Klaxer

Time will tell...

Who compiled this CD? ...and there will be old tracks from Etnica? p.s. Check p.m.

Good luck!

Thanks man! It was inspired by deep scandinavian forests and rivers.

news from russian non-commercial internet label http://www.otium.ru. number: OTR024 artist: koan title: when invisible becomes visible EP date: 15.12.2004 style: ambient cover: violet you can get this release in two variants: mp3/wav in .zip arhive enjoy: http://otium.ru/en/releases/?id=32 less then a year since koan chill-out and downtempo project of daniel roeth and vladimir sedov (they are also known as participants of tecnho-psy project vacuum stalkers) released their debut talking stones. album was out also at otium label. now koan release their next pair of tracks with ep when invisible becomes visible. since their previous work guys turned their style to more traditional sounding. while talking stones was full of asian influences and oriental natural scent new work shows their interst to new music direction. still enchanted with east harmony and features tracks sounds more saturated and crispy. but koan still ramains faithful adepts of expressing various national and ancient music traditions. leaving indonesian and philippine features behind they decide to incarnate some of chinease and peruan motifs and do it with pair of great tracks. .....nasca lines "the nasca lines are an engima. no one has proof who built them or why. since their discovery, the nasca lines have inspired fantastic explanations from ancient gods, a landing strip for returning aliens, a celestial calendar created by the ancient Nazca civilization -- putting the creation of the lines between 200 BC and 600 AD, used for rituals probably related to astronomy, to confirm the ayllus or clans who made up the population and to determine through ritual their economic functions held up by reciprocity and redistribution, or a map of underground water supplies." with this track koan try to attract our attention to ancient inca culture. it starts with distorted voice echo that sounds from far away and with breakbeat-like but soft drums. nice delicate melody performed with combination of synthetic and guitar-string sounds. it untwists and then fades away. and again... at about 4:00 there is a pause in track developing but then melody again becomes a leader. at 6:00 new sound appears. it is deep and vibrating bass note. .....mai's crystal bridge this track provides a connection between koan's album talking stones and their 'new style'. here you can learn how drumwork can easily turn from asian influence to more traditional european sound. authors removed most of bells and bongs themes and leave only base drums that brings taste of their music closer to some bluetech's tunes. chorus in the begining continues with rather fat beats. nice melody with very touching atmosphere in it spreads in the track and dies away at about 3:00. then new chorus echoes brings new variation of the melody part and whole atmosphere seems to be "reborned" with this move. im very happy to note two things with this release. first of all it is crystal now that russian electronica do not represent only mad and sick moods and states of mind but also connected with natural and chill sounds... and the second is that otium have now an expirience of releasing 'high-quality music in high quality'

AudioRealism BassLine

Hey Detox. Sabotage is album of remixes or not? Just I heard various sequencies from Depeche Mode and Juno Reactor. Time Machine track various too I think.

Dragonfly Blue Room

THE ORB OOZE Saafi Brothers Galaxy

Age of Etnica's music for dancefloors is finished. I think Max & Mauri should concentrate on Macao Cafe compilations. Chill-out music is their music. ...and of course very difficultly without Carlo Paterno and Andrea Rizzo. Fable is great but it just remix. Don't forget.

I think first album was better.

Very impressive work! 10/10

Vacuum Stalkers is not demons. Just sciencists. At this moment this project is frozen. Sorry!

Try Dynaudio Acoustics m15 or Mackie 824

software & hardware can't be lame

There is no psytrance. Only electro-technoish rhythms'n'shells,

Ja. My favorite album from Eye Q releases. I think it's first SERIOUS work from Sven & Ralf duo. Very conceptual. 10/10 Exactly.

Mystic Cigarettes better. More atmospheric, more shells, more emotions.

Special for Seraph: Mathias Hoffmann's (aka AC Boutsen) photo: 1995 year...

No. It's Klaus Munzert aka Silicon Dream - he is influenced on Sven's early tracks (for example bassline in Electrica Salsa track (O.F.F.) was taken from Marcello the Mastroianni track by Silicon Dream. He is a legendary sampler-man. He is connected around himself some various collectives like as Bomb the Bass, M.A.R.R.S., O.F.F., Hithouse, OK and very others... Silicon Dream DJ's still alive. =))))

Dear friends! Do You know this face? (right):

Of course i knew about it....

http://www.tursa.franken.de/SvenVaeth_discog.html

Many Heathen Harvest readers may be better acquainted with Mathis Mootz creations under the name Panacea rather than his work as Square Metered. Panacea has dominated the electronic drum n bass music scene for quite a few years now. Panacea has remained a defining force in the electronic music scene both in the United States and Europe since their debut in1996. Launching off the success of Panacea Mathis Mootz launched M2 in the year 2002 with the debut release14id1610s on Ant-Zen records. Mootz struck out in a new directions with M2 exploring more minimalist glitch and cut electronic music. Though this new musical project differed in direction from Mathis Mootz previous work under the moniker of Panacea it was none the less quickly embraced by electronic music enthusiasts. Aswad is the tenth album Mootz has created under the M2 banner. Electronic music listeners looking for more of Mootz's electronic wizardry similar to previous M2 excursions will either be sadly disappointed or happily surprised by the drastic direction that M2 has taken. M2 has abandoned the minimalist landscapes of popping, crackling, and disconnected sounds that once defined this musical project. M2 has been chosen by Mootz as the vehicle for new musical ideas and explorations. For those looking for more of the same you may have to say goodbye to the sound that you've come to love. But do not despair in its place Mootz is exploring intriguing new musical territory which should prove engaging to even the hardest music critic. M2 – Aswad can most easily be defined by the pacing and structure of the new sound. Mootz has put the brakes on the rapid blips and beats that have for so long been his signature. Aswad sees the artist diving headfirst into very cold, black waters. Imagine the dark ambient music of Lustmord forged together with the ethnic / electronic band This Morn Omina. If your imagination can stretch far enough you might be able to wrap your mind around the concept of the new M2 - Aswad album. Part deep space dark ambient and part Arabic rhythmic industrial music this album doesn't really have a predecessor in the genre though elements of This Morn Omina, Muslim Gauze, and Lustmord are the closest similarities that could be drawn. Fans of the know deceased Muslim Gauze will find some similarities to the new Aswad album though M2's musical explorations tend to delve into more ambient depths than Muslim Gauze was known for exploring. It has been noted by Ant-Zen and Mootz that the Aswad album may initially be a put off for some of Mootz fans who have come to expect a particular musical formula from the artist. This is always the case when music listeners are challenged by an artist's growth into new territory that can be unfamiliar to what fans and listeners become conditioned to. Though M2 may be leaving some fixated listeners behind I also think he will be picking up any number of new devotees. The Aswad album kicks off with a chilling dark intro in the form of the song Sifer. If previous drum n bass fans can survive the dark subterranean beginnings of Sifer then they might like this album. I was hooked as soon as the dark atmosphere began to emit pour from the speakers. Industrial and electronic sounds are expertly mixed into a streaming narrative filled with restrained power and dark esoteric currents. A woman chants over the music and a slight rhythmic layer is placed over the darkness. This theme remains in the music for quite some time creating a very lulling and trance inducing listening experience. It is amidst this dark calm that M2 releases some of the best trance and drum and bass I have ever heard. If you hold on through the dark ambient beginnings of Sifer you are rewarded with an evolving song that finds its way to being danceable. Drum n bass elements are slowed down here creating a much less futuristic and mechanical sound. Instead M2 blends these slower more sensuous beats into this new thick stew of sinister ambience. Sifer clocks in at over 10 minutes long which grants Mootz plenty of time to create some very deep electronic esoteric music that is quite unparalleled. The second song on the album Tahat ratchets the music up a notch by cruising into a more rhythmic composition that incorporates tribal and ethnic elements into the music. Suddenly the Arabic titles and song names all make sense as the pulsing electronic music is pierced by the divine singing of an Arabic male. Amidst the fluid and very danceable beats are accents of ethnic instruments and percussion. Mootz has mastered the fusion of electronics and ethnic elements and has definitely reached a plateau here. Not since Ah Comma Sotz and This Morn Omina has electronic music of this nature been so captivating. The third song Aswad begins with familiar cut and glitch elements that bring the listener back to M2's roots. These electronic elements are joined by more rhythmic tribal elements and heavy electronic trance elements that quickly transform the song into another epic electronic journey. With an open mind and a healthy imagination this music moves you into a very spiritual place filled with sensuality and a sense of mysticism. Track four titled Kefaya returns the album to a slower pace with a suspenseful track that feels somewhat cinematic. After a considerable time when Mootz has you thoroughly convinced that the rest of the song is going to be slow, dark, and monotonous beefy rhythms cascade down and transform the song into a hard hitting ethnic trance attack. The beats come on so suddenly and aggressively it really reminds you not too presume anything about the album. Track five begins with a descent into the underworld. Dark exploratory sounds fade in and out sharing space with distant acoustic instruments and strange rhythms. The one acoustic instrument that is discernable is stringed and played with a bow. The music sole stringed instrument lends a haunting quality to the formless dark electronics sounds around it. The song transforms in speed and sound developing into a strange hybrid of industrial electronics and ethnic chanting and instrumentation. The music is performed flawlessly and is absolutely infectious. Song six titled Imsak begins rather slow and is highlighted by a man chanting in Arabic. The song instills a sense of sentimentality that drew my mind into contemplating the current conflict and tension between the East and West. And just as I began to settle into my thoughts the song explodes with rhythmic electronic beats that shatter the peacefulness of reflection. Much like the peace of the Middle East seems forever shattered. The fierce electronics give way part way through to a stringed acoustic instrument that plays out a nice ethnic loop over the electronics. Harmony is restored as acoustic fragility is balance with fierce electronics. The seventh song titled Khalast begins with a sole deep thundering rumble that reminds one of a classic Lustmord track. Khalast is certainly one of the darker more ambient tracks on the album. Khalast really helps define the album and keeps the track line up from sounding too uniform. Wala Hayo is the last song on the album and it follows its predecessor in terms of restricting itself to a very gradual and slow build up. Slow drawn out sounds are accented by tad bits of controlled noise and dissonance. Wala Hayo breeds tension and unsettling feelings in the listener akin to a cinematic experience. M2 has achieved the ultimate symbiosis between acoustic and ethnic sounds and dark electronics. Radical faeries that love music that engages the mind and the body will be well satiated by this phenomenal album. Dark music fans that indulge in electronic music and dark ambient will want to experience this album as well. Faeries with an interest in ethnic / electronic fusion music like Goa Trance much more reflective and darker would also enjoy M2 - Aswad. Radical Faeries looking for music that balances electronics and ethnic influences as well as inspiration and darkness in a fiercely intelligent and mature manner should explore the sonic worlds created in M2 – Aswad. Faeries that are looking for dark dance music that has moments of calm between the storms will find this album addictive. Faeries unfamiliar with dark electronic music or modern electronic hybrids but like exploring sensual, dark, rhythmic music would find M2 – Aswad as a good starting point. Tracklist programm: 1. Sifer 10:26' 2. Tahat 7:04' 3. Aswad 5:57' 4. Kefaya 8:35' 5. Faregh 7:32' 6. Imsak 8:25' 7. Khalast 8:12' 8. Wala Hayoh 11:18' Total running time: 67:29 [c] & [p] 2004 ANT-ZEN

27-years German genius Mathis Mootz started make electronic music in 1996 and by present time has deservedly turned to a cult figure on European underground drum-n-bass/post-techno scene, issuing numerous albums and vinyls under names PANACEA, SQUAREMETER, KATE MOSH on labels Mille Plateaux, Ant-Zen/Hymen, Hands, Position Chrom. Today I present your attention the review of the fourth album of project M2 " The Bitter End " which continues and wonderfully develops atmospheric cyber-futuristic experimental ambient - a sound previous "Parsec" LP. I shall remind, that on the two first albums the musician searched for the sounding and their contents were crude experiments, casual rhythmic progressions, sketchy samples and magnifiers which hardly could apply for success at ordinary students - electronic-freaks. For example, I am more likely declined to consider of the first albums "Sinecore" and "14id1610s" as interesting soundlibraries for professional musicians, as collections important "bricks" from which in the future will be collected impressing gloomy sci-fi soundtracks "Parsec" and " The Bitter End ". But, running forward, I at once shall inform, that I think last album SQUAREMETER the best creation in a rich discography of the German electronician and the third release in the current year which automatically gets in my list of the best electro-noise-industrial records of 2002. It is necessary to continue further? On an album contains six long compositions which softly hypnotize and immerse the student in deep surrealistic sound design. Warm waves of constantly changing idm-sounds, sporadic low-frequency pulsings, uniquitous fat basses, fragile microscopic noise-effects and the glitches which are coming up from darkness trip-hopish and technoid rhythmic progressions, methodical emissions of the most beautiful sinti-melodies, dense clots of an atmospheric gloom and a stereoecho with sampled a man's voice with a timbre Fault of the Vin Diesel engine give rise to one of the smoothest, irresistable, fantastic, intelligent and complex sound pictures which to me ever could be heard. All compositions of an album are constructed under the identical circuit and on the same sound samples, but thus the musician wonderfully avoids recurrences, suggesting in each composition new updatings unique, penetrating under a skin and in a brain of electronic style. "The bitter end" includes samples taken from the BBC version of "The lord of the rings", echoed and reverbed. The sound is also slightly less spacial, but more basses and little details are thrown into the mix, producing something that is at times a bit more rhythmic and dark. From the very first sounds of "An eye rimmed with fire", the listener finds pulsating low frequencies and short synthetic melodies are supported by the constantly building arpeggiated basses. The music is still written around several layers of flowing sounds, with very little repetition. Therefore, here is a CD that constaly drag the listener attention to the music. Enriched with a lot of these little noises produced with computer's errors. " The Bitter End " it is the best way to listen in very good headphones, thus providing full contact, merge to music. In comparison with a material "Parsec" on a new album in a sound mix gloomy melodies, and also mechanical bats, basses and pulsations that gives " The Bitter End " additional dynamism (certainly are injected even more, about any dances here and speeches cannot be). Before us extremely effective, long-playing masterpiece electronic idm/ambient/post-techno in which are inherent epic scope, futuristic manga-mysticism and surrealistic beauty. Very hi-fi and complex, but not broken, here is something that integrate emotion into glitchy click'n'cut, and which breaks down soft IDM into something more straightforward but as well produced and as thoughfull. "The bitter end" is a mechanical and distant, but stays rather soundtrack-ish. I strongly recommend to all true admirers of modern progressive electronics immediately to get " The Bitter End " in the record libraries. Such ingenious music meets today extremely seldom. Comes packaged in a luxurious, matt black handspak with gold print and a small square sticker on top. Released 1st July 2002. Hands. The tracklist program: 1. An Eye Rimmed With Fire - 9:21' 2. A Dark Shadow - 8:37' 3. Beyond the Ancient Stronghold - 9:45' 4. In the Far Distance - 8:44' 5. The Hammer of the Underworld - 11:10' 6. The Weakest Point - 9:20' Total running time: - 56:57' [c] & [p] 2002 HANDS PROD.