LITTLE NOBODY, feat. ROBO*BRAZILEIRA

"ROBOTA"

(IF?/Hypnotic Room)

Some angles don't change, like the silly Little Nobody infatuation for things robotic.

The name of the new Little Nobody EP is 'Robota', and for this one we shanghaied Japanese producer Toshiyuki Yasuda (one of Si Begg's favorite musicians, and who just finished working with Senor Coconut, a.k.a. Atom Heart) into the arrangement, to do gorgeous, robot-style vocoder vocals as Robo*Brazileira.

The resultant track (with accompanying remixes by Funk Gadget and Dick Drone) was released today in the digital download terrain via IF? in conjunction with Hypnotic Room, on Beatport, etc, and it's just been remixed by Steve Stoll and Jammin' Unit, so look out for those wild versions early on in 2009.

In the meantime, the rather crazy original version here is already getting steady club and radio airplay in Japan and over in the UK, as well as on 2SER in Sydney and 3PBS in Melbourne. More info and feedback from fellow DJ/proddies is

DICK DRONE

"INSOMNIA" EP

(IF? Records)

Another brand new EP from the rather prolific Tokyo-based duo otherwise known as Chichi and Chigo, who tend to explore more distorted industrial-tech, dubstep and electro, along with cut-up and flanged-out disco asides.

Also includes a tasty, insanely catchy, somewhat banging remix of 'Wash', by Funk Gadget.

This one's AVAILABLE ONLINE exclusively thru ADDICTECH

http://ifrecords.addictech.com/

Plus you can potter along to that link to listen to sneak preview snippets before spending any hard-earned dosh...

Tracklisting

1 Algiers

2 Insomnia

3 Wash

4 Wash (Funk Gadget's Dirty Folded Laundry Mix)

5 Disco Punk

VIDEOCLIP

The Funk Gadget remix is online @ YouTube here:

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

Just letting you know that today we released our brand new remix compilation, with remixes by Si Begg, Tobias Schmidt, Tokyo techno bod Captain Funk, Jason Leach from Subhead, Steve Cobby from Fila Brazillia, Toshiyuki Yasuda (ex-Fantastic Plastic Machine), plus a wad of Japanese and Australian producers, including Melburnians Pat Stormont and Isnod.

The compilation is titled "Little Nobody presents SLAM-DUNK NINJA: The Perspicacious Remix Selection" (rather long-winded, we know!!), and there are 18 tracks in all, veering from electro to crack house, on into glitch/techno and IDM, and departures toward hip hop.

It's a remix selection of past and present tracks originally hacked together by myself, except (18) composed by Devin Wine, and "Cocaine Speaking" originally composed by me, Jeff Willis, and Francois Tetaz.

Self-indulgent? Hell, yeah!

:wink:

But I wanted to do a bit of a celebration jaunt thing for a decade since I pushed out the first Little No

Theres a song on Wagonwheel Blues that stands out amongst the nine tracks. While the average length of song is around the four minute mark, Show Me The Coast clocks in at a whopping ten. Adam Granduciel enters early on with a voice not unlike that of Bob Dylan circa Sixties, flanked by an ethereal layer of droning reverb like something out of Loveless or Psycho Candy. Guitars strum and drums roll in perpetuity. The song builds ever so subtly until two-thirds of the way through when it begins to even out, settling into a hypnotic psych groove. Its glorious, and it never feels outdrawn or self-indulgent. I fell in love with The War On Drugs after I heard this song. Wagonwheel Blues is the debut album for this Philadelphia band, a beautiful disc that effortlessly blends Dylan-esque folk, Springsteens anthemic rocknroll and the psych hypnotism of The Jesus and Mary Chain and My Bloody Valentine. Granduciels evocative lyrics deal with displacement and ache with a sense of longing. Steeped in nostalgia, it

The first collaboration between Samartzis and Japanese minimalist composer Kozo Inada is a tense almost austere episode of music concrete. Beginning with a steady warm electronic drone complete with c

Title: Half Assed Rom Com

Artist: 2 HOT 2 SWEAT

Label: Nr One

Format: CD

Monday Shipping

Track listing:

Half-Assed Rom Com

Office Drone

-=HELLOWEEN EDITION=-

Download MEKHANIZM 005

2 hours in 192 kbps of real techno music

BIONIKA

01. Martyn Hare - Splinter Tremors Recordings

02. Minus 3 - Nipp (Marc Newman Remix) Sub-Reality Records

03. Monocore - Sudden Drop Hardsignal Recordings

04. Tuomas Rantanen & Tony Silver - A.C.A.B. Ground Effect Records

05. Audiojlinik - Neurometric (Original Mix) Sound Evolution Records

06. David Moleon - La Guapa (Original Mix) DJPRO Records

07. Lars Klein - Virus Sucks Audio Assault

08. Cozmic Spore - It Cozmic Spore Records

09. Vortechtral - Round The Block (Gus Brown Remix) Mixtape Records

10. Zoxfeld - Extra Culture Faction Records UK

11. Eric Sneo - Manifestation Beatdisaster Records

12. Ben Fraser - Rat Race Sabretooth Records

13. Luigi Magitteri - The Emperor (SMT's Lucky Mushroom's Mix) Future Sound Experimental Lab

BONUS TRACK

14. Macwolf - All The People Teknatika

BRIXTON

01. Brixton - Elementon Holzplatten 080

02. Brixton - Katzenpech Holzplatten 081

03. Brixton - eTechno Holzplatten 077

04. Space DJ

He Can Jog hinges upon the notion that one needs others in order to think for oneself - that the enrichment of thought depends on encounters with others and their involvements in life. Ergo the albums content, which revolves around the distortion, confusion, and invention brought about by others, but also its form: a tightly-knit community of prickly guitars, trills of synths, percolating electronics and seesawing fuzz. Above all, though, the music breathes; vocals run up against and are cut-up into pointillist beats, rebounding percussive loops mesh with swarms of high pitches, and keyboard lines spring up from their reverie to provide arpeggiated counterpoint to warm, wooden knocking and nagging, choppy cascades of electronics. There’s something of a taste for dramatic assemblage, too, with Erik Schoster often forming clean, glistening melodies like oysters forming around grit. “Suite Part Four”, for one, creates a maze of ethereal harmonics, in which a warm, near-celebratory bell p

In contrast to the sunnier nostalgia of Surroundings, The Winter Drones evokes a place of murky pine forests, snowbound hills and unquiet ghosts. Its structures breathe holistically, twisting around subliminally felt elegaic drones, microtonal inflections and pulses, achieving a combination of satiety and amnesia, without being afraid to follow the odd unexpected digression. Sunken in a blurry, soft focus, most tracks glow with the freshness of its variations. The bodily warmth of warping analogue bass melodies is like the blush in a cluster of tape delay dustclouds and microedits found on “Distant Slight”; and, in like manner, the great whirling eddies of psychedelic texture transform pulse into endlessly malleable time on “Slow Grounding”. While generally about atmosphere and intimacy, Dominic Dixon transcends such limitations by incorporating a certain musical dexterity into the arrangements. “Observation After Closedown” displays a glacially spooked quality, wi

Youd never pick it by listening to The Nebula Project, but Dennis Young is one quarter of seminal 80s post-punk group Liquid Liquid. Theres nary a driving bass line to be found on this release though, instead think Klaus Schulze and Tangerine Dream. The disc is replete with the type of eyes-glazed-over vintage psychedelica that makes the revered status of Schulzes Moonlake slightly baffling to younger listeners and anyone who has listened closely to the music played in the background of science documentaries. In other words, it doesnt sound anywhere near as envelope-pushing as you might expect. The Nebula Project is firmly rooted in a very chilled kosmische canon where running ones finger over the upper-regions of a guitar neck atop smooth synth washes is inherently transportative. Its an instantly identifiable aesthetic, one that clings stubbornly to the 70s and is uncannily accurate in its ability to conjure a period - even the cover art looks like a Tangerine Dream sleeve design. To their credit,

A lot's happened since SF pop darlings Loquat dazzled us with their critically acclaimed debut, It's Yours To Keep in 2005. For one, lead singer Kylee Swenson (whose ethereal, lullabye voice is reminiscent of Aime Mann and Feist, only less drone-y) and bassist Anthony Gordon got hitched. But there were also hardships - family deaths, an apartment fire and lost jobs - enough to bring the band to the brink of a break-up. Fortunately for us, Loquat weathered the storm and used all the material for what they call their most inspired album yet, Secrets of the Sea, which was released last week. We caught up with Swenson and Gordon from their East Coast Tour, where they're set to play the CMJ Festival in New York on the 24th. They're returning to the Bay to play a much-anticipated Hometown CD Release Party at Bottom of the Hill on November 8. Here's what they had to say about the new album, their Treasure Island Music Festival performance and the San Francisco music scene.

Nope, no Steve Albini this time around. For their sophomore release, Chingalera turn to Sylvia Massey and her twisted little Weed Palace Theater studio. Whoever is behind the controls, the band dictates the show. "Dose" is a heavy, doomy slab of metal with prog overtones, a meaty stew of long tunes, flashy chops and 70s seriousness. Unlike Donny Osmond, this band is more than a little bit rock & roll.Walls of guitars come in relentless waves on tracks like "The Endless Bummer," "Twnety Three" (which features a vocal cameo by Circle Jerks' Keith Morris) and "Evel," a juiced up tribute to Mr. Kinevel. On the moody side, the arching drone of "Fake Maria" recalls the heights of progressive rock exploration, and the sixteen minute plus head trip that is "You Were Happy When You Came in Here" sits roughly in the middle of the set like a door into another dimension.For only five songs, "Dose" is a mighty dose indeed. This will appeal to stoner and sludge fans, as well as to aging hipsters who brood weepily at YouT

Over a single forty five minute track, Boston sound sculptor Brendan Murray creates a sonic meditation with more depth and true emotional highpoints than most ambient drone. "Commonwealth" truly inspires, its frequency adjustments drawing as much from barely there guitars as from electronic manipulation. There is a silence here even when the drone reaches a peak of mass colors.The beauty of drone is that it can sound transcendent and despairing at once, and Murray walks that line often, allowing the sound to find its own compromise with the silence, at whatever mood it drifts into when it faces that silence. Slowly the piece fades away naturally, and we don't miss it, because it did its part perfectly, announcing that all things have to die even as they reach many heights while alive."Commonwealth" then would be a great intro to those who see ambient drone as just some random pulse meaning nothing, an experiment conducted by an artist who just set the keyboard to do its thing, forgot it, and watched "MXC"

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A weekly programme of ambient and atmospheric music from across the ages and around the world, heard on Australian public radio since 1989. Ultima Thule weaves a mix of ambient, trance, drone and chillout electronica, spacemusic, ancient, mediaeval and neoclassical creations, traditional and world music, soundtracks, cool jazz and impressionist soundworks into an exquisite, chatter-free 90-minute musical narrative.