fist solo album of danish alexander tillegreen

remix album

electrnic album

experimental

limited to 500 copies!

experimental music

atomtm and x1n are back

aka eva geist and donato dozzy, ltd 2021 repress

experimental

new atom tm stuff

sichten 1 new on raster

since the last senking album >pong< (r-n122) was a great success in 2010 and sold out quickly raster-noton swiftly asked for a follow-up of massels sound cosmos. on >tweek< senking again reveals his sense of cineastic atmospheres and dark abysmal depths of sound, which are subordinate to extremely slow choky basses and delayed beats. references to dubstep are rather the result of testing the outlying areas of the frequency spectrum than a direct relation to the genre. nevertheless it seemed very obvious to release senkings sound on 12inch vinyl to follow the footsteps of >plasticstar< (r-n081) and >pruitt igoe< (r-n124), >tweek< is meant to be a dj-tool for a club environment. >tweek< refers to a character of the well known us series >southpark<, who plays with feelings of incertitude and nervous decease. the album documents the eagerness to experiment and indicates astonishing ideas shining through the dark substance. the tracks even reveal cheerful and comical features.

repress, electro, experimental

now raster stuff

atom tms >hd< showcases his huge muiscal versatility, decks tip!

re-release of the record originally released on 2014-02-24

nach ihrem vielgelobten debütalbum decadent yet depraved luden sich die aus berlin und los angeles stammenden produzenten verschiedene remix-künstler für ihr remixed 01 projekt ein.

with »redsuperstructure«, robert lippok created a new foundation for his musical endeavors. now – 7 years later – this system properly comes to life on »applied autonomy«. the title of the new album is a clear indicator as to what the berlin-based producer has been up to during the last couple of years, both on a conceptual level as well as how he molds his ideas into tracks. »applied autonomy« orchestrates a certain state of frantic standstill, which occurs once a structure is set. has this state been reached, the artist is free to focus on other equally important aspects, balancing the various shades, pushing ideas even further to really make them shine and blossom in their self-declared autonomy. the more light one lets in, the more layers become visible. layers are key when it comes to understanding »applied autonomy«. big chunks of the material with which the album has been produced derive from sketches specifically made for a club performance. rather than meticulously devising each and every detail, lippok focussed instead on recording as many fragments as possible in a short period of time, elements which he could later combine and layer on stage. based on this material and his experience experimenting with it in a live environment, the album slowly began to shape. an album culminating in a collaboration with klara lewis, with whom lippok spent 2 days at the ems studios in stockholm, approaching the idea of autonomy from yet another angle. during the session, both musicians played and performed simultaneously, yet not explicitly together, lost in their own thoughts and ideas, only subconsciously taking in what the other one was coming up with. the result is »samtal«, 14 minutes of a constantly evolving state of poise, magically connecting all the dots lippok had already defined as »applied autonomy«. the artwork for »applied autonomy« has been created by the berlin-based argentinian artist luca gutierrez. over the last couple of years, he has made a name for himself with his spectacular av performances.

decadent yet depraved, the debut album by belief defect, finds shelter and complicity in raster as home and label. familiar with the underground music scene and how its skeptical nature can also be an obstacle to overcome, belief defect abandon any claim or credit in an attempt to transcend the limits authorship imposes, avoid the boundaries or expectations earned or self imposed and find the clearest, most direct path to their music for themselves and the listener. at the core of the album is the music that inspired them, the conclusion of countless recordings listened to in their formative years that ultimately result in a life-long devotion to electronic music: from dance floor to primal anger and self-annihilating noise, to transcendental, ambient escapism and intense self-reflexive sonic layering. the result is a soundtrack for this apocalyptic time, an uncompromising reflection on the state of mankind and its uncertain future underscored by a sense of religious and secular demise referenced in track titles, samples, and soundscapes scattered throughout the album. yet, more than a political statement decadent yet depraved is an introspective journey, turning each listener into a spiritual soul-seeker staring into the abyss, reaching for some kind of cathartic truthfulness.

>univrs< follows on from and develops the concept of the album unitxt (raster-noton, 2008). whereas the focus of unitxt was on the processing of rhythmic patterns (unit = unit of measurement, element) and information (txt = data, language), with univrs the focus is on the conceptual differentiation of a universal language (universum/universal = unity, entirety). the 14 tracks of univrs have evolved from a live context, hence the approach is more continuous and dense.

byetones new record > symeta< opens with a combined track - a transit - since >topas and >telegramm< could be seen as one single piece. both tracks convey the atmosphere of a live session rather than the character of a studio production. the tracks are quite long and deal with repetition, layers of sounds, density and energy, more than melodic and engineering finesse. the whole album follows this approach, as it was fashioned within the context of live performances during the last two years

with vantaa, raster-noton releases for the first time an album by vladislav delay aka sasu ripatti. ripatti, one of the pioneers of electronic music of the last decade(s), who is known for several projects, has attracted our attention and received our respect most notably under his pseudonym vladislav delay. vantaa will be the beginning of a long lasting collaboration, which will extend and deepen the spectrum of the label, whereas it falls in line with releases of, for example, william basinski, robert lippok, or mitchell akiyama. even though complex electronic manipulations are used, vantaa wants to sound like a piece of nature, resulting in a mixture of techno/dub and organic textures. the tracks oscillate between a decadent, greyish, post-industrial sound cloud and the intimate atmosphere of a vast and desolate finnish landscape. ripatti plays with tiny rhythmic bricks that drift and collapse, but nevertheless create spaces that radiate calmness and tranquilit

der berliner robert lippok ist seit seiner jugend in verschiedenen formationen als musiker und bildender kuenstler taetig. in den 90er-jahren gruendete er zusammen mit seinem bruder ronald und stefan schneider die band to rococo rot. sein neues soloalbum -redsuperstructure- laesst seltsame geraeusche, die an ein orffsches kinderorchester erinnern, auf subsonische baesse in der drum n bass-tradition der mittleren 90er treffen.

>univrs< follows on from and develops the concept of the album unitxt (raster-noton, 2008). whereas the focus of unitxt was on the processing of rhythmic patterns (unit = unit of measurement, element) and information (txt = data, language), with univrs the focus is on the conceptual differentiation of a universal language (universum/universal = unity, entirety). the 14 tracks of univrs have evolved from a live context, hence the approach is more continuous and dense.

kangding ray brings his signature sound to another level, somewhere at the darkest fringe of club culture

on monday, 30th may 2011, raster-noton. archiv für ton und nichtton will release alva noto + ryuichi sakamoto s latest album summvs, the outcome of an unusual creative partnership between the oscar-prize honored film composer ryuichi sakamoto and the fine artist and electronic music pioneer carsten nicolai. the new album will host its world premiere on may 12th, 2011 at the roundhouse in london and will be followed by a european tour called s in may/june 2011 with stations in rome, padua, graz, copenhagen, brussels, eindhoven, paris, frankfurt, bonn, berlin, leipzig and barcelona. the name of the artists fifth collaborative album summvs triggers several associations. the title literally combines the latin word summa (engl.: sum) and versus (vs., engl.: opposite), stressing the collaborative idea behind the joint venture of these two exceptional artists, yet stressing their individual potentials. the initials of the five albums – vrioon, insen, revep, utp_ and now summvs – together form the word virus , concluding the series with a final infectuous twist.

arme litertaur nennt der französische klangpoet anne-james chaton alltagstexte wie quittungen, metro-fahrkarten, zeitungsschlagzeilen usw. seit jahren sammelt er solche texte, und immer drehen sie sich um so genannte Événements, medienrelevante ereignisse. im studio wandelt er diese texte in musik um. chaton schneidet, loopt und samplet die gesprochenen texte, und das ergebnis sind stakkatohafte hypno-tracks.auf dieser cd drehen sich die Événements um barack obama oder den tod michael jacksons.

pruitt igoe is more than a post-modern icon, it represents an ancestral movement of hope and disillusion, of perfectly planned models and evaporated dreams

for its ten tracks the album will readopt two original tracks and two alternative versions from the ep while additionally introducing six completely new songs. as a very special feature >katze< and >mimikry< will feature vocals/words by the model veruschka (known from the movie >blow up< by m. antonioni). the album will be released with a special 16 page booklet that will present original text/drawings of blixa bargeld that developed during the recordings.

for its ten tracks the album will readopt two original tracks and two alternative versions from the ep while additionally introducing six completely new songs. as a very special feature >katze< and >mimikry< will feature vocals/words by the model veruschka (known from the movie >blow up< by m. antonioni). the album will be released with a special 16 page booklet that will present original text/drawings of blixa bargeld that developed during the recordings

pong referring to the classic video game - is senkings fifth release on raster-noton, moving its focus on stretched dubstep rhythms. to these slow motion grooves, he adds shredded melodies, sub basses and echoes, which create an atmosphere like an angelo-badalamenti-soundtrack known from david lynchs movies. his electronic sound aesthetic reflects rather an organic texture than a machine made algorithm. in tradition of former dub producers, he generates his tracks while playing, and therefore they appear to be momentary. they are aware of the club, but do not want to serve it. at berlins ctm 2010 senking proofed that pong can be massive on stage as well.a 3d-interpretation of classic pong by visual artists and software producers of almost sync is attached to the album in a mac and windows version.

being friends and admirers of each others work for a long time, electronic music composer / visual artist alva noto (carsten nicolai) and composer / voice- artist blixa bargeld (also known as singer of einstu&#776,,,rzende neubauten and guitarist of nick cave and the bad seeds) decided to join forces to initiate a collaborative project in 2007.

exp is a music-visual work based on the idea that fine art should attain the abstract purity of music. the package contains a compact disc audio with 35 tracks and a compact disc data with the live visuals of tracks 01 to 20 as quicktime movie file.

catalogue + 2 cd audio, 92 pages, colour/monochrome, texts by daniel klemm, daniela cascella and carl michael von hausswolff!! die bibel der sinustöne ! das design kommt mit einer epochalen wucht die schon fast sakral wirkt ! in the past thirteen years mika vainio has exhibited in some of the major art spaces in europe, and he has collaborated with both a number of important artists and curators. since his musical work has been in the focus of attention, his installations have never gained the broader recognition they deserve‚ without good reason. in the present book, an overview will give a clear outline of this segment of his oeuvre

mika vainios four tracks on >vandal ep< show his preference for analogue working. he consequently develops a dynamic sound we all remember from pansonic, working himself from a rather abstract structure towards arrangements which more and more suit a club setting. straight beats, noise and the denial of the usual clicks&cuts elements are the ingredients for his contemporary version of electronic club music. the quality of his music will not only convince on the dancefloor but also on the home stereo. mikas passion for dynamics, reduction and industrial oscillates between these three cornerstones and what his sound stands for: being physical, raw and profound beyond all cliches.

this is the first release of aoki takamasa on raster-noton.
aoki was born 1976 in osaka and is presently resident in berlin, germany. he has been releasing music since 2001 and ever since has been reviewing his personal methodology whilst actively creating sounds based mainly on computer/software. aoki is an energetic artist vigorously expanding the limits of original musical expression. he enthusiastically pursues an expansive variety of techniques of expression via a broad array of software and hardware. the rhythm and groove created by driving the cpu to the max may seem extreme. however, the respect and the inquiring mind to the root existence of the art expression of music keeps flowing incessantly.

xerrox vol. 2 undertakes an intense journey and affords the luxury to take its time. &#8233,,while xerrox vol. 1 (r-n 78) referred to the old world with its tradition deeply rooted in classical music, xerrox vol. 2 tries to access a new world . it works with samples that have been gathered and developed in the usa û the so-called new world û where the album also has almost completely been recorded.&#8233,,the dramatic and dynamic approach of xerrox vol. 1 on vol. 2 has been replaced by a structural density. instead of working with individual musical entities the new album rather develops an overall, linear aesthetic that refers to musical strategies of film music. hence there are no implicitly singular pieces, but open musical structures û a journey without a predetermined target.

grischa lichtenberger is a new artist on raster-noton. for >treibgut< he recorded sounds from the world around him like a sliding tabletop, the noise of a radiator or the humming of a broken device. by means of digital manipulation these sounds are transformed into sound-giving instruments

nach beendigung des >transall< zyklus & der veröffentlichung der >xerrox< serie nähert sich alva noto seiner früheren rhythmischeren arbeit an. >unitxt< könnte eine fortsetzung seiner >transspray< arbeit sein und erinnert in seiner radikalität und die 90er werke von pan sonic

>rhythm< ist nicht pop oder avantgarde handelt aber vom einfachsten grundsatz jeder modernen musik. rhythmus ! genau der wird hier einer komplexen inventur unterzogen

alva noto aka carsten nikolai zeigt uns das weisse rauschen der reproduktion & nimmt das kopieren als kreatives tool wahr. theoretisch, aber nicht trocken

carsten nicolai aka alva noto + ryuichi sakamoto treiben ihr projekt weiter an. nach >vrioon< und >insen< wird mit >revep< nun weiter an der akustisch - elektronischen schnittstelle gerabeitet

electronic album

radial alias esplendor geometrico and atomtm

cd incl booklet

originally released in 2005

frank vigrouxs presents magnetoscope

new raster

experimental

island people is a new band project consisting of mastering engineer conor dalton, grammy award winning producer david donaldson, and musician and dj graeme reedie. on their first self- titled record, they present their collaborative work that evolved over the past three years. being based in different cities, namely berlin and glasgow, files had to be exchanged back and forth between the three band members in order to create tracks. for their delicate sound structures, field recordings and other sound sources were heavily processed and rendered unrecognizable. layer after layer, the tracks came into being quiet naturally, not only reflecting their continuous way of working, but also incorporating their different and individual backgrounds: Òduring the whole creation of the album, we never realized our actions were quickly leading us into forming Èisland peopleÇ, we were too busy having fun, making music and sharing ideas.Ó the result of their collaboration is a timeless music that is as open as a natural phenomenon, developing a certain feeling of euphoria over time. all in all, Èisland peopleÇ is a pure listening record in the best tradition of ambient.

mantle is already pixels forth release on raster-noton since his debut in 2003 and a further exploration of his approach to rhythm-driven, electronic music.

byetone s new record symeta opens with a combined track - a transit - since topas and telegramm could be seen as one single piece. both tracks convey the atmosphere of a live session rather than the character of a studio production. the tracks are quite long and deal with repetition, layers of sounds, density and energy, more than melodic and engineering finesse. the whole album follows this approach, as it was fashioned within the context of live performances during the last two years. neuschnee Ð the third track Ð has an obviously reduced tempo, creating a wide landscape of sound with an intimate aura, which works as a counter draft to the other tracks of the record. with opal, the tempo speeds up again, a polyrhythmic phrase whirls around a straight beat, filters are turned, all that evokes the impression of early-90s minimal techno. byetone is basically interested in remembering, in a way to preserve, in citing rock/pop styles, without getting stuck in the past, whereas non of the tracks really fit into a specific genre. seen from this perspective, helix opens the final, more rocky block of the album. here, the tracks are offensive and rude and sound like a band in a rehearsal room. this part peaks with black peace in a high speed heavy metal session. finally, golden elegy closes symeta and a band-like situation occurs. the track ends with a wired lament, presented by jan kummer in the tenor of chemnitz, hometown of both artists. in former gdr-times, they started their musical activity with the brilliant-dilettantish ag geige, together with frank bretschneider (komet). symeta , the title of the album, appears mysterious. this synthetic word arouses associations with symmetry, synthesis or (meta-)structures. it doesn t stand for a definite object, there isn t any solution, and that is the reason why the title has been chosen. byetone s music tries to create such associations without really fulfilling these expectations. in this sense, symeta consequently follows death of a typographer (r-n92), the well received predecessor.

reissue

experimental muisc

aka eva geist and donato dozzy

new atomtm stuff

elektroische glanzleistung von grischa lichtenberger

lena andersson is a fictional character created by berlin-based japanese artist kyoka and irish producer eomac.

with ÈredsuperstructureÇ, robert lippok created a new foundation for his musical endeavors. now Ð 7 years later Ð this system properly comes to life on Èapplied autonomyÇ. the title of the new album is a clear indicator as to what the berlin-based producer has been up to during the last couple of years, both on a conceptual level as well as how he molds his ideas into tracks. Èapplied autonomyÇ orchestrates a certain state of frantic standstill, which occurs once a structure is set. has this state been reached, the artist is free to focus on other equally important aspects, balancing the various shades, pushing ideas even further to really make them shine and blossom in their self-declared autonomy. the more light one lets in, the more layers become visible. layers are key when it comes to understanding Èapplied autonomyÇ. big chunks of the material with which the album has been produced derive from sketches specifically made for a club performance. rather than meticulously devising each and every detail, lippok focussed instead on recording as many fragments as possible in a short period of time, elements which he could later combine and layer on stage. based on this material and his experience experimenting with it in a live environment, the album slowly began to shape. an album culminating in a collaboration with klara lewis, with whom lippok spent 2 days at the ems studios in stockholm, approaching the idea of autonomy from yet another angle. during the session, both musicians played and performed simultaneously, yet not explicitly together, lost in their own thoughts and ideas, only subconsciously taking in what the other one was coming up with. the result is ÈsamtalÇ, 14 minutes of a constantly evolving state of poise, magically connecting all the dots lippok had already defined as Èapplied autonomyÇ. the artwork for Èapplied autonomyÇ has been created by the berlin-based argentinian artist luca gutierrez. over the last couple of years, he has made a name for himself with his spectacular av performances.

winter, or a time which represents that season, in a metropole that appears to be moscow. the visitor is taking metro no. 6 at leninsky prospect as he is on his way to the ballroom close to gorky park. the air is icy, the sky is grey. a cat, previously hidden among the dirty snow, is crossing his way. the closer he gets to his destination, the clearer he can hear music, music that reminds him of future days

decadent yet depraved, the debut album by belief defect, finds shelter and complicity in raster as home and label. familiar with the underground music scene and how its skeptical nature can also be an obstacle to overcome, belief defect abandon any claim or credit in an attempt to transcend the limits authorship imposes, avoid the boundaries or expectations earned or self imposed and find the clearest, most direct path to their music for themselves and the listener. at the core of the album is the music that inspired them, the conclusion of countless recordings listened to in their formative years that ultimately result in a life-long devotion to electronic music: from dance floor to primal anger and self-annihilating noise, to transcendental, ambient escapism and intense self-reflexive sonic layering. the result is a soundtrack for this apocalyptic time, an uncompromising reflection on the state of mankind and its uncertain future Ð underscored by a sense of religious and secular demise referenced in track titles, samples, and soundscapes scattered throughout the album. yet, more than a political statement Èdecadent yet depravedÇ is an introspective journey, turning each listener into a spiritual soul-seeker staring into the abyss, reaching for some kind of cathartic truthfulness.

pixelÕs third album the drive is meant to be the soundtrack to his imaginary journey by car across the u.s.a., a road movie encoded in the track list. with warm and deep guitar amplifier hiss and feedback in connection with floating rhythms he creates very organic sound patterns. the music might evoke images of deserts, chemical warfare plants, rugged landscapes, rocket takeoffs and hectic suburban night life

die königsklasse aller formate. auf 128 seiten gibt es den visuellen aspekt des gas projekts zu bestaunen und auf beigefügter cd gibt es 5 unveröffentlichte stücke die zwischen 1989 und 1998 aufgenommen wurde. limitiert und unverzichtbar für jeden gas und/oder kunstfreund

das neueste raster update ist wie ein elektronischer, digitaler wellengang am festplatten-strand.