3 hour set at Berghain from last year. Good shit right here, hope he is able to play like he does in this set. Great news that he's playing 3 hrs, well done Machine and TEA
I can't bring myself to even click on the Hidden stuff, man. I'm sorry. I think he makes the musical equivalent of the feeling you'd have after coming down from a 72 hour ice binge and finding you've skull fucked your grandmother to death.
Kind of related to stroboscopic artefacts because i discovered this track on a Donor mix ... I didn't know where else to post. I really would like some more info on this track. I checked out the label it's on, Solaris Series/Hidden Hawaii, but the artists on it seem to be mainly drum n bass related and this is one of the few techno tracks. Would anyone know who may have made it? I want more. http://www.youtube.com/watch?v=fb4CS...el_video_title
“Lucy (Stroboscopic Artefacts boss) originally put together a mix back in August 2010 composed of tracks selected only from the Monad Series called Monad Continuum
‘Stroboscopic Artefacts’ release the Monad series throughout the summer months only
The original Monad Continuum mix was about the “first wave” of the series (from Monad I to Monad VI)
This summer ‘2011′ Stroboscopic Artefacts are releasing Monad VII to Monad X, and Xhin has composed this mix, the follow up to Lucy’s original Monad Continuum which you can find here – (RESIDENT ADVISOR)
This mix that you find here on ELECTRONIC EXPLORATIONS is known as “Monad Continuum II” composed of tracks selected from this second wave of Monad releases.”
Lucy's Monad X plays with Pythagoras' vision of 'X' as the numeral that perfectly envelops the entire nature of numbers. But Monad X is anything but a benign portrait of creation. On 'Triad' primal dub erupts into gnarled noise, the undercarriage of 'Tetrad' writhes unsettlingly against the strictures of 4/4 and 'Pentad' is underpinned by a decidedly ghostly aesthetic. To close, 'Decad' hovers over a vortex and it's here that from the Monad the Dyad starts to emerge.
Words: Clare Molloy
I've just started properly getting my teeth (and ears) into this label. Actually, I have to admit that "epic track that deserved its own thread" is what got me properly hooked.
I'm thinking I'll wait until weekend and then properly enjoy this 4 hour set without interruptions.
xhin's set at miss libs was really fun - its rare to hear a set that deals with squarepusher, aphex twin, dettmann, surgeon and still comes off as a party set.
If its conceptually rigid MONAD series or distinctive record sleeves didn't tell you, Berlin-based Stroboscopic Artefacts has a preoccupation with design both sonic and structural. It's an attention to detail that pulls its releases off the dance floor (though they work there too) and into a world of obsessive minutiae. The work of Singaporean producer Xhin has been the flagship for this aspect of the label, crafting techno out of tricks of the light, music that sounds curiously devoid of grounded physicality yet thundering all the same.
Where Xhin's previous work for the label was often doled out in lengthy expanses of brushed metal, on his third album—and first for SA—Sword he's allowed to stretch out, or rather, pull closer inward. Conventional techno structures (the kind of his first two albums) are abandoned in favour of a neurotic IDM clutter—the blistering opening stretch of "Fox and Wolves" and "Teeth" pairs a pounding skitter with fluid countermelodies. The polished chrome means everything feels like it's constantly slipping off of something else, such a frantic and constant state of unstoppable motion it's a wonder it doesn't simply catch fire and explode—though the thrilling little bits of glitch and distortion on a track like "Medium" come pretty damn close.
While tracks like "You Against Yourself"—with its burning streaks of cyber-acid—are beyond dense and ripe for deconstruction, any record with fifty minutes of intense sensory overload is bound to be, well, overload. Xhin breaks up the monotony with gentle interludes that sacrifice none of the album's textural richness—"Insides" and "Wood" have the same blinding surfaces as the album's heaviest moments—moves that also serve to show how eerily unsettling the spare parts of Xhin's slamming concoctions really are when they aren't being attacked by frenzied percussion. Any relent is dissipated in the album's closing stretch, however, with the nine-minute workout "Vent"—recalling Xhin's earlier SA work—and the penultimate "Foreshadowed," which caresses an elephantine lumber with strokes of synth that come the closest to warmth on a record composed almost purely out of cold metal.
If there's one quality that carries itself across the entire length of Sword, it's the ability to shock, awe, and impress: whether he's doing it through a lullaby or jackhammering your skull. It might be difficult to parse at first, but the gentle sequencing helps, and even then the album is only around fifty minutes long. It just feels longer because Xhin has put a lifetime's worth of intense experience into Sword. In a world where numbingly brooding techno is rapidly becoming the standard, the reflections of light that Xhin's Sword catches in its lightspeed moves are simply brilliant.
Tracklist: Xhin - Sword
01. The Secret Closet
02. Fox and Wolves
03. Teeth
04. Insides
05. Wood
06. Medium
07. You Against Yourself
08. Vent
09. Foreshadowed
10. This Is What You Drew While You Were Half Asleep
Beatport:
Quote:
RELEASE DATE 2011-11-11
LABEL Stroboscopic Artefacts
CATALOG # SACD002
Xhins debut album on Stroboscopic Artefacts, Sword, showcases the breath of his vision. As the secondfull-length release on Stroboscopic Artefacts, Sword stretches the remit of the labels identity ever further.Produced and recorded in Singapore, Xhin plucks sounds from the outer edges of electronic music andfuses them together. Xhins approach revels not only in a hybrid sound palette but its also an album designedfor multiple contexts. Its a record typified by duality. Xhins process seamlessly traversed analogueand digital production, and Sword harbours electronic music that ranges from brutal club sounds to deepand delicate murmurs.Its clear from the way the album is crafted and layered that Xhin is a skilled sound designer. The tracksseem to have been worked on from a 360o perspective. His muse? The void. But rather than soundtrackingthe abyss, Sword is a strategy, an attempt to negotiate a way out. Part of the answer that he proposesabandons the shadowy recesses of melancholy in search of the ecstatic. The Secret Closet depicts adream state in frosted tones and icy ambience that is returned to again with the discordant jangles of Inside.Wood picks up the motive once more. At the kernel of Wood is melody that Xhin composed on thepiano and then digitally processed into a state of bliss.However, Sword refuses to languish in a romantic hinterland and the ambience is off set by aggressive,weighty cuts. Fox and Wolves is Xhin ripping into any nostalgia that opening track The Secret Closet promised. Equally Teeth gnashes and writhes over a bed of deep beats. Vent is fortified with metallic raspsand built from the droning aggression that characterized Xhins early Stroboscopic Artefacts releases. Evenat its darkest, its most violent, Swords envisions the club as a place of refuge. Proposing a collective acknowledgementof the void, where dancing fends off its grip, and realization is paradoxically escapist.Sword could not be more aptly titled. Xhin creates allusions with track titles that snatch images from apost-modern fairytale: woods, wolves, foxes, wardrobes. Xhin appropriates the fairytale heros sword andthe weapon becomes symbolic of a struggle, a tool against the void. A way out of dystopia. Journeying tothe crispy cusp of experimentation and musical questioning, Sword is one of those rare creations thatemerge when a producer has absolute artistic freedom. The 10 tracks navigate parallels and paradoxes allowing Xhin to cut a deft mark across the album format.
So I finally got around to listening to Xhin - Sword. Found it very underwhelming and just could not get into it. Far too monotonous for my liking, the only track that goes anywhere is Teeth. The other tracks where he is trying to make Aphex Twin style syncopated techno feels somewhat amateur with the use of samples etc. A real shame because I dig a lot of Xhin's productions
I always think that the magic really occurs when amazing sound design meets the traditional techno structure (for example I've always been more interested in rhythmic ambient type tracks).
It is with this in mind that seeing Kangding Ray - Monad XI [Stroboscopic Artefacts] in the new releases on my My Discogs page that I had to come straight here to post about it (after listening to the samples).
Italian techno authority, sound designer, and Stroboscopic Artefacts honcho Lucy brings his awe-inspiring live set to Nowa Muzyka 2012.
Luca Mortellaro aka Lucy is a world traveling techno producer and ambient sound experimenter with his fingers in many creative pies. Born and bred in Italy, the published author, producer and sound designer relocated to Paris in 2005, pursuing a life in music and getting his first demo to tastemakers around the globe, including James Holden who eventually took notice of his exceptional skills. With his musical interests leaning increasingly towards the fields of ambient sounds and the darker side of industrial and techno, Lucy moved to Berlin and founded the Stroboscopic Artefacts label, home to his first full album Wordplay For Working Bees. His reputation for deep explorations of the dance floor have made him a frequent guest at pretty much all major clubs and festival stages worth mentioning.
Sorry no download link but a good mix from label boss
25 Clubs To Discover Before You Die
Listen: Daft Punk's bonus track
Listen: Giorgio Moroder's first-ever DJ set
Laidback Luke's six golden rules for producers
"Not everyone understands": The genius of Random Access Memories
What happened in Wee Waa
Skream on "awful" Boiler Room set: "I was clearly smashed"
Is Justice dance music’s last great arena act?
Listen: 100 minutes of Kaskade back to his roots
Talented but selfish: BT's "rant" on Porter Robinson
Listen: Sasha on BBC Radio 1 6 Mix
Listen: Axwell returns with ‘Centre Of The Universe’
Cream Ibiza completes its A-list 2013 line-ups
Must-watch: '12 Years of DFA' mini-documentary
