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The mighty Geena is back on Antinote with a new EP filled with deepest psychedelic goodness and spaced surprises. Comes housed in a glorious printed sleeve! Side A starts with "Tone Loc" a heavy Geenafied future classic, complete with signature celestial pan pipes and a deeper than deep bassline, together building in intensity with muted distant vocals adding to the sweet heady confusion. The next track "Minus Jam" is on a similar path of ecstatic disorientation, with spinning delayed glass toms supervised by the darkest dictatorial bass line confirming Geena is a master of light and dark. Side 2 continues with "Box Of Exotica" where we are sent to a dreamy post blade runner musical world of traditional and futuristic collision
augmented with beautiful and equally dark Japanese stick music vocals. The last track "Green Resident" also walks the cosmic path found throughout this gorgeous EP, softer at first than the others, but the silky darkness soon seeps in bringing cosmic order to GeenaLand. Perfect 

Back in 2015, Parisian pop-pickers Antinote announced a balmy summer with a barmy mini-LP from mysterious French producer Domenique Dumont. Footloose and fancy free, "Comme Ca" moved cooly through the fringes of synthpop and dub, marrying the sweetness of summer with a modicum of melancholy. An instant classic, the release soon became a Balearic favourite and one of the standout releases on the outstanding Antinote.
After two summers of live shows, loving notes and youthful experimentation, Domenqiue Dumont are back, though no longer masquerading as a lone French producer. So say hello to Latvian duo, Arturs Liepins and Anete Stuce, and experience the oddball pop brilliance of 'Miniatures De Auto Rhythmn'. 
"Le Debut De La Fin" introduces the LP with percolating rhythms, humid guitar licks and hazy sinewaves, a calming background to the French pop lyrics despite its frenetic pace. Next up "Quasi Quasi" takes a morning stroll from the terrace to the beach, updating the Antenna template with the best bits of Bubble Bobble, slacker pop and wonky synthwork. "Faux Savage" bobs along to a lilting dub framework, taking the duo's trippy sound design into an even more tropical place. "Ono Mambo Haiku" incorporates a little Eastern minimalism into the sound palette, closing the side in horizontal bliss. Kicking off the flip, the white funk of "Quand" conjures images of Cosmic Club classics, French 7"s and cocktails on clifftops while the romantic melody of "Sans Cesse, Mon Cheri" slaps on the eyeliner and shoulder pads for a full on synth pop moment. As we approach the finish line, "Message Of The Diving Bird" brings us new age motifs, fourth world rhythms and the lo-fi naivity of a happy afternoon in Donkey Kong Country, before the emotive and evocative "Le Soleil Dans Le Monde" brings the curtain down with the tender satisfaction of a late afternoon nap by the pool.
It's rare for anyone to release a record as good as "Comme Ca", but to do it twice is practically unheard of. Blessed with a unique sound, an endless supply of irresistible melodies and more Gallic flair than any Latvian's I've ever met, Domenique Dumont are a treasure.

STAFF COMMENTS

Patrick says: Domenique Dumont (a Lativan duo - who knew?) follow the success of their majestic "Comme Ca" with a divine debut LP. Skipping freely between Balearic, synth pop and dub, like some exotic cousin of Peaking Lights and Isabelle Antenna raised solely on Soleros and video games, 'Miniatures De Auto Rhythmn' might just be the best release on one of the best labels around.

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.

Here are Piccadilly we're big fans of Parisian imprint Antinote, and one of our favourite records of recent years was Alek Lee's label debut "Sfarot". Now the Israeli producer returns with more of his signature sound design on a stylistically diverse four tracker. "Time" kicks the EP off with a deep house twist, treating a gentle jack to some dubby jazz trumpet, NYC vibraphones and even a civil rights vocal sample. In the hands of a lesser producer this could be cheesier than Zaltan's raclette, but Mr Lee works his usual magic, employing all sorts of dub fx to turn out something special. "Kesef" harks back to the brilliance of "Sfarot", serving up a strung out acoustic groove awash with echo, rinsed with reverb and soaked in psychedelic shimmer. There's almost a Mediterranean mood at play here, but the wiggy sound design and sinister whispered vocals signal something darker than your standard sundowner. On the flipside, the producer pays a peculiar homage to his previous single in the form of "Colors" and its nemesis - "Dark Colors". Borrowing some of the ingredients he put into Sfarot, Alek Lee cooks a set of two eerie dubs. On "Colors", the dark and thumping instrumental backs the voice of an impossible child, a creature bred in Tel-Aviv musician’s most twisted fantasies. Meanwhile, "Dark Colors" paradoxically takes a much more sentimental path. No voice this time but an emotionally-drenched melodica-lead breaking through a foggy environment of ominous synths and enigmatic noises to round off Lee’s mistiest record so far.

STAFF COMMENTS

Patrick says: Alek Lee keeps his winning streak intact here, delivering a superb follow up to the Piccadilly approved "Sfarot". After offering his own wavy take on deep house, Lee pulls us into the psychedelic splendour of his unique sonic realm, merging dub, minimal, slow disco and acoustic elements into three trademark cuts.

Undoubtedly one of the most forward thinking labels around, Antinote add another new name to their roster in the form of Sign Libra, the new alias of Latvian artist and composer Agata Melnikova. Composed for a contemporary ballet at Latvian National Opera in Riga, “Closer To The Equator” is heavily influenced by Melnikova’s appreciation of BBC-produced nature documentaries. Projecting the life of each creature that inhabits the British TV-program into her very personal and highly synthesized world, Sign Libra lends these microscopic beings her own voice. Each song works like a musical “tableau” in which the main protagonists – plants and animals – come on stage to play their part in a ballet carefully choreographed by the Latvian artist.
Sign Libra’s mental and musical incarnations of the microcosm of the rainforest have something to do with Software’s album populated by exotic insects and crawling plants, a “Carnaval des Animaux” released on Sky by a MIDI-addicted Hector Berlioz. These microscopic beings incarnate themselves in resonated melodies that echo through a technicolour rainforest, while winds blow through holographic ferns, vines and palms.
“Closer To The Equator” synthesizes visions panning treetops as the sun’s rays pierce through clouds nearby. Sign Libra takes you into a harmonic world that shines brightly wherever you stand, and offers a genuine synesthetic experience.


STAFF COMMENTS

Patrick says: Antinote keep us furnished in wonder once more, this time thanks to Latvia's Sign Libra. Inspired by BBC nature documentaries and sultry synthesis, this six track EP, drifts between entheogenic house cuts, tropical groovers and dreamy new age numbers, slotting into the Antinote catalogue somewhere between D.K. and Domenqiue Dumont.

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.

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.

Encapsulating the teenage dream of an endless summer, 18 Rays brings the feels right from the heart of Paris’ 18th arrondissement. Nico Motte, Zaltan & Raphaël Top-Secret were friends way before each of them played their part in the Antinote story and it is mainly out of this friendship that they conceived 18 Rays, a vessel to finally give life to the band they dreamed of in their teenage years. Though they talked about it for years, it was only last winter, after a couple of bottles of natural wine on a hazy evening, that they decided that it was time to give it a real go and to pick up the instrument each learned years ago: the guitar, the bass and the drums. Produced by Nico Motte – the man responsible for all the Antinote artwork - the trio spent 5 weeks between Synth City (Motte’s studio) and Red Bull Studio in Paris working on these 4 songs, each sitting somewhere between aquatic dream pop and blurred visions of an eerie grunge sound that probably never was.


STAFF COMMENTS

Patrick says: Antinote power trio Zaltan (label head), Nico Motte (art director and synth wizard) and Raphaël Top-Secret (deep digger) combine in the studio to serve up a swooning set of woozy wave oddities somewhere between dream pop, coastal grunge and slacker Balearic. It's the official Piccadilly Records 'Sound Of The Summer' for 2017!

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!

Leonardo Martelli returns to Antinote in a shower of electro kicks, raw textures, ominous choirs. "L’ immaginario", "Previsto’s" opening track, ties a bound between Martelli’s two releases on Antinote, giving us one last glimpse at the uninhabited post-apocalyptic landscapes drawn in "Menti Singole". However, this time Leonardo Martelli explores a more urban universe, as the use of rap samples on "Negli Abissi" and "Lo Schema" suggests. Martelli exploits their aggressiveness in a way that somehow reminds us of minimalist rap tapes from Memphis. The third track’s title makes it even clearer: called "Leggende Metropolitane", the song is a trip into the darkest blind alleys of the city, an invitation to wander among human wastes, driven by its light kick. "La Luna", is the most contemplative moment of the album, offering us a meditative break before the nightmarish "Il Registro", Martelli’s brutal come-back to raw electro with a tune which depicts us a hellish engine room for expiating souls. Finally, the record concludes with "Previsto", a haunted title track, filled with wailings that give us to contemplate a cruel vision of the urban misery we’re stuck in.


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