Wastefellow
Post-Human Potential

Rogue D & Memoryman AKA Uovo team up for their latest release this September with the Electric Safari EP. The four-tracker marks their collaborative debut on Crosstown Rebels, fresh from Total Black on Rebellion in 2019, and includes two remixes by longstanding German talent, Roman Flügel.That tribal sound is felt right from the get go, as rustling hats marry up next to whirring synth pulses throughout. Ethereal keys chime beside resonant kicks whilst bell-like tones march on in the background. Roman Flügel’s remix takes on a more minimal-inspired feel, where a punchy underlying bassline perfectly compliments the celestial chord solos, before proceedings get stripped back further on the B Side with a dub version of each track.Italian-native Rogue D is a well-loved figure in the contemporary house sphere. Renowned as one of half of Flashmob, his back-catalogue boasts EPs on an array of the scene’s leading labels, including Hot Creations, Crosstown Rebels and Defected to name a few. Fellow Italian-mainstay Memoryman AKA Uovo has garnered a global following in a career that spans decades. One third of the legendary Pastaboys collective, his productions have found a home on Snatch! Records and Rebellion in recent times. Roman Flügel has been a champion of Germany’s electronic music scene since the nineties. A prolific producer, the likes of Gerd Janson’s Running Back and Sven Väth’s Cocoon Recordings have welcomed his releases with open arms over the years.

Debut album by Smagghe & Cross. Music for blind observers. At times, the way the voice skipped intermittently, the recording sounded like an exercise in Uncle Bill's scissors technique but in my defence the mic I was using was hidden. I knew Jean was recording me, he'd asked for an interview after finding my name in one of his black notebooks, Jean didn't know I was recording him. He was tuning into fading echoes and when he thought the tape machine was off he left an echo of his own. "I caused such scenes on the way to and at kindergarten that first day my mother never bothered risking damage to my nascent psyche by making me return. Consequently come first grade my petulance had precluded me fromthe nursery school forged friendships of my new classmates. It's why I've always been an observer. But I've never been an archivist. I never wrote the intimate details down. If you fix them on paper there's a danger of shared ownership. The black notebooks contain coded references, the meaning once obvious now somewhat cryptic. Names, some possibly anagrammatical and numbers, presumably long dead phone lines. There are a few sketches but no photographic evidence of any kind. This to most of the population, with it's need for minute by minute high def validation, sounds like a curse. I, however, feel blessed. Evidence is the enemy. Magick for me is the carp in Herman's monastery pond. Brief flashes of gold as i disturb the murky silt of memory." It's there that one of the only two recordings of Jean's voice comes to an end. Jean has his copy obviously but If I know Jean it's long been lost or destroyed.

‘Elettroencefalogramma’ scans the full breadth of electronic composition by Italian musical mastermind Antonino Riccardo Luciani, who’s perhaps best known for his library records, but on the showing here had a strong, prescient line in mind-bending, fathoms-deep experimental and academic work with tape and early, pre-synth devices.Awarded unprecedented access to polymath composer “Tony” Luciani’s archive of inter-disciplinary work, Finders Keepers’ Andy Votel follows his pressing of Maria Teresa Luciani’s ‘Sounds of The City’ with a first compilation survey of her sibling’s vast catalogue, newly issued via the Dead-Cert label he curates alongside Sean Canty and Doug Shipton.The set falls deep within the label’s remit of reissued and previously unreleased work by overlooked and undocumented pioneers of 20th century sound, revealing a distinctive mix of material that nods to contemporary, tape music, neo-classical, jazz, electro-acoustic and counterpoint composition.Drawn from original tapes recorded during the 1970s, ‘Elettroencefalogramma’ spans the heyday of Luciani’s work, before synth music was popularised. In this sense it’s worth noting Luciani’s links with Teresa Rampazzi and the pioneering electroacoustic group NPS - and namely Serenella “Serena” Marega - with whom he shares a strong affiliation toward embracing the possibilities of new music at the dawn of an unprecedented sonic epoch.There’s a sense of being in transition between worlds and eras in the opening blend of melancholy strings and bubbling electronic rhythm ‘Battery Farm’, and likewise the cranky mixture of bestial growls and dissonance in ‘The Zoo’, while the rattly rhythm of ‘Offices’ uncannily recalls Trunk’s recent issue of ‘Mechanical Keyboard Sounds’ from the modern day.But Luciani excels at quieter, introspective styles, as with the flute-led vision of ‘Desol 2’, and most remarkably in the stygian, primitive drum machine pulse and clammy string droens of ‘Forest of Chimneys’, which is surely crying out for imagery of Satanic mills, while the rupturing tape of ‘Bombardment’ sets him firmly in a lane of advanced Italian noise that connects him to Gruppo’s Roland Kayn and MaurizioBianchi.Format: 12inch VinylSorties: 03.02.202021,73 €PRÉ-COMMANDEQuantité:1AU PANIERNote (seulment pour vous) SHAREProduct Support: Jürgen Hofmanntel: +49 9286 / 9555 -32mail: juergen@deejay.deil devrait être publié sur 03.02.2020