tracks map a new territory for electronic music drawing on recent research into neurophysiology and cognitive processing. Vaetxh uses the cutting of tone with noise in strange, mysterious ways drawing out the liminal, inter-zone beween consciousness and action. Listening feels like a strange factory or machine continuously assembling potential feelings, anticipated thoughts and future muscular movements.

How? Enter Benjamin Libet, a neurophysiologist with novel ideas as to what occurs between our minds and our bodies. Libet hypothesized the experience of “felt intention” e.g. the fleeting, momentary feeling of buildup as we desire to move, feel and act is registered and acted upon subconsciously by our nervous system prior to conscious awareness. The innovation Libet seems to offer, contra Freud, is how the nervous system itself appears to prime or make ready selected networks within its system anticipating the decision to act by the mind. Libet measured up to 0.5 seconds between our nervous system’s ‘knowledge’ and the decision to act. This momentary charging of the system making it ready for movement he termed the “readiness potential.”

So we’re talking about wonderful new ideas as to what constitutes lived experience.

Electronically synthesized music greatly expands the vocabulary of music, as Milton Babbit remarked, because the limits are no longer those of sound production but of the human auditory system. Rapid changes in timbre are difficult to follow especially when the cessation of pure tone is syncronized with with the on-set of noise. Vaetxh is a young scientist of the perceptual senses, mysteriously evoking the subconscious, making our bodies ready for potential movement, thoughts and feelings. He offers new innovations accomplishing for electronic music what Libet did for neurophysiology. Record sleeve designed by DMAS3 represents diagramatically Vaetxh’s Libet Tones production practice offering a new concept, a new understanding of what is happening between body and mind as audio waves are transduced into electrical impulses and we hear sound.

Unfolding Mechanism

Volume and depth build quickly opening our ear canals to previously uncharted domains arriving upon new mind-body plateaus. Oscillating, syncopated, mutilated sound waves enter labyrinthian ear semicircular ducts, vibrating tympanum skin membrane, bone ossicles, arriving calmly across the blood-brain barrier to the vestibule, harmonics now one with common central cavities of the body communicating inner experience. Welcome subjective perception as unfolding mechanism.

Cuntpressor

Libet tones is about the to-and-fro, back and forth of communication and the momentary, fractional moments (recall Libet’s 0.5 secs) between sensory input, cognition and action-response. A deep-rooted sexual rhythm demonstrates the principle prompting heightened states of bio-erotics; anticipation, arousal, desire, intimacy and love are all brought together as the dense ascending cochlea hair fibres within our ‘Organ of Corti’ move precisely in accordance to physical sensations of wave forms, massaging, pulsing, engulfing the auditory nerve. Track title derived from software Vaetxh uses for sound production.

List of Lists

Scaling the mountain from inner ear to mind are the nerve cells ‘ganglion spirale’ — ultimate magical bi-polar transducers arranged in sequence along our basilar membrane like the keyboard of a piano forte, one pole prolonged centrally to the brain and the other peripherally to the hair-cells of Corti’s organ. Searing, swirling oscillating, backwards-forward-backwards frequency spectrums ensue, a hair cell bricolage of tapestry keys. Tone and timbre coming together producing myriad results, from cacophony to tranquility in the space of minutes, moments, fractions of moments. All sorts of emotions, compulsions, thoughts in-between. Desire blooming not for a body but for a whole construction, a whole landscape, a whole, integrated cosmos of life world – subjective perception being the ‘list of lists’ governing bodily movement. Since action so often happens before a decision agency or ‘free will’ emerges as epiphenomenon.

Crumbling Shuffle

If that wasn’t enough the penultimate track is better yet, the best lead into the mysteries evoked by Vaetxh’s exploration of subconscious perception. The crumbling begins with 50-sec plethora of noise. But having reached the foot of the mountain the ‘readiness potential’ of subconscious auditory perception takes hold. Minute colours, fractional, imperceptible timbre, each to our liking, intersperse spirale/membrane cacophany. Suddenly silence. Prompting us to gaze upon ourselves amid the passing of time and the experience of being alive, listening. In silence we focus, breathing, observing breath, to calibrate, to prime ourselves for our readiness potential. Mind suddenly floats as if on our backs gazing up at the night sky removed and absolved, feeling the presence of our bodies, those of others we love, how much we need them, how wonderful it is to be alive. A lilting, somewhat distant marimaba or steel drum appears, soft metallic emulations beckoning us as if from the shores of a distant island.

Add these together and gain important integers as how to catch and save falling objects including life and Mother Earth.

Vaetxh- crumbling shuffle from numbercult on Vimeo.

SCAN 7 
MENTAL REACTION 
DETROIT UNDERGROUND 19

After many years of collaborative work we are wildly ectatic to present — finally! — Scan 7, fabled anonymous masters of stealth, activism and classic Detroit techno.    Mental Reaction and Noise Tension are two new ‘zenith’ recordings shifting the order of things to reveal dark energy amid consistent, intense forms of brightness.  Punctuating the diptych is a ground pounding, break-oriented remix of Mental Reaction by du’s Annie Hall.  State of the art graphic futurism by dmas3 makes strange any sense of normality cutting new forms for productive living in an ever-expanding universe.

BUY FROM JUNO.
BUY FROM DEEJAY.
BUY FROM CLONE.
BUY FROM CROSSTALK.
BUY FROM HARDWAX™
BUY FROM RUSHHOUR.

DIGITAL VERSION ON BEATPORT™

Scan7 – Mental Reaction – Annie Hall remix from annie hall on Vimeo.

Mental Reaction (5:57)

Mental Reaction is the antidote to ‘austerity’ via classic Detroit warehouse techno.      A new throbbing, syncopated Scan 7 classic Detroit rhythm hails us, freeing up accumulated, pent-up anger having to cope day-after-day witnessing cowardly, hypocritical elites avoiding culpability for wrongdoing in the world.    Warm, rhythmic  frequency distributions align logical and ethical sensibilities hypnotically.    Mental Reaction is a new Scan 7 legend to reveal dance-activist pathways to higher ground in the face of adversity.

Mental Reaction (Remix by Annie Hall) 6:29

“Electro-drum breaks, deep bass line,  soul-influenced warm Detroit-flavour summer track.  Influence:  Funk” — Annie Hall  


Noise Tension: 7:37

Scan 7 demonstrates afresh the ‘Viet Cong’ theory of war — if you don’t know who we are you will never defeat us — in the form of a a new original Detroit techno floor stomper Noise Tension.  NT replaces music with violence, politics becoming war by other means.  Scan 7 guerilla-warfare inverts weapons violence by oppressors with weapons of music and innovative performance practices,  keeping  us questioning, keeping us together as we experience myriad jubilant tensions, e.g. dance freedoms beyond censorship and governmentality.  Like fictive characters traveling with/as Dorothy in The Wizard of Oz we at Detroit Underground proudly presents new Scan 7offerings of absolutely new Detroit frequencies and tones liberating critical consciousness as identity becomes unhinged. 

Mental Reaction ep is an original Scan 7 release on Detroit Underground of classic Detroit warehouse techno and electro via two new tracks and a remix.

BIO: (taken from discogs™)
Scan 7
Real Name:
Lou Robinson, Ghost, WysPurr, THE VOICE, INTEL, BLCK LIGHT
Profile:
Closely related to Underground Resistance, Scan 7 is a mysterious Detroit underground collective gathering seven artists, and lead by Lou Robinson.

 

graphics by eboy™

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Anti-Node is the name of the debut EP from the up-and-coming producer FURS. As a producer, FURS blurs genre lines through the mashing of musical styles, and filtering the techniques of classical, jazz, hip-hop and bass music through computer based synthesis and production methods. Glistening FM synthesis and rumbling sub bass sets the tone for this down-tempo, dark, IDM record from Detroit Underground’s new dBoy imprint, a collaboration between DetUnd and eBoy™, the German based international design group behind the “8-bit” graphics found on the cover of each dBoy release.

The Anti-Node EP starts off with the title track. A heaving layering of detailed and morphing FM synths that range from shimmering melodies to heavy and full bass that organically modulates and shifts, a contrast to the laser snares and tight percussion (made on the Machinedrum from Elektron and Reaktor, giving the rhythm section a full and complex sound). The composition is nuanced, rhythmic and expressive in the style and tradition of romantic era pianists like Ravel and Chopin, with a futuristic touch.

Jimmy Edgar adds his signature sound to the EP with his remix of Anti-Node. Pounding drums and a sultry vocal sample get your head bobbing, while the intricate and nuanced production will have your mind trying to keep up. Jimmy brings his particular brand of neo-funk-IDM-R&B with the kind of meticulous production that got him on labels like Warp Records, Detroit Underground and !K7.

Shame, the second track on the EP, contains more of the prevalent FM synthesis, though this time there is a stretched out cadence to the rhythm. Sweeping synths carry the melody while half tempo post-dubstep percussion slowly moves the track forward. A portion of the song contains drum loops by FURS that have been manipulated in MaxMSP with algorithms and randomization, giving the percussion an element of “chance composition”, working in the tradition of modernist composers like John Cage, making the track more affectual and organic.

Suck is an electro-inspired dance track that puts a contemporary twist on the grooves of times gone by. The modulating synth line that runs throughout the track is reminiscent of IDM artists like The Tuss and AFX. The instrumentation comes from Max4Live manipulations of FM synth lines and chopped samples from CR78 and TR-707 drum machines with driving bass and percussion from the Machinedrum and Reaktor.

Freezy, the final track on the EP is a kind of throwback to the heavily reverberated and FM synth laden production of the ’80s and ’90s, though a stormy synth rumbles and surges throughout the composition. The Machinedrum brings in some new-school claps and hats, keeping the groove going, while a complex percussion synth, resembling a stretched hide hand drum, brings an organic rhythm to the track.

ENV(itre)’s remix of Anti-Node is a spacey mix that re-imagines the melodies and heavy percussion of the original into a glitched out IDM dreamscape that lets the mind wonder, then pulls it right back with granular, stretched out and manipulated samples that will make your ears do a double-take.

Jesse Somfay delivers a smooth but potent mix of hard hitting techno with an overwhelming wash of shoegaze production in this remix of Anti-Node. The depth of the sound is seemingly endless and the pounding techno rhythms are an entrancing light that guides you deeper into this tunnel of sound.

BOOMKAT™ REVIEW:

Complex IDM composition from Detroit Underground’s newest recruit, Furs. Over four tracks of glistening melodies, meticulously arranged beats and a mixture of warm analog and crisp digital textures he marks himself out as a distinguished talent, especially on the dark neon blue vibes of ‘Shame’. Of the remixes we’d recommend checking Jesse Somfay’s galloping ‘Mercury Lattice’ remix and Jimmy Edgar’s gangsta IDM remix.

Read full review of Anti-Node – Furs on Boomkat.com ©

Also Check out the remix FURS™ did for Jesse somfay on DBOY8.

FURS (Stephen Surlin) is doing a performance at the SoVA Gallery in Windsor, Ontario using the monome 40h with Ableton running on the laptop which is controlling the midiNES.

midiNES:
http://www.wayfar.net/

FURS:
http://www.facebook.com/musicbyfurs

Jamming on the monome 40h using mlrV 2.2 with some samples from the new samplepack “Kero’s Bits & Beats” from Twisted Tools (twistedtools.com/shop/samplepacks/free/kero/).
“Here is a collection of loops/samples taken from my Logic tracks that I have been working on for the past year. All samples made with Kyma Pacarana, Machinedrum, Virus TI, Monomachine, Nord3 and Monome. I hope you can make something interesting with them, Enjoy. ”

djfurs.com

Richard Devine DJ set at Detund label showcase Detroit Movement fest 2011.
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　₄　₅　₆　₇　₂₃₄₃　₄　₅　₆　₆　₇　₈ ₁　₂　₃　₆　₇　⁸⁹₁　⁹₁　

　　₂　₃　₄　　　　　　　₅　₆　⁴⁹₁⁶　⁶　₇　₈　°₂⁷　⁴　⁶　⁷₁　₂　₃　₄　°　　

Plonked Spectral Video from the “RiSP-CD” 2012 from Richard Devine on Vimeo.

₂⁷⁴　₃　₄₇　₈　°　⁴　⁶　⁷₁　₂　₃　₄　°　₆⁹₁　₆　₇⁶　　₈ ₁　₂　₃　₄　₈　₉　　҉҉҉҉҉҉҉҉҉҉҉҉҉҉҉҉҉҉҉҉҉҉҉҉҉҉ه҈҉҉҉҉҉҉҉҉҉҉҉҉҉҉҉҉҉҉҉҉҉҉҉҉҉҉▒̳̳̳̳̳̳̳̳̳̳̳̳̳̳̳̳̳̳̳̳̳̳̳͌͌͌͌͌͌͌͛͛͛͛͛͛͛͛͛͛͛͛͛͛͛͛͛͛͛͛͛͛͛͛͛͛͛͛͛▒̳̳̳̳̳̳̳̳̳̳̳̳̳̳̳̳̳̳̳̳̳̳̳͌͌͌͌͌͌͌͛͛͛͛͛͛͛͛͛͛͛͛͛͛͛͛͛͛͛͛͛͛͛͛͛͛͛͛͛▒̳̳̳̳̳̳̳̳̳̳̳̳̳̳̳̳̳̳̳̳̳̳̳͌͌͌͌͌͌͌͛͛͛͛͛͛͛͛͛͛͛͛͛͛͛͛͛͛͛͛͛͛͛͛͛͛͛͛͛▒̳̳̳__•͢͝͡͞͏̵̢̡̛̛́́́͘͢͜͝͏̶̀͘҉̸̷̨̛̛́͜͟　　　　　　°　⁴　⁵　⁶　°°　　⁴　⁸

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