Hello, well Romero, Argentina's goalkeeper kept his country in the clear with some help from the ref who obviously didn't award the Iranians a deserved penalty. In the end enabling Messi to score the only goal in extra time. It is usual for coaches to change players towards the end but the Iranian coach unwittingly caused the concentration lapse that gave Messi the space he needed to find the net in the 91st minute, resulting in an another undeserved win for Argentina. Germany - Ghana was the match of the day, how the Ghanaians let themselves be beaten by the US the other day probably belongs to the mysteries of football. Anyway tonight they should have beaten Germany if only these Africans had kept their cool they would have, in the end they got 1 point for their effort 2-2, great game ! The last game today saw a referee mistake cause the exit of Bosnia by denyiing them a perfectly legal goal,. would have been 1-0 they hit the woodwork in extra time but in the end the victory for Nigeria was deserved 1-0. They will decide with Argentina who evades France in the next round.
Today we remain in one of our worlds coldest countries, best known for it once world dominating mobile phone until Apple muscled itself in, Nokia. It's the source country for one of the worlds best operating systems (and free ) Linux. They produce coolheaded racing drivers. Yes we stay in Finland home of Sasu Ripatti. He has also recorded as Luomo, Sistol, Uusitalo and Conoco. Sasu has been involved in the ambient music, glitch, house, and techno genres. His method of track production involves a mixture of synthesizing, vocal recording and live reprocessing. Many tracks have an organic feeling that pervades through rolling, dubby basslines and vocal snippets. His main moniker is Vladislav Delay which is in the spotlight today and next week .....N'Joy
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Vladislav Delay is one of the pseudonyms of Sasu Ripatti (born 1976), a Finnish electronic musician. A Helsinki producer whose "clicks + cuts" style of ambience under the moniker of Vladislav Delay he has recorded excellent work for three of Europe's most challenging electronic labels: Chain Reaction, Mille Plateaux, and Thomas Brinkmann's Max.Ernst. He grew up trained in jazz and still counts Philly Joe Jones -- the fiery drummer for the first Miles Davis Quintet -- one of his prime influences. Also before entering the world of electronics, Delay took side trips through the music of the globe (Brazilian, Cuban, African). After a few failed experiments with fusing electronics in a band environment, he began producing on his own and grew to love the mid-'90s developments by German labels Chain Reaction, A-Musik, Mille Plateaux, and others.
He has also recorded as Luomo, Sistol, Uusitalo and Conoco. Sasu has been involved in the ambient music, glitch, house, and techno genres. His method of track production involves a mixture of synthesizing, vocal recording and live reprocessing. Many tracks have an organic feeling that pervades through rolling, dubby basslines and vocal snippets. His partner is Antye Greie, with whom he has collaborated. Their daughter was born in 2006.
After a series of experimentations during 1996-1997 (later released, as by Conoco, on the Kemikoski full-length), his first release was the Kind of Blue EP, released in 1998 on his Huume label. During 1999, Delay released singles on Max.Ernst and Chain Reaction, leading to his album debut, Ele, on the Australian label Sigma Editions. In early 2000, two more full-lengths followed; first, Chain Reaction released Multila, then Entain appeared on Mille Plateaux. Before the end of the year, Delay had debuted a housier incarnation, Luomo, with the Vocalcity LP for Forcetracks. Anima (2001), Demo(n) Tracks (2004), The Four Quarters (2005), and Whistleblower (2007) were followed by two 12" remix singles based on the album track "Recovery Idea." He also released another Luomo album called Convivial, as well as its follow-up remix 12" for "Love You All." To top it all off, Delay issued a new recording of his propulsive tech-house project Uusital entitled Karhunainen.
Vladislav Delay's Tummaa full-length was released in 2009, as well as the final part of the "Recovery Idea" series of remixes and the "Tessio" single from Convivial; a subsequent remix of the track by Ramon Tapia was released later in the year. Ripatti's 2011 was no less prolific. In May, the full-length self-titled band recording Vladislav Delay Quartet was issued on Honest Jon's, followed by the solo Delay release of Vantaa later in the year on Raster-Noton. He also appeared on the Moritz Von Oswald recording Horizontal Structures, and released another Luomo single entitled "Good Stuff."
Ripatti's music is renowned for its sophisticated textural qualities. His sonic approach relies heavily on a semi-random element, and many undulating, complementary and sometimes conflicting layers interplay throughout most of his music. A de-constructive element is sometimes detected within the music as Ripatti makes comment on established genres within his various releases. Characteristic traits within Ripatti's music are sometimes a deep or bubbling synth-bass line, fractured and syncopated percussion - often placed freely within the music, long delay repetitions of various sounds, syncopated use of vocal samples, and complicated digital effect processing techniques. Generally, the music has a very spacious and organic sound, and albums such as "Anima" feature a very simple theme repeated with an array of musical and rhythmical interjections.
Ripatti releases under different names have conceptually varied, but have sonically related qualities; this may be due to Ripatti's different composition techniques. Uusitalo releases are often anchored by a house beat and highlight rhythmic variation (see 2007's Karhunainen). Vladislav Delay releases, on the other hand (see 2000's Multila), explore rhythmically sparse, experimental and ambient techno-dub soundscapes. Works under the Luomo name feature uncommonly wrought dance-floor ready vocal house.
Ripatti has released EPs and albums on labels such as Raster-Noton, Force Tracks, Chain Reaction, Mille Plateaux, Resopal, and Sigma Editions. He also founded the Finnish music label Huume Recordings. From 2009 onwards Ripatti has been performing drums and percussion in the Moritz von Oswald Trio alongside Moritz von Oswald and Max Loderbauer. With the Moritz von Oswald Trio he has released two albums and a live LP. He has also released an album in 2011 with his own experimental jazz/electronic group, the Vladislav Delay Quartet.
xxxxx xxxxx xxxxx xxxxx xxxxx
Shortly before Vladislav Delay became the toast of the ambient techno scene -- or at least the laptop scene -- the California-based Phthalo label quietly released some of his early recordings under the moniker Sistol. The eight tracks compiled on this eponymous album aren't as epic, adventurous, or daring as his later work for Force Inc, but they showcase a rudimentary style that would evolve with each of Delay's successive releases in the early '00s. The dubby beats and crackling textures that would become synonymous with Delay are here. Each of the tracks moves along rather briskly, driven by a strong undercurrent of surprisingly stable rhythms. Unlike Delay's more ambient recordings for Chain Reaction, these tracks don't wander toward unknown destinations. Rather, they stay on track and could almost work as dancefloor tracks. However, unlike Delay's more straightforward Luomo recordings for Force Tracks, these tracks eschew convention. There are no vocals and no melodies but rather muddled distortion and uncanny rhythms. Everything Delay would go on to do as a producer is here. In a way, you can view Sistol as the prototype for what lay ahead for Delay in the early '00s.
Sistol - Sistol (flac 195mb)
01 Keno 4:03
02 Hac 8:02
03 Nuomo 5:10
04 Kaste 6:45
05 Haaska 5:38
06 Kelmi 9:16
07 Luomo 4:48
08 Kotka 10:21
xxxxx xxxxx xxxxx xxxxx xxxxx
The debut release from Finland's Vladislav Delay appeared on the obscure Australian low-tech electronica label Sigma Editions in 1998 in a small pressing in handmade sleeves. The prolific experimental artist rose to becoming one of the most critically acclaimed electronic artists of the turn of the millennium, with releases on the Mille Plateaux, Chain Reaction, and Force Ink labels following this release in quick succession. A couple of the dub-inflected abstractions here surfaced on his Mille Plateaux debut the following year, but this album is his defining point-of-departure in defining a new hybrid dub, minimalism, IDM, post-techno music. His atmospheres are made of off-kilter, pulsing rhythms and textured loop experiments that are structured akin to avant-garde minimalist Steve Reich, yet have their roots in techno and house. There is a reduced and patient quality to this work that will appeal to fans of Oval, Thomas Brinkman, and Pole, and Vladislav Delay's music is as individual and refined as these artists.
Vladislav Delay - Entain (flac 330mb)
01 Kohde 22:06
02 Untitled 1:37
03 Poiko 19:20
04 Notke 16:40
05 Ele 15:20
06 Untitled 1:38
xxxxx xxxxx xxxxx xxxxx xxxxx
Vladislav Delay's "Multila" is another aquatic sounding epic, much like Porter Ricks' "Biokinetics", except this heads even further into the murky depths. "Ranta" begins our journey, and sets the tone for the rest of the album with a heady mix of murky sounscapes and complex background noises. "Raamat" adds 4/4 beats along with ghostly synths, humming background noise and echoing sounds rising to the surface like bubbles. "Huone", clocking in at just over 20 minutes, starts with an abstract broken beat rhythm, gradually adding elements to form a complex minimal techno/house track that should appeal to fans of early Luomo material.
"Viite", "Karha" and "Pietola" are even better, the beats and bass gradually emerging from complex constructions of sound that descriptions just wouldn't do justice to. "Nesso" ends our journey with a floaty feel, giving the listener the impression of rising to the surface from the oceanic depths of the previous tracks. Various processes leave digits flying over a deep orange sea of light, one of the best albums of electronic music ever.
Vladislav Delay - Multila (flac 366mb)
01 Ranta 4:29
02 Raamat 7:16
03 Huone 22:05
04 Viite 7:44
05 Karha 11:48
06 Pietola 16:24
07 Nesso 3:12
xxxxx xxxxx xxxxx xxxxx xxxxx
Today we remain in one of our worlds coldest countries, best known for it once world dominating mobile phone until Apple muscled itself in, Nokia. It's the source country for one of the worlds best operating systems (and free ) Linux. They produce coolheaded racing drivers. Yes we stay in Finland home of Sasu Ripatti. He has also recorded as Luomo, Sistol, Uusitalo and Conoco. Sasu has been involved in the ambient music, glitch, house, and techno genres. His method of track production involves a mixture of synthesizing, vocal recording and live reprocessing. Many tracks have an organic feeling that pervades through rolling, dubby basslines and vocal snippets. His main moniker is Vladislav Delay which is in the spotlight today and next week .....N'Joy
xxxxx xxxxx xxxxx xxxxx xxxxx
Vladislav Delay is one of the pseudonyms of Sasu Ripatti (born 1976), a Finnish electronic musician. A Helsinki producer whose "clicks + cuts" style of ambience under the moniker of Vladislav Delay he has recorded excellent work for three of Europe's most challenging electronic labels: Chain Reaction, Mille Plateaux, and Thomas Brinkmann's Max.Ernst. He grew up trained in jazz and still counts Philly Joe Jones -- the fiery drummer for the first Miles Davis Quintet -- one of his prime influences. Also before entering the world of electronics, Delay took side trips through the music of the globe (Brazilian, Cuban, African). After a few failed experiments with fusing electronics in a band environment, he began producing on his own and grew to love the mid-'90s developments by German labels Chain Reaction, A-Musik, Mille Plateaux, and others.
He has also recorded as Luomo, Sistol, Uusitalo and Conoco. Sasu has been involved in the ambient music, glitch, house, and techno genres. His method of track production involves a mixture of synthesizing, vocal recording and live reprocessing. Many tracks have an organic feeling that pervades through rolling, dubby basslines and vocal snippets. His partner is Antye Greie, with whom he has collaborated. Their daughter was born in 2006.
After a series of experimentations during 1996-1997 (later released, as by Conoco, on the Kemikoski full-length), his first release was the Kind of Blue EP, released in 1998 on his Huume label. During 1999, Delay released singles on Max.Ernst and Chain Reaction, leading to his album debut, Ele, on the Australian label Sigma Editions. In early 2000, two more full-lengths followed; first, Chain Reaction released Multila, then Entain appeared on Mille Plateaux. Before the end of the year, Delay had debuted a housier incarnation, Luomo, with the Vocalcity LP for Forcetracks. Anima (2001), Demo(n) Tracks (2004), The Four Quarters (2005), and Whistleblower (2007) were followed by two 12" remix singles based on the album track "Recovery Idea." He also released another Luomo album called Convivial, as well as its follow-up remix 12" for "Love You All." To top it all off, Delay issued a new recording of his propulsive tech-house project Uusital entitled Karhunainen.
Vladislav Delay's Tummaa full-length was released in 2009, as well as the final part of the "Recovery Idea" series of remixes and the "Tessio" single from Convivial; a subsequent remix of the track by Ramon Tapia was released later in the year. Ripatti's 2011 was no less prolific. In May, the full-length self-titled band recording Vladislav Delay Quartet was issued on Honest Jon's, followed by the solo Delay release of Vantaa later in the year on Raster-Noton. He also appeared on the Moritz Von Oswald recording Horizontal Structures, and released another Luomo single entitled "Good Stuff."
Ripatti's music is renowned for its sophisticated textural qualities. His sonic approach relies heavily on a semi-random element, and many undulating, complementary and sometimes conflicting layers interplay throughout most of his music. A de-constructive element is sometimes detected within the music as Ripatti makes comment on established genres within his various releases. Characteristic traits within Ripatti's music are sometimes a deep or bubbling synth-bass line, fractured and syncopated percussion - often placed freely within the music, long delay repetitions of various sounds, syncopated use of vocal samples, and complicated digital effect processing techniques. Generally, the music has a very spacious and organic sound, and albums such as "Anima" feature a very simple theme repeated with an array of musical and rhythmical interjections.
Ripatti releases under different names have conceptually varied, but have sonically related qualities; this may be due to Ripatti's different composition techniques. Uusitalo releases are often anchored by a house beat and highlight rhythmic variation (see 2007's Karhunainen). Vladislav Delay releases, on the other hand (see 2000's Multila), explore rhythmically sparse, experimental and ambient techno-dub soundscapes. Works under the Luomo name feature uncommonly wrought dance-floor ready vocal house.
Ripatti has released EPs and albums on labels such as Raster-Noton, Force Tracks, Chain Reaction, Mille Plateaux, Resopal, and Sigma Editions. He also founded the Finnish music label Huume Recordings. From 2009 onwards Ripatti has been performing drums and percussion in the Moritz von Oswald Trio alongside Moritz von Oswald and Max Loderbauer. With the Moritz von Oswald Trio he has released two albums and a live LP. He has also released an album in 2011 with his own experimental jazz/electronic group, the Vladislav Delay Quartet.
xxxxx xxxxx xxxxx xxxxx xxxxx
Shortly before Vladislav Delay became the toast of the ambient techno scene -- or at least the laptop scene -- the California-based Phthalo label quietly released some of his early recordings under the moniker Sistol. The eight tracks compiled on this eponymous album aren't as epic, adventurous, or daring as his later work for Force Inc, but they showcase a rudimentary style that would evolve with each of Delay's successive releases in the early '00s. The dubby beats and crackling textures that would become synonymous with Delay are here. Each of the tracks moves along rather briskly, driven by a strong undercurrent of surprisingly stable rhythms. Unlike Delay's more ambient recordings for Chain Reaction, these tracks don't wander toward unknown destinations. Rather, they stay on track and could almost work as dancefloor tracks. However, unlike Delay's more straightforward Luomo recordings for Force Tracks, these tracks eschew convention. There are no vocals and no melodies but rather muddled distortion and uncanny rhythms. Everything Delay would go on to do as a producer is here. In a way, you can view Sistol as the prototype for what lay ahead for Delay in the early '00s.
Sistol - Sistol (flac 195mb)
01 Keno 4:03
02 Hac 8:02
03 Nuomo 5:10
04 Kaste 6:45
05 Haaska 5:38
06 Kelmi 9:16
07 Luomo 4:48
08 Kotka 10:21
xxxxx xxxxx xxxxx xxxxx xxxxx
The debut release from Finland's Vladislav Delay appeared on the obscure Australian low-tech electronica label Sigma Editions in 1998 in a small pressing in handmade sleeves. The prolific experimental artist rose to becoming one of the most critically acclaimed electronic artists of the turn of the millennium, with releases on the Mille Plateaux, Chain Reaction, and Force Ink labels following this release in quick succession. A couple of the dub-inflected abstractions here surfaced on his Mille Plateaux debut the following year, but this album is his defining point-of-departure in defining a new hybrid dub, minimalism, IDM, post-techno music. His atmospheres are made of off-kilter, pulsing rhythms and textured loop experiments that are structured akin to avant-garde minimalist Steve Reich, yet have their roots in techno and house. There is a reduced and patient quality to this work that will appeal to fans of Oval, Thomas Brinkman, and Pole, and Vladislav Delay's music is as individual and refined as these artists.
Vladislav Delay - Entain (flac 330mb)
01 Kohde 22:06
02 Untitled 1:37
03 Poiko 19:20
04 Notke 16:40
05 Ele 15:20
06 Untitled 1:38
xxxxx xxxxx xxxxx xxxxx xxxxx
Vladislav Delay's "Multila" is another aquatic sounding epic, much like Porter Ricks' "Biokinetics", except this heads even further into the murky depths. "Ranta" begins our journey, and sets the tone for the rest of the album with a heady mix of murky sounscapes and complex background noises. "Raamat" adds 4/4 beats along with ghostly synths, humming background noise and echoing sounds rising to the surface like bubbles. "Huone", clocking in at just over 20 minutes, starts with an abstract broken beat rhythm, gradually adding elements to form a complex minimal techno/house track that should appeal to fans of early Luomo material.
"Viite", "Karha" and "Pietola" are even better, the beats and bass gradually emerging from complex constructions of sound that descriptions just wouldn't do justice to. "Nesso" ends our journey with a floaty feel, giving the listener the impression of rising to the surface from the oceanic depths of the previous tracks. Various processes leave digits flying over a deep orange sea of light, one of the best albums of electronic music ever.
Vladislav Delay - Multila (flac 366mb)
01 Ranta 4:29
02 Raamat 7:16
03 Huone 22:05
04 Viite 7:44
05 Karha 11:48
06 Pietola 16:24
07 Nesso 3:12
xxxxx xxxxx xxxxx xxxxx xxxxx
2 comments:
Dear Mr. Rho, could you please reup Multila? Thank you in advance. With my best regards.
Hi Rho. I know you've reupped some V.Delay recently but can you reup Entain ?
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