B12 last days of silence rar

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The item you've selected was not added to your cart. B12 - Don't Be Afraid. B12 - Darkest Light. Last Days Of Silence Remixes. Other releases on B Other releases by B B12 Records Archive Volume 7. B12 Records Archive Volume 6. B12 Records Archive Volume 5.

B12 Records Archive Volume 4. B12 Records Archive Volume 3. B12 Records Archive Volume 2. B12 Records Archive Volume 1. DJ WarpT go to album. Desgaddi go to album. On Bandcamp Radio. New tunes for plus special guest Lady Wray.

It's as if they played by yesterday's rules in order to win the game and they do. This is pure, uncut electronic music — a welcome addition for the collectors, and a real discovery for those curious about the genre. Brush the dust off your lava lamp, put on your headphones, and go with the flow. For listeners who know this style of music well, Node is a tough act to follow.

Look forward to a new release from Node in the coming months. If that album captured a blend between active techno energy and nods to a gentler, calmer approach, Blacklight Fantasy is rougher around the edges, more explicitly mechanical, and fiercer. It's by no means a thorough or total reinvention, but songs are shorter and the overall atmosphere a touch harsher, making a nice contrast without completely disavowing the past.

If anything, the results can be subtly beautiful, as can be heard on the clearly Kraftwerk -inspired and possibly sampled melodies of "Hyperspace. One could call it a concept album if ideas were stretched a bit but, aside from a general futurism in the titles "Year ," "Living in the Future," "Vector Head" , it's more a question of artistic trappings than anything else. Perhaps the best title of the bunch is "Fascist Funk" — it's not quite the descendant of Heaven 17 's "We Don't Need This Fascist Groove Thing," but its quick, crackling, and static-laden crunch is definitely some space away from funk in its greasy, slow sense.

When Bentley ups the spookier atmosphere of things, Blacklight starts to stand out more as its own record, starting with the swirling vocal cries on "What? In addition to the wonderful and heavily spun "Groove la Chord" which reappears here in its original version as well as in remix form and similarly patterned tracks like "On and On," the album also includes its share of more ambient tracks like "Embrace," "Otill," and the title track.

The blend of these sedate tracks with the livelier dancefloor-orientated fare makes for a perfectly well-balanced listening experience, especially because the tone remains consistent throughout. Deeparture in Time overall is a magnificent debut effort for Brikha and an especially welcome release from Derrick May 's semidormant Trasmat label.

Includes probably the group's most well-known single track, "Cost II," released on inch simultaneously with the album. Some quality material, but without the integrated feel of their other full-length works.

Each of the nine tracks layer heavy dub effects and synthwork over midtempo house rhythms with plenty of echo and reverb. Besides its necessity for collectors due to the unreleased track, the disc is also the best place to start for those unable or unwilling to use a turntable. Given the fact that the originals are so long and basically unchanging, the edits occasionally work better than the originals, although they aren't the versions that a vinyl-phile like Maurizio necessarily wanted listeners to hear.

D'Arcangelo's sound has shifted into less glitchy, more ambient fair, and that isn't necessarily a bad thing. While past efforts suffered from extremes, being either too complex, or not complex enough, "Eksel" draws a compromise between both worlds, which rewards with repeated listens.

Spotlight tracks include the single " Expansion" and "Sinbad. Although not so dissimilar from the tracks he's produced under that name, Public Energy No. Public Energy, however, is a veritable maelstrom; a mixture of brutalizing machine rhythms, odd, off-putting ambience, and distant, bassy, alien soundscapes. Hailed almost instantly and, for once, rightfully as one of the more important records in post-rave techno, Public Energy has all the forceful noncompromise of techno's brief cannon of classics "Clear," "Strings of Life," "Pneuma," "Scoobs in Columbia," "Four Jazz Funk Classics," etc.

The album's daring is also notable given it was Paap's at least in Europe, which constitutes his largest audience major-label debut. A focus on rhythm and a much more synthetic feel dominate, with a playful, grounded approach taking the place of the debut's more airborne thematics.

After a short ambient opener, the ungodly "Borax" comes crashing through with a sound that manages to encompass terms like funky, experimental, and beautiful with equal degrees of excellence. It's easily one of the best productions of Jochem Paap 's career, not to mention one of the best in contemporary electronic music. True, a few of the later tracks "Balk Acid," "Drill," "Vopak" are quite close to the brand of super-computing electro-techno that Autechre pioneered a few years before, but even these productions have an immediacy, an enormity of sound, quite lacking in Autechre.

A world away from this music-for-eggheads sound lies what just may have been another influence on A Shocking Hobby — namely, the insanely stupid dance style named big-beat techno.

These tracks don't exactly have the can't-miss-'em drum breakdowns and old-school samples of yr average big-beat record, but when Paap places a massive explosion of sound on the first beat of every bar, it's difficult to escape the feeling that these songs are akin to Fatboy Slim on brainfood.

Creating intelligent, difficult music that also feeds the attention-span deficit inherent in post-rave music isn't just a good idea, it's the recipe for another excellent album.

Label: Echo Year: Styles: Ambient Techno, Ambient House Review: Inspired by the manga graphic novel series of the same name by Osamu Tezuka, Phoenix is the logical progression from the groups last studio effort, 's "Encantado". Although the general System 7 themes are here the use of traditional or unusual instruments, and a distinctive world beat vibe , hints of a soundtrack like approach surface at different points in the recording.

This is understandable, since Hillage and Giraudy have remarked that the album is based upon certain characters and moments in Tezuka's work. It's an intriguing sound, just as wildly varied as you'd expect from these musical eclectics, but A User's Guide holds together much better than previous LPs like Bel Air and United Kingdoms.

It's a difficult record to digest, but more deserving of Jeff Mills ' oft-quoted tag concerning techno being something you've never heard before than any techno record of the '90s. Craig largely wrote his own production playbook, seemingly taking the words written on the cover as a challenge: "Revolutionary art is determined The Maurizio dub "Dominas" is nocturnal and unhurried, even despite the insistent beat and a female vocal sample repeating the title one word after another.

Another classic, "At Les," balances a few gently cascading chords with a rhythm program that keeps pushing the track forward and faster. More Songs About Food and Revolutionary Art thumbs its nose at the growing ranks of intelligent techno blowhards, and arguably bests anything the IDM crowd mustered before or after it.

Sill, the beats are atypical and never monotonous, and the tracks mesh instruments, electronics, samples, and rhythms with subtle flair. A nice introduction.

This is an album best enjoyed in full, with the lights low. Enjoyable but by no means essential. Although "Skidding on All Fours" adds a bit of skittery drum'n'bass, and two tracks "Additive," "Warm Air Rising" have some vaguely electro leanings, the great majority of tracks on One Freak are simply excellent fusion-inspired productions.