Jun 8, 2013

RhoDeo 1322 Beats

Hello,  was Elizabeth I in reality a drag-queen ? A according to a shocking new theory about Elizabeth I unearthed in historic manuscripts, the virgin queen must be turning in her grave, interestingly a dna test could prove it, but it's highly unlikely permission would be granted by the monarchy.

Meanwhile we're here for some beats, we've been getting serious and clinical and it should hardly be a surprise we turned to Germans for that, the coming Beats we remain in Berlin as it is such a cosmopolitan city where creativity /art is highly regarded, it's evident that there's much more to be explored and we just follow the beats. Today, more from the restless force in contemporary electronic music this last decade, inspiring a passionate following ...... N'joy

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If you’ve placed a finger on the pulse of electronic music at any point over the last five years, it’s safe to say you’ll have encountered Apparat in one form or another. Sascha Ring, the Berlin artist who records under that name, has been a restless force in contemporary electronic music for a decade. In that time he’s released three acclaimed Apparat albums – the fourth, The Devil’s Walk, arrives in the autumn of 2011 – and performed his intense live show in front of thousands at clubs and festivals around the world. Apparat inspires a passionate following.

Broadly speaking, Sascha, a tousle-haired, slightly dandyish figure and an expert programmer, produces richly textured, emotional electronica and heavy sci-fi soul. The missing link between Steve Reich and Radiohead, Apparat brings the kind of euphoric melancholy that impels you to punch the air with joy while tears stream down your cheeks. “The only thing you can do with the records I make is to try to somehow move people, to make them feel something,” says Sascha.

Apparat co-founded the German imprint Shitkatapult with Marco Haas (aka T. Raumschmiere) in early 1999. However, it wasn't until two years later that he would release his full-length debut, Multifunktionsebene, which quickly caught the attention of IDM fans worldwide. Known for his prolific output, he quickly followed this up with Tttrial and Eror no less than six months later and another full-length, Duplex, followed shortly after that. A slew of remixes and collaborations would follow for a wide variety of artists both experimental and dancefloor-friendly. He released the double EP Silizium in 2005, which took the Apparat alias in a decidedly different direction. He collaborated with BPitch Control labelhead/DJ Ellen Allien on the full-length Orchestra of Bubbles, which was released in 2006. The following year's Walls was his most creative and singular full-length.

In 2010 a lifeline of sorts came in the form of an offer to put together a mix for K7’s DJ Kicks series. For this, Sascha could at least be creative with his mixing and he had a legitimate excuse to scour Beatport for the latest tracks, hoovering up new jams by the likes of Joy Orbison and Ramadanman. What’s more, nestled among cuts by Burial, Thom Yorke and Pantha De Prince was a new Apparat track, “Sayulita”, reworked from the Mexican session. “This was the first mix I’d done since I was 16,” he says, “it’s a résumé for the club chapter in my life.”

To some, Sascha will be better known as a member of Moderat, the gonzo electro supergroup consisting of him and his maverick pals from Modeselektor. Their longheld Berlin bromance produced an acclaimed album in 2009, and in March this year Moderat played the last show of a riotous world tour at the Bloc Weekend festival. Thom Yorke adored that record and invited Moderat to support Radiohead. Others might recall, back in 2006, the dizzy synths of Orchestra of Bubbles, Sascha’s tuneful collaboration with fellow Berlin producer Ellen Allien.

For someone whose first love is techno – as a teenager in small-town east Germany he dived headfirst into the mid-’90s rave scene and never looked back – Sascha’s most trusted instrument was the computer. “I was always on the hunt for interesting sounds, electronic sounds,” he says. “But at some point, when everything got computerised and there was a plug-in for every sound, it felt like this whole thing is done and there isn’t much new sound to experience. So I started getting more interested in the old-school ‘songs’ thing.”

And so Sascha’s learned to compose on a wider range of ‘real’ instruments, which partly accounts for the traditional feel and undeniable warmth of The Devil’s Walk. “There’s a lot of computer stuff on the record, but it didn’t start in an electronic way. I have a piano and guitar at home, which I don’t play well, and sometimes the songs appear and so I record a crappy version at home and then I go to the studio and start working on it on a computer. In the past when I used real instruments it was the other way around.”

The Devil’s Walk, its title a nod to Shelley’s 1812 satirical poem of the same name, is the album on which Sascha grows up and raises his game. Having released his earlier records on cult electronics label Shitkatapult, where he worked for a number of years, this album is his first for Mute. And if his last one, 2007’s Walls, hinted at a move away from the heat of the dancefloor, The Devil’s Walk, with its cool, contemplative dream-pop and bruise-tender Sigur Rós texture, makes that explicit. His latest full-length work was 2013's Krieg und Frieden, made with a 30-piece orchestra to accompany a stage production of War and Peace.

In the past, Sascha has been an outspoken voice online. Would he describe himself as a political artist? “Of course, I have opinions and I get upset when I read newspapers, but I’m trying to keep that out of my world. I wouldn’t write lyrics about political topics. For this record, I wanted to have it somewhere in the artwork, but not in an obvious way.” You prefer to express yourself on Twitter? “Well, I’m trying to not use that too much because a lot of times you regret it. You get angry and instantly write something, which is good because its true, but it always causes a lot of discussion and sometimes you don’t want to discuss everything.”

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Sascha Ring follows his third Apparat album with this half-hour set for Neo Ouija (as opposed to Shitkatapult, the label he operates with T. Raumschmiere), all of which was produced the same year his first album was released (2001). Despite being a bit of a timewarp, Shapemodes isn't necessarily a step backward, containing six tracks that flit between challenging and soothing IDM. Just about anything remotely glitchy seemed tiresome around the time these tracks were made, but Ring's ability to keep a tight rein on his clicks + cuts and snags -- while always providing melodic balance -- makes the release as relevant now as it would've been three years prior.

Apparat - Shapemodes EP + Live ( flac 283mb)

01 Solaris 6:08
02 Riding 4:25
03 Get Out Of Your Krib 4:13
04 Scissors And Saxophones 4:11
05 Sinus 6:40
06 Radau 3:37
07 Berlin 6:30
08 Montreal 5:55
09 Tel Aviv 5:52

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Having made a considerable splash with the Ellen Allien collaboration Orchestra of Bubbles, Apparat returned to his own path with Walls, a remarkable album that ranks as his best yet. Beginning with the gentle string and vibes beats of "Not a Number" -- which in its own melancholy way, combined with the title, suddenly sounds like one of the most humanistic songs yet recorded, passionate in its elegant sorrow -- Walls takes a simultaneously familiar and unsettled path. While the continuing impact of disparate strands of music has resulted in a 21st century computer music of crushed sorrow; on Walls, Apparat transcends the downbeat limitations of the incipient form with astonishing grace.

Apparat - Walls ( flac 381mb)

01 Not A Number 4:00
02 Hailin From The Edge (voc.Raz Ohara)3:40
03 Useless Information 4:04
04 Limelight 4:12
05 Holdon (voc.Raz Ohara)4:11
06 Fractales Pt.1 3:34
07 Fractales Pt.2 2:07
08 Birds 5:03
09 Arcadia 5:10
10 You Don't Know Me 4:25
11 Headup 5:07
12 Over And Over 5:08
13 Like Porcelain 9:20

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Things To Be Frickled: Parts & Remixes is a mega-showcase of current electronic music pioneers merging and redefining ways of making music. Deep IDM from Apparat, both doing remix duties and getting himself remixed. Killer club tracks as well as silent epics each find their home in Apparat's musical cosmos. This album is a way to understand Apparat's background, friends, influences, works and ideas. Apparat presents a new motion in electronic music that takes both steps: loops/tracks/club music vs. songwriting, soundscapes, and new ways of experimenting and understanding what is possible with bits and bytes, instrument(al)s and vocals. Apparat frickles well, in addition to being well-frickled.

Apparat - Things To Be Frickled-Remixes ( flac 448mb)

Apparat Remixes (59:44)
01 Francesco Tristano - Strings Of Life (Apparat Rmx) 4:49
02 Swayzak - Smile And Receive (Apparat Rmx) 7:14
03 Raz Ohara & The Odd Orchestra - Where He At (Apparat Rmx) 5:13
04 Boysnoize - Shine Shine (Apparat Rmx) 6:52
05 Paul Kalkbrenner- Queer Fellow (Ellen Allien & Apparat Rmx) 6:15
06 Nathan Fake - Charlie's House (Apparat Rmx) 6:23
07 Lusine - Drip (Apparat Rmx) 3:28
08 Apparat - Fractales (Apparat Ibiza Version) 5:29
09 Meteo / Thiel - Bass And Go (Apparat Rmx) 4:11
10 Nitrada -  Fading Away (Apparat Rmx) 4:20
11 Moderat Feat. Paul St Hilaire - Let Your Love Grow (Apparat Live Version) 5:28

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Apparat - Things To Be Frickled-Remixed (flac 347mb)

Apparat Remixed  (55:16)
01 Komponent (Telefon Tel Aviv Rmx) 4:19
02 Holdon (Chris De Luca Vs. Phon.o Rmx) 4:04
03 Arcadia (Telefon Tel Aviv Rmx) 7:45
04 Holdon (Modeselektor Rmx) 5:50
05 Hailin From The Edge (Shrubbn!! Rmx) 3:43
06 Arcadia (Boysnoize Version) 3:49
07 Schallstrom (Thomas Fehlmann Rmx) 6:12
08 Contradiction (Lusine Rmx) 4:53
09 Steinholz (Monolake Rmx) 4:43
10 Wooden (Anders Ilar Rmx) 6:48
11 Holdon (Raz Ohara's A Minor Version) 3:10

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1 comment:

Anonymous said...

A reup of Walls would be highly appreciated. Thank you very much rho.