Jul 6, 2014

Sundaze 1427

Hello, so 2 more quarterfinals today just the 1 goal and that was a lucky instinctively finished, Argentina continues to disappoint just as it continues to win it matches in a minimalist way, sigh the Belgians were lulled into submission, they really didn't do themselves justice but hey they were the youngest team at the tournament. Netherlands was expected to rol up Costa Rica and had they scored early they probably would have, but as these things go it didn't happen. Costa Rica defended well kept their line and saw the Dutch walk into off side more than a dozen times, ouch, the woodwork helped 3 times and so after plenty of time wasting penalties were called for. The Costa Ricans played for that all night and they got their wish, against the Greeks they scored all 5, but hey what happened 1 minute before the end Louis Van Gaal replaced the goalkeeper. That was a great tactical move, not that Tim Krul had a reputation as penaltykiller (he hasn't) but the Costa Ricans didn't know that, it was their captain and best player who sacrificed himself and missed, thereby lifting the pressure on his fellow landsman, however the Dutch didn't play along and scored their penalties. Argentina is next will the Dutch take out another of their Worldcup final nemesis' ? Will Robben prevail over Messi ? Wednesday night we will know more.

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.  today not just Vladislav but his landsman Lackluster as well" .....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. 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.

It would be hard to overstate the importance of dub in electronic music, but it's also easy to take for granted. Part of that owes to how literally dub gets invoked by those most closely associated with it: When the likes of Pole or Rhythm & Sound show their devotion to the dub methodology they hold dear, it tends to come out sounding more or less like re-versioned reggae. Drums fan out over bulbous bass-lines, tempos skew slow, melodies grow lazy and warm, and so on. Sasu Ripatti is less literal. Under his working guises as Luomo, Uusitalo, and Vladislav Delay, the Finnish producer has allied with dub as both a method and a mindset. It starts with the interrelation of his three personae, which itself functions as a sort of dub gesture. But it's most evident in the way he trips and rubs each and every element of his sound as it transpires, whether under the schedule of house (cf. Luomo), techno (Uusitalo), or dub that wanders out of line.

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.

He was chosen by Animal Collective to perform at the All Tomorrow's Parties festival that they curated in May 2011

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Tummaa essentially features a live trio – Ripatti on percussion, Argentine musician Lucio Capece on clarinet and saxophone, and acclaimed Scottish soundtrack composer and arranger Craig Armstrong on piano and Rhodes (Ripatti previously collaborated with Armstrong on the 1995 album The Dolls, along with Ante Greie). Ripatti set the tone, recording his drum parts and then inviting Capece to his studio to improvise alongside the drums. Armstrong offered recordings of pure solo piano playing he had made for the project. From these two sound sources, Ripatti began composing and arranging, and wrote a whole suite of music. Created during the winter while Ripatti and his family were living on a remote island in the Baltic Sea within the Arctic Circle, he explains that Tummaa means dark or darkness, which reflects the music on the album somehow but also the fact that I worked on the album during ‘kaamos’ time of the year in Finland. Kaamos time really gets dark from December to February where you only have few hours of light per day. I really liked that and the whole winter enormously.

The results are jaw-dropping. Venerated as a master of rhythm and a true artisan of the studio (the photos of his immaculate analogue studio from The Wire’s 2008 cover shoot had gear hounds aquiver) capturing resonant, organic and acoustic sounds and coercing them into unearthly cadences and foreign textures that are unlike anything else – yet irresistibly hypnotic. (His disclosed past as an enthusiast for mind altering substances comes as no surprise). Ripatti’s love of jazz is also never far from the surface. It’s not often you find yourself both dumbfounded and emotionally spent by listening to an album, but Tummaa is a feat of uncommon musical power and magnetic force. Once introduced to Sasu Ripatti’s hypnotic world, you won’t ever want to leave.



Vladislav Delay - Tummaa  (flac 285mb)

01 Melankolia 10:58
02 Kuula (Kiitos) 9:02
03 Mustelmia 8:13
04 Musta Planeetta 5:11
05 Toive 11:09
06 Tummaa 10:19
07 Tunnelivisio 11:16

Vladislav Delay - Tummaa (ogg 133mb)

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With Vantaa, Raster-Noton releases for the first time an album by Vladislav Delay aka Sasu Ripatti. Vantaa will be the beginning of a long lasting collaboration, which will extend and deepen the spectrum of the label, whereas it falls in line with releases of, for example, William Bassinsky, Robert Lippok, or Mitchell Akiyama.

Even though complex electronic manipulations are used, Vantaa wants to sound like a piece of nature, resulting in a mixture of techno/dub and organic textures. The tracks oscillate between a decadent, greyish, post-industrial sound cloud and the intimate atmosphere of a vast and desolate Finnish landscape. Ripatti plays with tiny rhythmic bricks that drift and collapse, but nevertheless create spaces that radiate calmness and tranquility. Being an experienced producer, he uses his know-how to layer compact sound fabrics in unusual ways. In this case, these elements arouse associations with gushing water, crackling wood, or growing grass. The tracks on Vantaa merge into each other and their density escalates with „Lauma“ into an energetic climax, which is all at once the ecstatic, shamanic and truly moving peak of the album.

Vantaa‘s style is sensitive and intelligent, but nevertheless subtly stirring and rich in detail. While listening to it, it is possible to completely dive into its matter and detect something new in nearly every bar, or simply let it have an effect as a particular but unobtrusive sideline. With this typical Vladislav Delay aesthetic, Ripatti has acquired an unique and distinctive style that Vantaa, his 10th Vladislav Delay album, deservingly celebrates



Vladislav Delay - Vantaa  (flac 309mb)

01 Luotasi 8:11
02 Henki 9:13
03 Lipite 7:54
04 Narri 7:12
05 Vantaa 6:37
06 Lauma 8:29
07 Levite 7:07

Vladislav Delay - Vantaa   (ogg 132mb)

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Lackluster is the main stage name of Esa Juhani Ruoho (born October 26, 1978), who has also recorded as Esa Ruoho, Can'o'Lard, Kökö and the Köks and XLLV. Lackluster is formerly known as the chiptune musician, Distance. Ruoho has lived most of his life in Helsinki, Finland. Esa Ruoho started composing electronic music in the mid-1990s and, after 2000 has been releasing recorded music (remixes, compilation-tracks, original work) on dozens of labels.

Lackluster is anything but – a down-tempo, cool trip through synthetic sound-worlds, and oddly enough, reminiscent of the Arovane’s Tides in it’s use of harpsichord, subterranean bass and overall ‘feel.’ This release is a bit more aggressive, however, displaying a nearly powerful, multi-beat driven, almost in-your-face presence at times. The descriptions ‘nearly’ and ‘almost’ are of up most importance when considering Container, as we are talking about Minimal-Ambient music, after all – not Jet Chamber V!

There are those moments of stark beauty such as track four, appropriately named “Pillow,” where slow vibe runs offset by staccato (though both minimal and mellow) beats and lazy bass lines form a solid composition. In fact, there is a dreamy focus throughout Container yet not quite in the ‘music-for-sleep’ grouping. The wavering sci-fi keyboards, funky bass and hi-hat cymbal work on track 6 is insufficiently rigorous for sleepy-time music, IMO. One of the finest cuts, the outstanding “Clinique 99″ boasts a mix of all that precedes it – where steel drums (vibes?), smooth waves of synth, a skipping beat and quirky bass-lines recalls some of Atom Hearts ‘tamer’ works. There was but one tiny caveat. Track 11 had a skipping problem from about 1:45 to 2:30, rendering it unplayable. We tried the CD on all four of our office systems (each of varying price and brand) with the same results and never have had this problem on any CD ever! That said we only have one copy, so chances are this was the odd-lot out as our Music-Sherpa-Distributor had no problems whatsoever with their item.

For those fond of their down-tempo in the company of classy tunes will do no wrong with Container in the stabile. A ‘Class-A’ project from start to finish.



Lackluster - Container (flac  388mb)
 
01 Starcell UK 5:48
02 Catch 22 4:17
03 Thor's Magic Bathtub 4:00
04 Pillow 6:00
05 So Short 3:17
06 Trull Cakes 5:31
07 Grind 4:01
08 Bothersome (Mother Mix) 5:46
09 The Weakend State 4:23
10 Clinique 3:01
11 Krhm 4:31
12 Me Me Me Me Me Me 5:10
13 Dooba 5:09
14 Cull Streak 4:32
15 20333 5:05

Lackluster - Container  (ogg 129mb)

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