Kevin Blechdom & Hamdi Makhlouf « 1+7 » (Tsuku Boshi)
Satanicpornocultshop is a Japanese experimental music group known for assemblage-style compositions that incorporate a variety of musical styles and techniques. The group draws heavily on hip hop and electronic influences and utilizes samples to define their sound. The group’s prolific body of work has been published and released by numerous labels including the band’s own Nu NuLAX NuLAN imprint since 1998. Other labels that have released their work include Poland-based Vivo Records, French label Sonore, British independent label Some Bizzare Records.
DAT politics is a French electronic band created in 1999. Their energetic live shows explain the cult like enthusiasm that surrounds the French electronic combo as they’ve been touring the world extensively over the years. The two founders members (also known as Tone Rec and Skipp) are also involved in visuals and graphic design which leads them to create their own records covers, websites, t-shirts, videos etc. The music of the duo is often classified under the electro-pop genre and described as catchy, melodic and eminently danceable. For 10 years, they ‘ve been influential for a lot of young electronic composers worldwide. Since 2002, their music is host by the glamorous electro rock label Chicks On Speed. They collaborated and played with the main electronic experimental acts such as Matmos, Mouse On Mars, Dan Deacon, Black Dice, Aphex Twins, Squarepusher, Pan Sonic, Felix Kubin, Kid 606…
Center of the Universe
Inspired by folk music and rhythmic excesses from all over the world the Center of the Universe made his first recordings in 2000. The group, which admittedly is not a band, but rather Jørgen Skjulstads (Now we’ve got members, Salvatore) solo project, combines heavy bass, odd meters and various exotic elements with a lo-fi approach in his recording methods. Center of the Universe has been active in the Norwegian underground music scene since 1998 and has in addition to participating in several other projects, found the time to release a whole host of solo albums, including a trilogy where the theme was space and time. It is difficult to give a clear definition of the band’s musical impression, as this tends to change from release to release, but it would not be wrong to say that melody is always at the center. What apparently may begin as a pop song entice you into a world where nothing is as it seems and musical expectations are seldom met. For the Center of the Universe no surna is too high and no bass too deep. He has always walked off the beaten path next to the road less travelled and keeps trudging on in a landscape where the sun shines, vulcanoes erupt and it’s raining guitars, sitars and just plain’ol tars.
Allow us to split hairs over a subtle difference: Uské Orchestra’s music is indeed a mixture of styles, but not in the sense of avant-garde. For here no pop music styles are referenced, wildly combined and rendered ridiculous as a result. No, this project around Niko Uské rather assembles and stacks microscopic bits from all possible genres and styles to build teeming musical market places. Uské Orchestra prefer to work with their own recorded acoustic sounds. Within seconds they change the mood, the instrument, the timbre and the arrangement. If there ever was an award for devious sound design, Uské Orchestra would be the clear winner. Just imagine the sound track to ‘the Matrix’, performed by a hyperactive brass band from the Balkans or Mexico. Close-up nothing about this music is ostentatious; but if you take a step back and view the sound paintings as a whole, you’ll notice the impermeability and voluminous magnitude of the tracks. Just as the mighty Leviathan emerges out of a mass of little people, ant heaps crop up here out of innumerable triads.
The Allophons is a new project by C-Schulz & F.X.Randomiz. Unlike their recent electro-acoustic compositions the music of The Allophons is fast, groovy and dancefloor dedicated. After an edition of approximately 28 slash-up albums regurgitating the entire 20th century of music and beyond, The Allophons present their first E.P. of non-sampled material. All of the trademark Allophons elements are present – the gorgeous vocal swells, understated trance-funk rhythms and twisted melodies. The Allophons could pretty much fart into a four-track, burn it to a CD, slap their name on it, and we would release it. Thankfully this is not what The Allophons have done on this brief-yet-spectacular BOW E.P. This swooper is a beautiful, skillfully sequenced pop nugget: it’s pure pop goodness you love, with less of the annoying pops and clicks you don’t.
Animals on Wheels
Animals on Wheels is the stage name of Andrew Coleman, an electronic musician based in Cambridge. Together with Adam Butler (aka Vert) he formed Bovinyl,an independent record label, and released his first EP, Baits Bite, in 1996. The EP is named after Bates Bite lock, a on the River Cam where Andrew lived and produced music on his houseboat. In 1997, Andrew signed with Ninja Tune and released another EP, Cooked EP. He then went on to release various albums and EPs with Ninja Tune and other labels. His last release to date was Dummy, an EP on LaMadameAvecLaChien label in 2009. Andrew is currently collaborating with Mike King[disambiguation needed] (aka iCON the Mic King aka MiC K!NG) under the name Robots with Hearts – they will be releasing the EP in the summer on London independent record label Tape.
The work of Nicolas Charbonnier rests originally on a double desire: to use the computer not as a tool has a practice but for its computing power, and paradoxically end in a very organic esthetics. It is a question of questioning the esthetics which is usually associated with the technologies. He thus created his own compositionnel tool, real network inspired as well by internet as biological ecosystems (every element is interconnected and the transformations of the information and the sound material are perpetual and unstable). However within the framework of the installations, he(it) does not thus concentrate on a motionless writing but redefines in every new interpretation / installation the borders in which is going to move the tool, leaving with the listener