London promoters BleeD return to South London venue Corsica Studios later this month for a specially curated night of electronic chaos featuring Morphosis, Objekt, Container, John Heckle and more – win entry here.
The Morphosis-helmed Morphine imprint have revealed details of their next release, from noise-techno doyen Container.
Morphosis and Andreas Tilliander electing to name their first collaborative release after a battle of analogue synthesis is certainly a bold declaration of what the relationship will entail. With that, The Morphosis Korg Response further highlights Kontra Musik’s philosophy both in terms of visual aesthetic and musical selection.
Andreas Tilliander will embark on a conceptual journey through classic Roland machinery on his forthcoming album for Kontra Musik, set for release in January 2013.
Venetian imprint Morphine are preparing a new series of live releases with an album from Upperground Orchestra, the cosmic jazz outfit spearheaded by Rabih Beaini aka Morphosis.
We’ll save you the usual rhetoric that surrounds these lists – that of it being hard to translate electronic music into the traditional long player format – and we won’t bother dissecting the argument that the modern consumption of music lessens the importance of albums; for our money there’s still nothing more rewarding that settling in and listening to an LP in its glorious entirety.
What we have done, however, is hand pick our 20 favourite albums from the past 12 months. Those of you who traverse these pages on a regular basis will see a liberal sprinkling of the artists and labels we’ve supported all year (and hopefully a couple of surprises too).
We have endeavored only to select albums that have truly moved us, ones that we find ourselves returning to again and again. In our minds 2011 was a vintage year for albums – the wondrous breadth of style and substance in our top 20 testifies to that – and we’ve included detailed descriptions of each release in our list for your reading pleasure.
On What Have We Learned, Lebanese producer Rabih Beaini is presented with the same dilemma that every other electronic music artist with lofty intentions faces – namely how his music can make the successful transition to a long-player format. Unlike most of his peers however, Beaini manages to imbue What Have We Learned with a common narrative, despite flirting with a range of tempos and arrangements. That unifying bond is a sombre, atmospheric mood. It’s tempting to posit that Beaini was influenced by his residency in Venice – but many of his previous releases have also had a similarly somnambulant quality.
Irrespective of its origins, this gloominess is audible on the opener, “Silent Screamer”, where a resonating bassline underpins an arrangement that skirts loosely around the edges of conventional house music. It also plays a central role on “Too Far”. Featuring freaked out Gothic vocals and tumbling keys, its grungy, primal rhythm makes the connection between modern techno grime and industrial gloom. “Dirty Matter” and “Gates of Night” tell similar tales; the former’s cacophony of foreboding drums and the latter’s hypnotic gamelan-style percussion suggest that Beaini is somehow in tune with a netherworld that his peers are not party to.
Despite this, What Have We Learned isn’t a depressing or demanding listen and although his music is pitched at the outer limits of dancefloor centric electronic music, its ethereal tendencies will draw listeners in rather than repelling them. If you remain unconvinced, check out “Wild In Captivity”, which pushes murky, throbbing rhythms into an irresistible dreamlike state.