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The brilliant DOMENIQUE DUMONT's second long player for Antinote Paris. TIP!
August 2018: It’s already been three years since Domenique Dumont made its entrance in the music world with a debut EP named Comme Ca. Despite a seemingly very quiet musical activity (the opening song to Antinote’s compilation Five Years Of Loving Notes was the only song released by the band in 3 years) a few things have changed in-between these two summers: Domenique Dumont is no more the mysterious lone French producer we introduced last time but a Latvian duo, Arturs Liepins and Anete Stuce, which has been collaborating with “an enigmatic French artist whose existence cannot be confirmed nor denied” (sorry, but it sounds like there’s still some mystery in the air, and, again, we’re just as clueless as you might be), the duo have been touring live and, most importantly, they kept on broadening their musical palette experimenting in a definitely pop field. Eight of these experiments are now tied together in Miniatures de Auto Rhythm.

The record probably begins where Comme Ca ended: frantic but light drum programing backbones a solar and slightly melancholic melody on Le Début De La Fin (“the beginning of the end”). However, the scope gets enlarged as soon as one reaches the second tune, Quasi Quasi, or Quand, on the flip side, perhaps the most overtly pop-rock oriented song on the record with its Mediterranean guitar and emotional bridge.

The road towards the apex of the record, Le Soleil Dans Le Monde, is a narrow and windy one, punctuated by toy instrumentals like Ono Mambo Haiku or the Donkey Kong Country-friendly Message Of The Diving Bird; however it never departs from its original tongue-in-cheek attitude. It’s quite pleasant to imagine these eight “miniatures” as field recordings from an enchanted world of pop music designed by some Pierre & Gilles’ disciples – or are there
musical interpretations of half-mechanical, half-organic creations from a certain Otto Rhiesem (who might have inhabited the Locus Solus villa)? There might be no definitive answers to this second set of riddles by Domenique Dumont.

On the A side, Down Into The Black Church offers us a last late-night dip in the pool before summer ends. Inoue Shirabe jams with his machines, extensively rotating knobs to create a deep bath of synth waves where bleeping sounds meet aquatic percussions. The best think to do is probably to let yourself dive into this hypnotic sea of oscillators, and dance – driven by a thumping kick and slow hi-hats - at 96 Beats Per Minute.

For those seeking darker territories, just turn the record over. On Camping In Your Soul, the Okayama’s producer blends smashing claps and a raw bassline with cosmic synths; and the result somehow evokes an impossible meeting between Dieter Moebius and Unit Moebius.

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 

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).


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.


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.


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.


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. 


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.


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!

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. The final instalment in this most essential of series opens with the suitably slow and low rhythm of "E-Sadam", a loose and languid machine groove decorated with ketty fx, post motorik percussion and a heavy duty snare. Sustained synth tones flirt with the dread note before Detlef lures us into the heart of darkness via a series of sensual sci-fi synth melodies. Twisting, turning and churning through ever changing rhythm patterns, this one keeps a tight hold on your swaying body from the first to the last. Next comes the submersive sound of "Marina Dub", an otherworldly assemblage of squealing feedback, industrial grunting and detuned melodies which sounds rather a lot like a robot orgy in the back room of the Hyrule potion shop. Speaking of which, "Boutique Beast" opens the flip with a groan and a growl, pounding out a one note bassline under a complex arrangment of belching clav, militaristic snares and gloomy synth noise - maximum thrust, minimum romance. "Metal Tent Wicked" sees saw-waves buzz, bass rumble and rhythm box erupt in slow motion fury, driving the dancefloor kicking and screaming towards the slowest fist pump ever. Last but not least, "Tazza" takes us home with weird warped funk, S&M drum whips and the stickiest bassline around. Get a bit of this in your system in the witching hour and you'll be laughing, manically. 


Patrick says: Antinote's superb Tolouse Low Trax retrospective comes to a close with five more examples of why the Dusseldorf musician is the best thing since Valium and absinthe. Slow, sedated, trippy and totally irresistible, this sound comes from elsewhere to fuck you right up.

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.


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!


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

Geena's Peace Love Earth

Mental DJ's Land Vol. 2

The world has changed since Geena last took a weedy excursion on Antinote, but now the Parisian producer is back, inviting one and all to break down the walls and dive into an Olympic size swimming pool full of MDMA. When you're deep in the backlash of all those pills you light-heartedly ate during the previous night, "Peace, Love & Earth: Mental DJ’s Land Vol. 2" might be your best ally to deal smoothly with those never ending morning afterparties of yours: a perfect mix of tribal anthems for happy ravers and a bunch of reassuring, Balearically-named, New Age tunes. Even Geena’s most banging compositions seem to be lurking on the quilted side of house music on "Peace, Love & Earth". "Keep", the most “Metroplexian” moment of the 12”, draws away from the dryness of some of its illustrious Detroit-born predecessors by integrating some liquid elements to its raw structure, while the synthetic choirs of "KG Voice" and tribal rhythms of "Blue Transfer" dip a straw into a big glass of Sizzurp. Behind the overtly suggestive names “La Isla” and “Natural High” lay some quality ambient interludes, taking us back to those halcyon days when ambient records had the word “Ambient” in their titles (both tracks are heavily reminiscent of Aphex’s Ambient Works or the Worms Armagedon’s OST). "Peace, Love & Earth: Mental DJ’s Vol. 2" is as good as the amazing artwork by checkmorris suggests: healing music for quirky party people.


Patrick says: Buy-on-sight Parisian boutique Antinote end 2016 on a Rick James level high here with a superb sensory boost from Geena. Soft focus house music meets come down ambience in that typically atypical Antinote style.

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. This first trips introduces us to five nervous, blinking beings conjured from the MPC and synth rig of the Dusseldorf man. Squirming bass, fragments of library madness and techno-vooodoo for the slow motion sway. 


Patrick says: You can always tell a Tolouse Low Trax production when you hear one. Sadly all too limited, this first volume of Antinote's retrospective will soon be gone. There will be more - you must have this!

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.

No more pool parties, no more red-hot cars on the road to Miami; with his third release (and second album) on Antinote, Parisian producer DK gives his music a new direction. While his previous 12”, "Love On Delivery" (ATN016), was a perfect soundtrack to your endless nights spent on Outrun on Sega Genesis, "Island Of Dreams" will more likely incite you to turn on your old Mackintosh and play Myst again. With "Evening Shadows", DK slowly unveils a very personal virtual landscape, letting us approach his island of dreams, while "Ivory Forest" invites us to lose ourselves in a wood in which the babblings of synthetic birds can be heard. "Play On" is more of a beach affair, an invitation to rest on numeric sand in front of a digital sunset before the highly melancholic "Journey To The Sun" leads us to dive into a sea of pixels on "Memories". The music on Island Of Dreams is not designed for the dancefloors and "Raindrops" is the only housey excursion of the record, but it resonates with so much intensity and energy that the song wakes you up from the dream you’ve fallen into. Finally, "High On The Sea", the ethereal conclusion to the album, sends you away from D.K.’s island with an open ticket, calmly waiting for your next visit.

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