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One of the many musical entities the French collective Simple Music Experience sent to earth to vociferate electronic incantations, Radiante Pourpre is the name of a duo comprised of Alex and Leopold as well as the name of their 2017 debut album on Antinote. Last year, they have released an acclaimed LP on Kneklehuis under another moniker, Violent Quand On Aime, but the place from which they keep on transmitting musical signals has not changed: a post-exotic world (NO ZONE) where the only remains of the societies we live in are barbwires, battered radio transmitters (TAKATO) and deserted oil rigs the duo uses as fictional shelters.

From their precarious haven, they send us field recordings of waves mixed with analog glitters (INTERLUDE). From their lost at sea run down tower, they record the cries of ominous seagulls (SMALL TALK) and a bewitching Spanish voice (MALA 800), incorporating these to primitive drum machine patterns… And then…

A miracle happens when the record is flipped: a Balearic hit for post-apocalyptic times (IEMANJA)! Begining exactly like the opening track (THE COPS, THE JAZZ, THE BIRDS), in an unexpected twist of fate, it summons the angelic voice of Galadriel Andrade for a delicate Brazilian conjuration. There might even be a sunny spell lurking in the spirited closing tune (MS BUTTERFLY): “NO BORDERS, NO COPS, NO PROBLEMS”.

Is another EP from D.K. about to land on Antinote barely a month after his last release? Well, this looks very much like a series and – spoiler alert – "Riding For A Fall EP" is the second installment in a trilogy. 
With a BPM crossing the 120 line on 2 out of 3 tracks, there’s little doubt that this second 12” is also meant to be played in a club environment. The 9:37 min long "Voices" sprawls over the whole A-side. Like many production bearing the D.K. stamp, the structure is linear only in appearance: it winds up and down between fantasized exotic landscapes, digital plug-ins mimicking “far east” instruments that are barely recognizable. It gets even snakier with the Samurai Showdown-inspired "Shoubuari (Battle)": pixel swords brushing past our ears, martial drumming and menacing synths (D.K., were you the kind of kid who owned a Neo Geo?) - it’s pretty obvious that we’re in the world of SNK’s legendary fighting game. Things calm down with "Riding For A Fall": less button-mashing, more concentration as we’re witnessing the sacred martial art known as Street Fighter’s quarter circles… But enough with these video game metaphors! No need to be a pro-gamer to enjoy this piece of music. It’s sad & slow house music with a cinematographic quality – and, perhaps, the most moving moment in this series of 12”. To be continued…

STAFF COMMENTS

Patrick says: Breathy, gliding house music from D.K. with nods to 90s video games and the melodies of the Far East here. "Voices" could be a classier relative of Watergate's "Heart Of Asia", "Shoubuari (Battle)" yin and yangs away with light (mallets) and shade (pads) before the titular "Riding For A Fall" gives us a moment of introspection, like the realisation we're actually androids programmed to think we're people.

Nathan Melja

Karibuni Music

Antinote's assault on clubland continues this week as the Parisian label follow D.K.'s dreamy retro-inspired 12" with a rugged and rocking EP of contemporary club sounds from Nathan Melja. "Karibuni Music" is the Parisian producer's debut for his local boutique label, and on the strength of these three system smashers, it's going to be the beginning of a beautiful friendship.
Clattering percussion, restless sub bass and expansive pads rule the roost on opener "Deadrums", a UK-influenced hybrid of house, techno and bass music that could easily slot into a Hessle set. Warp-style bleeps, R&S ecstacy and a Bristolian bottom end, all twisted into an ever changing arrangement? Sounds mega. "Angels" offers a breather for any tiring warehouse crowd, soothing soles with warm bass and a subtle electro rhythm while the predictably celestial synth washes cleanse your synapses from above. Finally "Candy" powers along in ruffneck mode, all electro snap, boisterous bass and gangsta samples duking it out until the radio friendly synth motif prompts clubwide gun fingers. NTS vibes right here.


STAFF COMMENTS

Patrick says: Antinote continue bringing the dancefloor voodoo, following up that hot DK release with this three tracker from Nathan Melja. Fractured electro, extreme bass weight and warehouse clatter on a UK influenced club 12".

4 tracks, 2 bangers: D.K. starts a new season in the Antinote league with a 12” 100% dedicated to the dancefloor. There’s a perfume of jungle (not the genre, the one from Donkey Kong Country, in case someone has still not made the connection between Nintendo’s #1 gorilla and the French producer) emanating from the whole record. The Parisian producer has also been taking a peep on some early 1990’s rave records (but who isn’t at the moment?), as demonstrated by the two first songs, "Mystic Warrior" and perhaps even more flagrantly "Elements" – with its emotional pads and sad mock Jon Hassel-like trumpets.

"Worries In The Dance", and "Earth People" are more of a warm up business – so to speak, in the language of the club. D.K. takes a step back, BPM-wise, only to allow a deeper exploration of the surroundings – namely shamans with bamboo flutes circling around you, monks meditating under a cascade, others ringing a prayer bell – that have more to do with Age Of Empire or any 1990’s adventure game set in a fantasized Asia than anything that actually exists IRL (probably a distinctive signature of the French producer). Anyway, there’s a Bruce Lee sticker on the sleeve that says it all, in a much more concise way.

STAFF COMMENTS

Patrick says: Parisian hero D.K. makes his first appearance of 2k19 with a DJ friendly 12" for the mighty Antinote. Inspired equally by shimmering 80s synthtones and '92 rave idents, "Mystic Warrior" and "Elements" are tie-dyed club killers feat major faux-pan pipe, while B-side offerings "Warriors In The Dance" and "Earth People" twist the same ingredients for the warm up. Highly recommended!

Remember that straightforward mix of EBM and synth-punk that came out on Antinote last year, wrapped in a suggestive black and gold sleeve? The lyrics were far from ambiguous and the music produced by Panoptique and Paula was joyfully aggressive.
Broken glass, dogs barking & cats roaring: Succhiamo is back and gives us news from the scrapyard.
The thing is, it seems that Succhiamo’s scrapyard has been animated by Bill Plympton : in place of dogs and cats, it’s a lewd Pink Panther chasing a spaced-out Scooby-Doo on Dolore Dentro or Stai Male. Happily championing bad taste, the two musicians even venture into the illegitimate territories of italo-pop missed hits, shaped for lipsync performances on Rai Uno with the nagging Que Pena.
As we’re getting close to the middle of the record, the music gets openly punkier, climaxing with the explicitly named "Desiderio Di Violenza", brushing past 200 BPM. While the inevitable silence following the last notes of "Que
Pena" temporarily puts an end to the pleasant nightmare that is "Mani In Fuoco", the figures – somehow similar to those inhabiting the world of Fritz the Cat – that Succhiamo insidiously inserts into the listener’s head don’t fade
away: they patiently wait for the duo’s pulsing drum machines and the saturated synths to wake up again and set them in motion for another ride.

STAFF COMMENTS

Patrick says: After last year's sleazy exercise in electroclash revivalism, Succhiamo return to Antinote with their bedut longplayer "Mani In Fuoco", a scuzzy synth-punk journey through brash EBM, bruised electronics and S&M techno. Fans of Liaisions Dangereuse need to check out "Vecchia".

In 1978, Brian Eno started what would become his seminal Ambient series with Music for Airports. If he was to add a fifth volume to the series in 2018, he would probably call it “Music for Social Medias”, wouldn’t he? Not 100% sure that this is about to happen, Antinote take the lead and invite Oz’s River Yarra to give his own take on Music for Social Medias (and the result doesn’t sound at all like ambient music).
At least, we might accurately call it “music from social medias”, as it sometimes feel it’s been generated by a possessed creative algorithm. Starting with the opening track, Aorsom Wislhs (whose name must have been given by a deficient Messenger chat bot), one might feel disoriented by the extremely weird and wonky lead melody. The melody of Sli Ggogg (sic) – the slow jam opening the flip side – is equally uneven; add to this the unsettling (slightly) human-sounding voice and you’re in for a trip to the Uncanny Valley.
But there’s a sense of non-human randomness infusing all of these four songs. Take the intensely mesmerizing "Respiration Alternée" with Elen Huynh, for example: there’s a high probability that its lyrics come from some random meditation tutorial found on YouTube, translated into French by an anxious Google Translate bot, eager to bring some (cheap?) spirituality to IRL dancefloors.
With this debut EP, the Ozzie producer succeeds in rounding up disparate & dubious elements together in a serious way without departing from a non-serious attitude - the record even rounds off with a very “put your hands in the air” moment with Space Gekko’s ravey sirens. “Music to party on the River Yarra to” (just Google it).

STAFF COMMENTS

Patrick says: High concept, mid-fi and well current, the latest Antinote EP sees Australian house misfit River Yarra take a bendy and blurred journey into unconventional house music, naive drum machines and jacking new age which should sit nicely next to your Andras Fox and Len Leise tackle.

Leonardo Martelli

Menti Singole Vol.2

Two years after Leonardo Martelli made his debut with the retro-futurist four tracker 'Menti Signole', he returns to Antinote with Volume 2, an update of that initial electronic vision. Sparse, clear-cut and slightly nerve-racking, "Micaella" opens the record with the precision of a neurosurgeon. The song can be seen in many ways as a good introduction to the music of the Italian musician – past and probably future. Ethereal string machines balance the nagging acid leitmotiv, dancing cheek to cheek above a restless drum pattern. "Alice" is another triumph of opposition, pairing joyous melodies and exuberant electo rhythms over a melancholic vocal sample and bittersweet pads. On "Laura" - just like with "Alice" - Martelli keeps on playing with the potential of abstraction of rap samples, lending the glassy melodies and snapping beat a freestyle feel. "Sofia" gives a particularly striking example of this weird game he likes to play with language as Biggie Smalls’ words get progressively eviscerated from their meaning. Backed by bare percussive samples (a numerical metronome, copyright-free digital ersatz of percussions, strange string pluck) "Sofia" depicts despair in a post-industrial world, where everything has lost any sense of materiality. Disarmingly simple, Menti Singole Vol.2 offers electronic mourning music at its most elegant.

STAFF COMMENTS

Patrick says: Antinote continue to push the boundaries of the current electronic scene with another genre blurring release from Leonardo Martelli. Avant garde instrumentation, abstract composition and a decidedly melancholic tone twist the electro, techno and freestyle in strange new directions.

Radiante Pourpre

Radiante Pourpre

Born in a cave in Bordeaux, Radiante Pourpre is one of the many children of Simple Music Experience, a collective and label floating somewhere between Marseille, Paris and Bordeaux which has inexorably attracted to itself many outsider experimentalists from the French electronic scene for the past few years. For their latest release, amazing Parisian imprint Antinote reissue a long out-of-print tape that the duo recorded in 2014 in Brussels’ art space Komplot.
Locked in a smoky basement somewhere, Alex & Léopold, the two halves of Radiante Pourpre, learned how to give life to their desolated mental landscapes, leaving the ruined city in search of Muslimgauze and Genesis P-Orridge. Embarking on long and immersive sessions surrounded by Korg synths and scorched tape players, the duo gradually found form for their abstract oddities and gloomy soundswells. Their music is ghostly. Suffering endless manipulations at the duo's hands, fragments of sonic material, little by little, lose their consistency to become nothing more than a faint reminder of their previous life, a dilapidated version of their past-self.
Manipulating the very essence of the sounds sampled, the duo lurk on the fringes of dub, industrial and musique concrète. By their multiple tape manipulations the two musicians reshape our world’s map, as the whim takes them, fostering the most improbable meetings: faint synths crash themselves against a solid wall of Irakian percussions while Brazilian voices melt into field recordings of fearsome machineries. 


STAFF COMMENTS

Patrick says: Antinote scoop up an out of print Simple Music Experience cassette and introduce it to a wider audience. Operating in fast flowing stream of electronic experimentalists, Radiante Poupre manipulate tape, slice samples and push envelopes to create a dark and mysterious post-industrial landscape.

To begin the new year, Antinote summoned Panoptique and JC Satan’s Paula to release a badass two-tracker, paying a pared-down tribute to the most overlooked period in recent musical history; the accursed electroclash-era. Now, while I'm known around Piccadilly for my rarified tastes, Balearic leanings and mild allergy to beats, I was in a past life a true club kid. Daubed in eyeliner, skinny jeans and gaffer taped converse I hit the dingier nightspots Manchester had to offer, dropping all out bangers and ironic rave cuts from the Gigolo stable and Tok Tok vs Soffy O. So, secretly, while no one's looking, I'm quietly buzzing about Antinote's detour into the much maligned world of electroclash, coming as it is from a record and a band called Succhiamo (first person plural of “to suck” in Italian). The title-track straightforwardly announces what the main elements of Succhiamo’s music are: over-saturated, over-simplified drum patterns and EBM-infused synth-lines backing overtly sexual vocals in Italian. What's not to love? On the flip side, Succhiamo deals with the same formula in more depth, engaging this time in detailing a meaningless list of products available in the “supermercato”. The song conveys a nihilist - but fun - attitude, and it just sounds as if the band got lit and crashed a car in Deansgat.  As a kind of inheritor to "Ich Bin", Succhiamo bring some stupidity to the club, flipping the beardier producers the bird like some irreverent Franco-Italian Beavis & Butthead.

STAFF COMMENTS

Patrick says: Antinote make a bold play to resurrect electroclash with their latest release, inviting everyone to dress in monochrome, break out the skinny ties and safety pin their clothes all over again. Raw, raucous and vital stuff, this is the dadaist shot in the arm the over serious dancefloor needs. It couldn't really make a come back, could it?

Antinote continue their unblemished record of leftfield synth sounds and unconventional rhythm with the first in a three EP retrospective of underground hero Tolouse Low Trax. Whether he's operating as part of Kreidler, manning the decks at Salon Des Amateurs or hammering the hardware as Tolouse Low Trax you can always tell it's Detlef. Something about the drunken, shuffling rhythms, squidgy otherworld funk and grunged up darkness of the music is just unique to him. Volume 2 roars Zuul as it soars through the dimensional gateway, paving the way for four more tracks of pure machine voodoo. "Calirough" quickly takes possession of your mortal soul, infecting your helpless limbs with creeping rubberised rhythms and leading your off in search of a sacrificial victim. Gloomy synth tones, industrial idents and satanic chants swirl around your headspace as you trip loosely into the shadows. "Hyroglyph" offers more of the same slow pressure, this time introducing subtle references to dub, while barely audible melodies and backmasked leadlines weave an inpenetrable spell. The end result is a masterpiece of drug-slug which feels a bit like dancing through quicksand. Detlef ups the tempo for B1 bruiser "Wooden Words", syncing a throbbing bass drum with guttural synth bass, hissing feedback and tumbling, metallic melodies a la Curt Cress for proper post NDW power. Our seance closes with the haunted stomp of "Monia", a ghoulish melange of tough industrial beats, whispered vocals and phasing fx which shudders and judders all the way through the witching hour. All hailz the dark wired sound!

STAFF COMMENTS

Patrick says: Antinote unveil the second instalment of their Tolouse Low Trax trilogy, ensuring mechanised nightmares for one and all. Embrace the darkness!


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