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

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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.

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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.

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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.

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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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

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• HOSMOZ VULVA DBOY11/BR039
DETUND COLLAB WITH BEDROOM RESEARCH™

Read full review of Vulva – HosmOz on Boomkat.com ©

DESIGN BY DMAS3™
DESIGN BY DMAS3™
DESIGN BY DMAS3™
DESIGN BY DMAS3™

• HOSMOZ VULVA DBOY11/BR039
DETUND COLLAB WITH BEDROOM RESEARCH™

Detund™ & BedroomResearch are proud to announce their first collaboration with this mind blowing EP by newcomer from Belgium: Adrien Cornet aka Hosmoz.

4 tracks of pure electronic mayhem, Sci-fi atmospheres and Glitchy maestria in the vein of Richard Devine, MonsterX, Vaetxh or Xanopticon while tinged with the industrial-edged and dancey output of labels such as Combat Recordings or Mutant Sniper. You got it, we are speaking of hard hitting and dark IDM with a sharp focus on sound design.

Food for the feet and the brain that will keep you wondering if your speakers are not in fact Decepticons in disguise.
credits
released 20 February 2012
Catalogue Number: DBOY11/BR039

ARTWORK BY: DMAS3™

ANGEL TRAX – DU18/BWLR1
’90s-style acid Techno pumpers backed with experimental and kicking remixes from Raíz, Steve Kuehl, and Jesse Somfay. Highsage’s original trax remind of early DJ Hell, Der Dritte Raum and co, while the remixes take this aesthetic in fresher directions, from the offset kicks and threatening churn of the Raíz rework to the advanced trickery of Steve Kuehl’s excellent ‘Fractal Reflections Rmx’ – for fans of Marcus Schmickler, Hecker, Evol etc. ACIIIID! (taken from boomkat)

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tracklist :
01. Kode 9 / “Far gone”
02. Kode 9 / “Black sun”
03. Luke Vibert / “Homewerk”
04. Untold / “Mass dreams of future”
05. Jega / “Carbon 60″
06. Kero / 1048 Done
07. Quench / “Tive”
08. Plaid / “OI”
09. Obtane / “Gemini”
10. Kritical Audio / “Oceans 1300″
11. Gescom / “Key nell 3″
12. Kangding Ray / “Pruitt Igoe”(Alva Noto remodel)
13. The Black Dog / “Your only SQL”
14. Mr76ix / “Traits”
15. Mr76ix / “Wordless Aeon”
16. Drexciya / “The Plankton organization”
17. Dykehouse / “The frost jockey grenoymes obsvecticle”
18. Sensational / “Koyxen 325″
19. Phako / “Curenc”
20. Phako / “Bolnes 1″
21. Leekon / “Tricut”
22. Jega / “Rigid body dynamics”
23. Brian Eno / “Flint march”
24. Xhin / “Foreshadowed” (Dadub Remix)
25. VHS Head / “Red lens effect”
26. Quinoline / “Yellow dulcis”
27. Aphex Twin / “Tha”

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Coming soon, Oscar Mulero – Biosfera EP on DETUND™.

Phoenecia – Demissions by phoenecia

PHOENECIA – DEMISSIONS COMPACT DISC.

Shipping Location

USA/ CANADA $15.00 EUROPE / UK $20.00 ASIA / AU $22.00

1.Two-Part Invention For Bodhran & Computer 12:29
2.Nostrum Remedium 08:51
3.Frendano 04:49
4.Seba 05:48
5.Dogness 05:11
6.Aunt Alice 06:11
7.Gesundheit 08:54
8.IV Port 04:31
9.Mushroom Cloud Over Miami 05:54
10.Livelihoods 10:31

Recorded by Josh Kay & Romulo Del Castillo
Design by Josh Kay
Mastered by Dietrich Schoeneman
Fernando Subirats sings & plays tabla on Frendano
Dogness contains samples from Kettel’s “My Dogan”
A Schematic / Detund joint-release
Catalog # SCH079 / DUCD02
© 2011, Schematic Music Company
Published by Light Of Man, BMI

Demissions limited digipak compact disc available from Detund™
Phoenecia – Good Man Bones EP (featuring an exclusive vinyl-only track) available from Detund

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RICHARD DEVINE RISP CD
6 TRACKS + 5 REMIXES
-
RISP is Richard Devine’s algorithm-based exploration of generative time structures for analog synths. If you missed limited vinyl boarding pass worry not — gain 3 additional original richard devine compositions plus
five remixes by Loops Haunt, Vaetxh, Subjex, Valance Drakes & Balkansky 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 soundesign and audio activist remixes. Thirteen new tracks to become alien.
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•ORDER RICHARD DEVINE DU16 RISP EP NOW!!!!•

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Richard Devine – Risp clear available on pre-order only, store orders are blue/purple translucent.
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TRACKLIST:

12″
PLONKED SPECTRAL
OXIN2LIN
VARSEOP
VARSEOP (DRUMCELL REMIX)

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Detund 16
Richard Devine – Risp ep

RISP is Richard Devine’s most advanced exploration of experimental acoustic space to date, now available from Detroit Underground. These compositions were created and initially sequenced on the Euro rack modular and Elektron Octatrack machines. Advanced media technology driven by algorithm-based generative time structures forge new pathways to critical discourse across six tracks. Expect new forms of becoming especially reflection, restfulness and peaceful integration subsequent to witnessing crazy, chaotic, seemingly broken machines talking to one another, somehow harmonized via Richard Devine’s remarkable human/alien sound design. Limited edition clear 12″ vinyl with screen printed sleeves & graphic design and visuals by dmas3.

Plonked Spectral:
The set plonks us down right into the up/down, start/stop, high/low, life/death paradoxes of being human; frequency distributions cascading across sensoria-spectrum in manic, hyper-kinetic, frigid, broken rhythm time signatures; alien sounds emerging from somewhere affecting an immediate, haunting, dis-orientation of senses. The result: New positivities for mind, body, and soul to deconstruct, realign and coalesce. If John Cage was the first and foremost to employ the fixed sound plane affirming process against all structure, floating time against pulsed time or tempo, Devine takes the principle to the next electroacoustic dimension deterritorializing and cutting through conventional assemblages (e.g. acts and statements / the intermingling of bodies reacting to one another) to reconfigure and make possible new ways to figure out how to suture wounds, heal, and become more fully human. It’s complex, mangled music to get one thinking anew, beyond/outside psychoanalysis, appreciating life both here and elsewhere, privileging experimentation over interpretation, pure modifications of speed replacing form, imagining new acoustic realities making possible actual transit to alien environments.

Oxin2lin:
The introduction of vector synthesis enhances interstellar/planetary/mind travel via less abrasive sounds and as the ears relax pleasing new warm feelings emerge; one feels the transfiguration of aural networks, of optimised cochlear transduction, of new configurations of the bones in the inner ear; new alignments of malleus, incus and stapes receiving RD’s intuitive work-flow process programming of the Octatrack generating never-before heard frequency distributions. With realignment, power structures seem to melt away making possible new forms of feeling and identity formation. This is sound design of the highest order.

Varseop:
Having arrived in the Octatrack otherworld brace yourself for a furious, head-first onslaught of complex cortex pinching, index shifting, unquantifiable rate/ rhythm bio-power manipulation driving down into the soul, demanding ball-rolling, toe-tapping body movements. At the core are mathematically based, all analog mutant bass frequencies un-like anything produced by anybody else on Mother Earth. Devine bears his chest and from within emerges, finally, the masculine soundscape component to Donna Haraway’s ‘A Manifesto for Cyborgs’, resulting, potentially, in new unifications of women and men, perhaps even the erasure of gender altogether through RD’s cyborg as a simultaneous amalgam of fiction and socially lived experience – a simultaneity fundamental for the belief in liberation.

Varseop – Drumcell remix
This is a stand tall, cymbals ringing blitzkrieg attack remix of Varseop by Droid techno frontman Drumcell. The original hyper-kinetic chaotic fury is slowed down into a minimal groove without losing intensity. Mesmerizing oscillating sonic panning propels RISP’s critical investigation of identity, spatial relations and power structures yet further forward. The result is a spellbinding next level dance track thoroughly abstract and experimental in orientation yet expressing tones of universal love, community and togetherness.

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RISP™ TILED WALLPAPERS:

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12″ COMING SOON…

40dae by sense

Sense Ep Sample by Vinyl Group

Sense aka Adam Raisbeck, having recently released his superbly emotive full length album Selected Moments Vol. 1 on Psychonavigation, now brings us a truly beautiful release on Detroit Underground entitled “Axxil Of Macial”.

Sense expresses his darker twilight aspects within this record. “40dae” glows like afternoon sun through subtly hazed horizons with skittering percussion marking fast oscillating shadows during a drive past trees as light is blocked and revealed repeatedly forming fractal visions of wing-like cloud structures bending their tips into space. “Arplaya” takes from its roots in Detroit’s misty, mechanical darkness and elicits visuals of fragmented glass towers dissolving and rearranging themselves into ever novel synthesized formations, the deconstruction of former life being reconstructed into revitalized new forms.

“Ardk-etims”, if you notice the anagram, is the perfect example. It elicits visuals and feelings of being within a cloud of light grey-brown smoke while walking out of body at dusk, the fading light gazing back at you through dancing particulate. “23″ is a full blown extension of Sense’s live in-the-moment consciousness and was squeezed out, like juice from a fruit, via way of live improvisation. This spectral fluid wormhole dives into exceptional depths of unwavering, constantly evolving shimmering star-birth.

AXxil Of Macial 12″ EP by sense

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“24″ continues from 23 where the, gentle yet heavy, stormy undercurrent breaches the quantum membrane into existence and drags branches of lightning through smokey clouds, merging with dissolved moonlight with unmeasurable intensity. “Outro” is the sunrise carefully shattering the night’s evanescent storm cloud remains into modulated pockets of cotton dissolving gradually into the effervescent refracted blue embracing the entire sky with its bright glowing breath.
~ words by Jesse Somfay

24102010 by sense

23102010-add1 by sense

Sense™ ..Electronic emotional music.
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Neural networks are formed when we allow ourselves to feel.
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Sense is Adam Raisbeck, musician born on the 25th of June 1974,from Melbourne, Australia.
Since, purchasing his first synthesiser from the trading post in 1992 , the Roland JX-3P , adam started making sounds and music.
Acquiring next some drum machines Roland . TR series.. and then some more and even more synths . Roland, Korg, Kawai, Yamaha,Sequential Circuits.
Learning along the way the concepts and applications of computer and synth based music was and still is his way of life.Establishing himself under his Soulenoid alias early in 1995, Adam Raisbeck has performed live numerous times in his native city of Melbourne at Club Filter, Global Warming and the Punters Club as well as larger one-off parties like the Omniglobe raves, Technofest, The Big Day Out, Be Strange and Earthcore – along the way supporting international drawcards Derrick May, Stacey Pullen, the Aphex Twin, Biochip C,Bochum welt, Cylob , Speedfreak , Biochip C , STEEL,Monolake , Machinedrum, Dabrye , Tim koch , ComA , Sutekh and the On-U Sound posse.
Yet in spite of critical acclaim surrounding his performances and the music he’s released through Melbourne’s If? label and Belgium’s Nova Zembla imprint, Adam Raisbeck remains as unfathomable and elusive as the day he began.
More recently Adam Raisbeck is searching out new directions in both sound and the technology he uses to make that music, as Sense, for labels as divserse as:
Merck
UCover
Neoouija
EEM
Defocus
SAAG
AKA ltd
Civikrecords
Neferiu
Aural Industries
Delikatessen
One.9
Cactus island
monotonik mono
Kahvi
Psychonavigation Records
Detund™
Born from the intense need to express itself , sense emerges from within.
Inside it the feelings the sounds the emotions the decisions the mechanism the thought. Outside it the pain the struggle the hurt the disapointment. Yet his sense is both of these things .. embracing each other .. and feeling what each other does, perfect and all knowing understanding, perfect unambiguous communication.
Adam’s earlier work veers across a range of contemporary electronic flavours.
His older recordings of freestyle ‘techno’ – if you want to call it that – captures the spirit of his own development over the years as well as the style of contemporaries like Zen Paradox, Voiteck and Robert Hood.
His recent recordings as Sense are far more personal; Adam explains “When I’m actually making music I really try to express what I’m feeling. Maybe it’s not conscious; maybe it’s a totally unconscious thing, but I try to be open enough to give expression to that feeling and capture it. My ultimate goal is create an interface via my music whereby people listening to it will totally feel what’s happening and understand what i was feeling at the time i was making the music ,it’s something that is to me – beyond-sonic.
Adam Raisbeck’s live electronic music experience is something that’s both intangible and unpredictable; in in the mid to late Nineties he was one of the more consistent live performers in Melbourne.

Learning To Be by sense

Goodbye Mr Henderson EP by sense

A View From A Vulnerable Place by sense

Remember Me? by sense

Where Has Everyone Gone? by sense

Further EP by sense

Whateverman by sense

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http://www.youtube.com/watch?v=mxFfnAaVzA0

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BUY VINYL HERE.
BUY VINYL HERE.
BUY VINYL HERE.

In the first-ever collaborative DetunD/BWLR release, we are proud to announce the December 2011 vinyl release of BWLR Angel Trax EP1, featuring tracks by
Highsage, Steve Kuehl, Raiz Acid and Roman Debnar
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:: Artist Info ::
Highsage (aka Acid Trace) – Highsage produces techno and acid with machines in the classic Detroit TR-style of programming. An avid synth lover and beta
tester for Elektron and other synth manufactures, and a DIY bender. With releases out on Napalm Enema (Can), AC Records (Berlin) and now Detund, he’s
quickly becoming known for hard analog techno, twisted time signatures, and psychedelic use of FX.
Steve Kuehl – A native to the Detroit area, has a passion for Techno : Minimal : Acid : Ambient : Electronic music. Influenced by countless events in the early to
mid-90′s, Steve Kuehl began mixing and playing at such places as the Packard, and other Detroit venues as well as in Windsor and the mid-west. Recently
thrust back into the scene, Steve Kuehl has been driven to produce music that will inspire, with influences from the old Detroit sounds with a new look toward the
future in the ever evolving electronic music industry, utilizing the latest technology. Steve Kuehl started a concept series to convey his new musical interests :
brainwavelabs concept series (now rev. 2.0)(perceptual beginnings for BWLR // brainwave lab recordings). Closely converging on the collaborative
DetunD/BWLR release; BWLR EP1 will add unique culture to the electronic music community.
Raiz Acid – With early influences from his father and the LA underground music scene, Raiz Acid found common ground with producer / performer Drumcell,
and in 2002 formed the Droid Behavior event production group and record label. Raíz fully harnesses the capabilities of Traktor, Ableton, and Maschine
technology to create a thick blend of Detroit influenced techno and gritty house. Taking cues from years of classical training to infuse dynamic musical
expression with a delicate balance of mixing board acrobatics and symbiotic intuition. Years of production experience from the Live PA / Digital DJ hybrid
approach, which uses each track’s core essentials to form a narrative arch for every unique set. Releases follow suit and take only key elements from each
rhythmic style to shape simplistic and deep music that captures diverse influences and personal impressions.
Roman Debnar (DJ Bassfrog) – Roman has been playing at some of Detroit’s best electronic music events since 1995. Now producing high quality vinyl for the
minimal techno enthusiasts, Roman has several records out under the “Release Records” banner mostly all original works and has worked on remix projects
with many artists such as Optic Nerve. His releases have been popular with Radio1 and gained ratings on the charts overseas. Roman’s releases have set a
mark for what to expect from with his unique minimal, acid, techno style. Substantial release matter is expected from Roman Debnar in the coming year
beginning with his first works, now finally released on Detund!