Drone Records
Your cart (0 item)

Browse our Catalog

Artists by name Artist or album search:

Search results for "ini.itu"

Artist Album Format Label & Cat. Number Year Price (incl. 19% VAT)  
ANAPHORIA Footpaths and Trade Routes LP Ini.Itu # 0902 2009 €12.00
  Escarpments LP INI.ITU ini.itu 1303 2014 €13.00
ARTIFICIAL MEMORY TRACE (AMT) Boto [Encantado] LP Ini.Itu # 1102 2011 €12.50
COURTIS, ANLA Cassetopia LP INI.ITU ini.itu 1302 2014 €13.00
CUNI, AMELIA & WERNER DURAND Already awake in the Night LP Ini.Itu # 1003 2011 €12.50
D'INCISE Rivages sur l'Antipode LP Ini.Itu # 1001 2010 €12.50
DAUBY, YANNICK 蛙界蒙薰 ( Wā Jiè Méng Xūn ) LP Ini.Itu # 1301 2013 €13.50
FREIBAND Stainless Steel LP Ini.Itu # 1101 2011 €12.50
FROGOROTH same LP Ini.Itu #1601 2017 €13.00
IMANISHI, MASAYUKI Tone LP ini.itu #1502 2016 €13.00
RODEN, STEVE A big Circle drawn with little Hands LP Ini.Itu # 1202 2012 €13.50
ROSS, DAVID & CLIVE BELL Recovery Suite LP INI.ITU ini.itu 1304 2014 €13.00
WIEMAN Cryptonesia LP ini.itu #1501 2015 €13.00

"ini.itu" entries in albums descriptions

Artist Album Format Description Year Price (incl. 19% VAT)  
ANAPHORIA Escarpments LP second LP release on Ini.Itu for this "ethnographic surrealist" (David Toop) from USA/Australia, based mainly on the sounds of a Kalan (a trapezoid-shaped instrument resembling a hammer dulcimer)...''sticks with heads in the shape of lunar crescents; cyclic and elusive sacred waters minimalism'; lim. 250 postcards. 2014 €13.00
ARTIFICIAL MEMORY TRACE (AMT) Boto [Encantado] LP a new volume in the nice INI.ITU 12" series and the first AMT-vinyl release since a long time; surreal & subtle collages, strange sounds you can hardly recognize, based on field recordings from the "Boto" = the Amazon river; stunning full-colour cover, handnumbered ed. 250 copies, simply fantastic !! 2011 €12.50
D'INCISE Arpenter mCDR known from the LP on Ini.Itu, this project from Switzerland collects field recordings & transforms them into magic breathing clouds of drones... definitely to discover ! 2011 €5.00
  Lethargie & autres animaux rugueux CD full album by this project known from the LP on INI.ITU, comes with oversized cardboard cover 2010 €12.00
FROGOROTH same LP lovely project with four single tracks by YANNCK DAUBY, DAVE PHILLIPS, SLAWEK KWI (ARTICIFIAL MEMORY TRACE) and SYLVAIN DAL (from Ini.Itu), all working on original FROG and other Ambhibian sounds with different aproaches, adding industrial pulses and guitar noises, doing weird processings ("Amphibians in the Throne Room"), or letting the strange animal sounds speak for themselves.. lim. 250 copies, numbered 2017 €13.00
RODEN, STEVE A big Circle drawn with little Hands LP a new volume in the nice INI.ITU 12" series from Belgium, this time a full LP by the well-known Californian multimedia soundartist STEVE RODEN - comes with stunning full-colour cover & handnumbered to only 250 copies, act fast if interested !! 2012 €13.50
ANAPHORIA Footpaths and Trade Routes LP "ini.itu is releasing the third LP of its catalogue, a 3 tracks album assembled by Kraig Grady under the moniker Anaphoria. • Kraig Grady is a composer and a sound artist. He has been described by David Toop as an Ethnographic Surrealist. Born in California in 1952 ( of Ojibwe Indian ascent ) , now residing in Australia where as a citizen of Anaphoria he is responsible for the Austronesian Outpost of Anaphoria and one of its most prominent organs, the Office of Cultural Liaisons. After mercurial composition studies (a.o with Byong-Kon Kim) and improvising for a while under the inspiration of Stockhausen’s ensemble works, an epiphanic performance of Harry Partch's U. S. Highball that he attended in 1976 led him to unexplored paths. The meeting of Erv Wilson, another pioneer of microtonalism, opened for him the door to alternative tunings with Erv Wilson’s elaborate system of “hexanies” and larger multi-dimensional tonal geometries. This led him to compositions in the just intonation resources of Wilson's combination-product sets and meta-slendro. Kraig Grady also started simultaneously building its own mesotonal / xenharmonic instruments ( metallophones, marimbas, hammered dulcimers and reed organs ) and assembling them into ensembles. His current work makes use of mallet instruments tuned to Wilson's Meta-Slendro, a greatly expanded Slendro-like scale. His compositions include accompaniments for silent films and shadow puppeteer plays. His works have been presented as part of the LA Philharmonic’s American Music Weekend as well as New Music America. The discovery of the island of Anaphoria provided him since the mid 90’s the opportunity to make use of a “visionary geographic” inner space in which the music he wanted to do and share was pre-existent. For extensive information on Anaphoria, please consult the North American Embassy Of Anaphoria Island : www.anaphoria.com • Contrasting with his ensemble compositions, this ini.itu LP presents 2 solo compositions inspired by the traditions of Anaphoria and one meta-track assembled from multiple ensemble takes. With tunes strongly reminiscent of gamelan instruments, the album unfurl elegant and refined tracks of hypnotic and nocturnal beauty, rich with soothing and gloomy overtones. This album fills the room with simultaneously austere, restrained and peacefully complex reverberations, suspending the sense of time. So, where you could file this record ? : next to Lou Harrison, Ben Johnston, LaMonte Young and Harry Partch if you opt for the contemporary/minimalist leanings; or side by side with Nonesuch Explorer south-east asian gamelan records, for obvious reasons. Alternatively, it would not seem wrong to find it a place next to isolationist bands such as Seefeel, Main, Rapoon, or Zoviet France, if you’re responsive to its dark ambient and ritual tinges." [label info] www.iniitu.net 2009 €12.00
CUNI, AMELIA & WERNER DURAND Already awake in the Night LP "ini.itu is releasing a new vinyl only LP, composed by Amelia Cuni & Werner Durand, with David Trasoff. • Werner Durand is coming from the minimalist tradition. He performs his own music for saxophones, Iranian ney and self-made wind instruments since the late seventies, instruments which he enriched through a variety of materials and playing techniques, including digital delays, providing rich textures and ecstatic rhythms. He also started building wind instruments out of plexi-glass and PVC in the early 80s, which led to the foundation of the ensemble The 13th Tribe in 1990. He was a member of Arnold Dreyblatt's Orchestra of Excited Strings and has collaborated with numerous composers/performers including David Behrman, David Moss, Muslimgauze, Henning Christiansen, David Toop, David Maranha and Ulrich Krieger. • Amelia Cuni is a singer, composer and performer who has trained in the tradition of dhrupad singing. She studied in North India for more than 10 years, between 1978 and 1997, under the guidance of the renowned masters R.Fahimuddin Dagar, Dilip Chandra Vedi and Bidur Mallik. Presently, she is engaged in preserving and fostering dhrupad music as well as integrating various artistic traditions with new tendencies. Her present work includes early and contemporary music, multimedia and original compositions in collaboration with artists such as Terry Riley, David Toop, Maria Jonas a.o. She lives in Berlin with Werner Durand and teaches Indian singing at the Vicenza Conservatory in Italy. • David Trasoff is a senior disciple of the late Ustad Ali Akbar Khan (1922 - 2009). with whom he studied sarode performance and North Indian classical music since 1973. He has also received guidance from renowned sarode performer Dr. Rajeev Taranath. His recordings include a CD of North Indian classical music recorded with Ustad Zakir Hussain. The music on this LP is based on the Hindustani Raag Lalit and its modulation to Raag Todi. Lalit is performed in the early morning before sunrise, Todi later on, after sunrise. Here, they are both played against a background of sine waves tuned to the raag’s intervals and going through subtle phase shifting. The restrained sinewaves tapestry, ornamented with Amelia Cuni’s voice and David Trasoff’s sarode result in a music which is radiating an austere peacefulness, verging on the hypnotic and the soothing, on the inner side intimately spiritual, on the outer side confidently elegant." [label info] www.iniitu.net "Ini.itu releases music that deals with Indonesia, but on this new release expands its horizon to India. It combines the wind instruments of Werner Durand (who also gets credit for sine waves, phase shifters and digital delays) with the voice of Amelia Cuni, who also plays on two pieces (out of three) bamboo resonator. On the same two pieces David Trasoff plays sarod. Durand started out with the 13th Tribe, who played ethnic music on self-built instruments, while Cuni is a trained singer of Dhrupid music, which she has studied for ten years in North India. This album, one track on side A, two on side B, is one of utter minimalism. The singing seems wordless to me, while the sarod slides every now and then, and Duran waves a bed of tones to go along. To say not much is happening is probably an understatement. On the surface the music is almost like a stand-still. The most active component is the voice, and then probably only in 'Morning Surge', which sounds like an improvised tone poem, embedded however in the slow moving sine waves from Durand. Yet, I think this is a record of great beauty. Very austere, very minimal, but full of captivating beauty. An excellent example of Indian music that is connected well to the history of Western minimal music. No rhythms, but an excellent tone poem. Music with great style." [FdW/Vital Weekly] 2011 €12.50
D'INCISE Rivages sur l'Antipode LP "Laurent Peter has produced and released electronic music under the d'incise moniker since 2002, from dub to electronica, gradually opening those styles to electroacoustic experimentations. With his projects Diatribes (an open formation with drummer Cyril Bondi) and Karst (quartet with Bondi, Luc Muller and Abstral Compost), he is also involved in free improvisation, for which he is using his laptop, live treatments and various contact miked objects. These projects have included musicians such as Barry Guy, Keith Row, Jason Kahn, Christian Weber, Norbert Moslang, Hernani Faustino, Joao Pedro Viegas, Tzii and many more. Finally, besides coordinating the insubordination netlabel, dedicated to improvised music, and being a member of the audiactiviste netlabel, Laurent Peter is also active as a graphic designer. Composed on a special request from ini.itu, “Rivages sur l'antipode” (shores on the opposite side of the earth) is his first vinyl LP and is based on similar archival material as the one used by Francisco López in his stunning “untitled #228”. Nonetheless, d'incise has achieved radically different results, combining digitally-processed textures, microsamples and humming harmonics rippling out over broken rhythms. He has collaged the least obvious bits of gamelan, many grainy soundbytes from Jakarta, Makassar, Bandung and Yogjakarta into a kaleidoscopic reinterpretation of these shattered fragments. Sudden transitions, alinear progressions and melancholic, sprawling, autumnal atmospheres reveal a very personal soundworld. This LP could evoke Kim Hiorthoy on sedatives under moist tropics, or an alter-ego of Burial in a futuristic decaying Jakarta won back by the jungle, with hints of digital crispiness from Kid606 période Mille Plateaux; a touch of the microsampling of Akufen, all of this marinated into the experiments in folk deterritorialisation made by some Ritornell artists such as Random_Inc / Sebastian Meissner. Icing on the cake, this LP was mastered by James Plotkin in Philadelphia. 250 copies, hand numbered. Some copies come with a serigraphy made by Laurent Peter himself." [label info] www.iniitu.net "On an entirely different nature is the album by Laurent Peter, finally we have a name for D'Incise from Switzerland, who received slighty similar sound material as Francisco Lopez did for his album for this label (see Vital Weekly 711), but Peter does something completely different with it. His main method is sampling the hell out of anything. It perhaps also reveals a bit more what Lopez used, as that was rather a mystery back then. Percussive sounds from Indonesia for instance, which D'Incise explores these for the lowest, grainy textures, chopped up to form new rhythms, cut from 'real' sound and the hiss between. Ini.itu compares this with some of the older and more experimental releases on Mille Plateaux/Ritornell, and I can see that. It shares that somewhat crude approach to sampling, the click 'n cut approach musicians like Random Inc and Kid606 had back then, but D'Incise never comes close to playing any 'dance' related music. The textures are sometimes pretty 'vague', shimmering perhaps, but I think that kind of adds nicely to the record. Its probably the best record by D'Incise I heard so far. The compositions are worked out better, and never seem to take more time than necessary. Very nice." [FdW/Vital Weekly] 2010 €12.50
DAUBY, YANNICK 蛙界蒙薰 ( Wā Jiè Méng Xūn ) LP "ini.itu is releasing a new vinyl LP, composed by Yannick Dauby. Yannick Dauby is an artist who was born in the South of France a nd who since 2007 lives and works in Taiwan. He studied musique concrete in France and began working with field recordings in 1998, capturing fragments of environments, urban situations, animal signals and unusual acoustic phenomena. On stage, he improvises with an assemblage of found objects, recorded sounds, electro-acoustic devices, modular synthesizers and computers. Fascinated by ethnology and natural sciences, he often wanders into these domains in collaboration with naturalists (nature sound recording, acoustic surveys) or for Taiwanese community-based projects in Hakka and aborigines villages. He has collaborated with musicians such as Hitoshi Kojo, Michael Northam, Alio Die and the visual artist and poet Wan-Shuen Tsai. His works could be filed next to those of Eric La Casa, Emmanuel Holterbach and Francisco López. The project for this LP started after Yannick Dauby posted a few videos showcasing his latest live set up, mangling field recordings of frogs and modular synthesizer improvisations, quickly arising our interest. In the following months, the results of several improvisation sessions were used as compositional material for a work that now interweaves natural and synthetic lines. The LP takes you through a subtle succession of vignettes, at times aggressively confident and brassy, at times veering towards an enigmatic elegance and sophisticated nocturnal developments. Through and through, the general tone oscillates between the playful and the elaborate, the sensual and the spiritual. A perplexing and yet welcome confusion indeed arises from the occasionally undeterminable origins of the sounds, as if technology and nature were reflecting each others. A release full of pensiveness, amazement and serenity. Darmstadt is in the jungle." [label info] www.iniitu.net "More music by Yannick Dauby, of whom we reviewed a work last week. That one seemed to be about real chimes, but here it's something else, entirely. Dauby originates from France, but moved to Taiwan in 2007, where he still lives and works. Much of what he does deals with field recordings, both from the country side as well as from urban situations. He presents these along electronic sounds, from an array of devices, analogue and digital. On this new album he plays around with modular synthesizers and field recordings, more especially, field recordings of frogs. Maybe it's a bit odd to do so, (as he says himself), but in these thirty-six minutes I must say it works rather well. The frog sounds work wonderfully well with the electronic sounds. Sometimes it's hard to tell what's what here, and what seems a frog might be a synth, and vice versa of course; sometimes it's all plain and clear. The music bounces around like frogs do, it's all over the place, and makes this rather a jumpy, joyful record. You would almost rush out to a pond yourself and experience the sounds yourself. (There is no such pond easily around here however, and it's raining - although that would create a nice effect too). Maybe I like to be at home anyway? This record is a great one. It has the playfulness of an improvised music record, but upon closer inspection the more rigid organization of a seriously composed record, and none of that takes anything away from the pleasure of hearing this. Excellent record, maybe the best I heard from Dauby so far." [FdW/Vital Weekly] 2013 €13.50
FREIBAND Stainless Steel LP "ini.itu is releasing a new vinyl only LP, the 8th of its catalogue, composed by Freiband • Freiband is one of the long lasting projects of Frans de Waard, who is making music since more than 25 years under many aliases and in different line-ups, the most well-known being Kapotte Muziek ( with Roel Meelkop and Peter Duimelinks ), Goem ( same team, different tools ), THU20 ( same, augmented by Jac van Bussel and Jos Smolders ), Beequeen ( w/ Freek Kinkelaar ), and more recently Wieman ( formerly known as Zèbra ) ( w/ Roel Meelkop ), Ezdanitoff ( w/ Wouter Jaspers ) and Tobacconists ( w/ Scott Foust from Idea Fire Company ). Solo he has been active under his own name, Shifts and of course Freiband. His other activities include : editor and writer for Vital Weekly, programmer at Geluidswerkplaats in Nijmegen, organizer of the residencies Brombrom and director of the labels Korm Plastics, Moll and Plinkety Plonk. • the name Freiband itself is picked from Asmus Tietchens' album Daseinsverfehlung, on which he explored sounds created by rubbing tape freely on magnetic heads. Frans de Waard transferred the concept to the digital field and now mostly uses that name for his computer-based pieces. What Freiband proposes here is 2 sides of radically reworked gamelan : • Side A seems to progress through an acid bath and take the magnifying glass to enhance the digital decays, evoking various stages of textural corrosions. Through these aggressive and irreverent treatments, the naturally metallic harmonics are by twist and turns abruptly dismantled and fractured into crunchy, dense and fuzzy fireworks. Despite the stop & go transitions this hard-edged and raw piece still holds a nice unity across the digital errs and disturbances. • on side B, through some arcane wirings, some machines end up spitting out shifting binary patterns with a somewhat alienating feeling. Proof that electronic music can be minimal and eschew the 4/4 dance floor pattern, in favour of some dry and uncompromising “Unerforschtes Gebiet” between minimal beats and Steve Reich’ early tape compositions. this LP further expands the horizon of ini.itu, successfully interrogating the link between south-east asian instruments and electronic contemporary music. Maybe something to file along Hecker, Pita, Mika Vaino, Fennesz or Alva Noto's Xerrox LPs. p.s. Frans de Waard will also simultaneously release a companion 3” on his Moll imprint, with a totally different track from the same sessions that couldn’t be included on the LP. That track is a spectral exploration of the higher frequencies, followed by a pile-up of gamelan sounds." [label info] www.iniitu.net "The LP thus both presents the quality of the gamelan style in its pure origin and 21st electronic avantgarde by one of Holland's finest sound artists. A superb ode to the importance of the gamelan music for the modern sound experimentations of the Western world." [NM/Vital Weekly] 2011 €12.50
  Stainless Steel Redux & Finale mCD-R "This is a twenty minute companion piece to the LP ini.itu will be releasing at the same time. All works on this LP and this 3" deal with the processed sounds of the Indonesian gamelan, in three entirely different pieces of music. 'Redux & Finale' is the most quiet, almost microsound in approach. Careful de-constructions." [label info] www.kormplastics.nl 2011 €5.50
IMANISHI, MASAYUKI Tone LP "ini.itu is releasing a new vinyl LP, composed by Masayuki Imanishi. Masayuki Imanishi is a Japanese sound artist using paper, a microphone, a radio, field recordings, various objects and any other things which catch his interest. He has collaborated with Leif Elggren, Kouhei Matsunaga, Vampillia, The Body and many others. This LP 'Tone' was built using radio, paper, tapes, debris and other objects. It is based on an experimental approach that aims at repeating the dismantling, rebuilding, amplification and modulation of tiny sounds. It features 7 tracks of delicate and circular meanderings, installing a restrained and autumnal ambiance, where sounds suddenly seem to emerge from nothingness and soon return to it. These evanescent tones are displaying a melancholic sensibility, rooted in the Japanese concepts of wabi-sabi and mono no aware. Calm, austere and enigmatic, this record reminds us that beauty can emerge from ugliness. All clicks, pops and shuffles are intended. The LP was mastered by Taylor Deupree." "Despite his collaborative work with Leif Elggren, Kouhei Matsunaga, Vampilia and The Body I never heard of Japanese sound artist Masayuki Imanishi. He has a few previous releases on labels as Gender-Less Kibbutz, Deserted Factory, Psych.KG, A Giant Fern, Creative sources and obs, in a period of nine years, so not really a lot. His instruments are paper, microphone, radio, field recordings and various objects. Of course we learned over the years that Ini.itu is a label to release exotic music and there is usually a connection to make to the country of Indonesia, but on 'Tone' that doesn't seem to be the case, unless of course I missed the connection. Instead we have here something that is fine reminder of what was once called 'microsound'; music that operates on a more microscopic level. A few sounds here, and a few there, some loops of radio transmissions, carefully placed crackles and pops, the rustling of paper being amplified. All of this is about small sounds; and small sounds that are meant to sound small. From the various points of interest, the ones that I think come close to what Imanishi does is Steve Roden and Rolf Julius. There is not a wealth of sound effects, or a massive production but simply, perhaps naive music. I quite enjoyed this, especially the long piece on the second side, but I must also admit that for me this record was not something new; it brought back good memories to all that quiet microsound music from ten to fifteen years ago, and it didn't seem to me that Imanishi added a new insight to that world. That perhaps I thought was a pity; the aspect of innovation was missed. Otherwise I think this had some wonderful music, as Imanishi knows to play his instruments/objects quite well. Perhaps this is the oddball in the Ini.itu catalogue?" [FdW/Vital Weekly] www.iniitu.net 2016 €13.00
PENJAGA INSAF Sarna Sadja CD "For several years Ingo Sauerbrey made extensive travels through Indonesia, always carrying recording equipment to collect sounds as an audio diary. During periodic return trips to Germany, he started to work on the recordings with electronic devices. Some sounds were edited, cut and transformed, while others were kept completely intact. To name a few sound sources only recordings from Water Puppet and Shadow Theatres, Gamelan and various welcoming and fighting dances like Kecak, Jegog and the Tarian Caci were used for this album. Some of those impressive performances were made of 60 to 90 men chanting and dancing while a bamboo orchestra used 4 meter long bamboo sticks playing bass drums on it. SAMA SADJA is waving together the sounds of living traditions, religions and languages with spherical ambient pads and electronically edited drones from the field recordings. This is an contemplative and intimate soundtrack from the deepest heart of South East Asia." [label info] www.loki-found.de "Brussels' label Ini.itu specializes in music that deals one way or the other with Indonesia, the land, the people, the nature. They should be paying attention to this release by Ingo Sauerbrey, who plays music as Penjaga Insaf. For years now he has been traveling to Indonesia armed with a recorder to tape original Indonesian music from puppet theatres, gamelan and such like, but also from countries such as Vietnam which he uses in his compositions. I didn't study the booklet very hard when I started to play this and I thought at the beginning this was some kind of ambient act using lots of digital synthesizers and a bit of percussion and some heavily processed voices, but as the album progresses the field recordings become clearer and clearer. Sauerbrey reworks the recordings pretty neatly, not beyond recognition, so you always have a clear picture of what is going on. He mixes these together with a fine blend of digital synthesizers, borrowed from the world of ambient dance music. The whole thing is pretty densely layered and it seems like is something going on all levels at the same time. Probably just as colorful as traditional puppet play. An excellent release of highly imaginative music." [FdW/Vital Weekly] 2010 €13.00
ROSS, DAVID & CLIVE BELL Recovery Suite LP "David Ross plays here a customized analog oscillator, baptized drosscillator. Among others, he has worked in the past with Evan Parker. He is also known as the drummer for the instrumental combo Kenny Process Team. He has previously released another critically acclaimed duo album with Clive Bell, 'Mystery Lights / Nightflower'. Clive Bell studied the shakuhachi (Japanese flute) with Kohachiro Miyata in Tokyo. In 2005 he took part in the British Council Beijing project, Sound & The City, alongside Brian Eno, David Toop and Peter Cusack. He has played on numerous albums by Jah Wobble, plus records by a.o. Paul Schutze, Jeff Beck, Bill Laswell and David Sylvian. This is their 2nd album on ini.itu, the first one being as members of Twinkle , with Richard Scott. The project for this LP started when David Ross suffered a back injury and had to lie in bed for several weeks, a time where one of the few instruments. Some sketches later gave the opportunity to further improvise and compose some tracks with Clive Bell. This unusual record will take you through some derouting mazes, evoking at times the perplexity and obfuscation of the experience of ill ness and slow, uncertain recovery. It's free music, but not in the free jazz way. Maybe it's dystopic lounge ambiance, with evanescent melodic lines on the shakuhachi and circular undertones. Sometimes bleak, brooding, fractured and gloomy; at other moments rather delicate, elaborate and lush. A nocturnal record, where melancholy and aching is slowly dissolved by a sprawling confidence, where mental landscapes are built on the contemplation of opioid numbness and extraction therefrom. File next to : Popol Vuh's Garten Pharaos, Cluster, Kosmische Musick in general, or Brian Eno & John Hassell 'Fourth world vol 1'. All clicks, pops and shuffles are intended. The LP was mastered by Taylor Deupree." [label info] www.iniitu.net 2014 €13.00
WIEMAN Cryptonesia LP "Ini.itu is releasing a new vinyl LP, composed by Wíeman (Roel Meelkop and Frans de Waard). Roel Meelkop studied visual arts and art theory at the Willem de Kooning Academy in Rotterdam, The Netherlands. He is a member of Goem, Kapotte Muziek and THU20. In the last couple of years, Meelkop has focused on solo works in composition and installation work. Frans de Waard is making music since more than 25 years under many aliases and in different line-ups, the most well-known being Kapotte Muziek, Goem, THU 20, Beequeen, Ezdanitoff, the Tobacconists and of course Freiband, under which name he already released an LP on ini.itu a few years ago. Wíeman is their «meltpop» duo, which was previously known as Zèbra. The project for this LP started when some obscure tapes released under the moniker Cybe in the early 80’s found their way to one of those MegaUpload accounts that disappeared a few months later. So “Positive Movement Muzak / New Age Synthesis” “Cybernetika” and “Cybonesië -Tropische Klankbeelden” were temporarily out in the world again. With the help of some synth forums the man behind that name could be located. With his approval and upon request from ini.itu, Wíeman, already famous for their reappropriation of Martin Hannett samples on “Live in Leugen”, used snippets from those Cybe tapes to create new pieces. What you have now with “Cryptonesia” is the unexpected meltpop child of dangdut and krautrock, filtered through electronica and post - exotica lenses. Refusing the temptation of going subtropical gabber, the good-natured beats, boisterous and carefree, exhale a cheerful and joyous mood. The epic 18 minutes long B-side is a freewheeling and energetic construction of meandering and hypnotic pseudo-gamelan riffs, resulting into trippy and lush washes of bliss. A record to enjoy, not only for its hedonistic take on music history reverse engineering, but also for the sake of its ecstatic feeling. The LP was mastered by Taylor Deupree." [label info] 2015 €13.00