Episode 25 - Reykjavik Run
- 01. Teen Daze - Reykjavik, January 2015
- 02. SPD - Insular
- 03. Kamera - Ventoux (Throwing Snow Remix)
- 04. MOTSA - Patience
- 05. Tender - Violence
- 06. Men I Trust - Lauren
- 07. NAVVI - Close
- 08. Brödet - Ultra Friend
- 09. Zola Blood - Heartbeat
- 10. Francis Lung - A Selfish Man
- 11. Zimmerman - Hard to Pretend
- 12. Eera - White Water
- 13. True Widow - Theurgist
- 14. Cass McCombs - Run Sister Run
Kamera is a new signing to Phantasy, set to embark on another, altogether different outsider’s journey, creating unique and uncompromising music that aims to exist in it’s own world, in it’s own form, and it’s own context.
The necessary alias of an established recording artist, Kamera practises the freedom of production without the pressures of dancefloor expectation. Nonetheless, the sound thus far pushes in a deeply physical direction, albeit one influenced by recording techniques, process and experimentation as much as melody. Influenced by bands such as Sunn o))), Fugazi, Autechre, Sabres of Paradise, and indeed any music that “generally doesn’t necessarily make a lot of sense”, Kamera’s rich sonic space was part born in rural Yorkshire, eventually coming to fruition in the wintery Majorca sunshine.
Despite the audible drone of a post punk and hardcore heritage, Kamera’s layers of noise have already proven irresistible on the most locked in and open minded dancefloors, building around unusual grooves that recall techno at it’s most industrial and thematically ambitious. Debuting on Phantasy with a remix of Erol Alkan’s shimmering recent single 'Sub Conscious', Kamera takes the track’s acidic origins and threatens to overpower with layers of stunning feedback that drag the listener in further still.
Exhibiting shades of the all encompassing attitude of early Warp as well as a tinge of techno industrialism that might not sound out of you place in the hands of the most underground tastemakers, Kamera’s enigmatic sound will unfold in full on a full EP through Phantasy in early 2015.
While residing in Scotland, half-Austrian/half-Russian Valerio Dittrich a.k.a MOTSA immersed himself within UK bass/electronic culture. He became a student to the sounds he uncovered in Scotland and found pure inspiration amongst all areas of his environment – enough so to write, produce and play his own music, now out of his native Vienna.
Devoting hours of energy to his compositions, Valerio’s aptitude for production has only grown exponentially in the past few years. Although initially inspired by what he heard while living in the United Kingdom, Valerio has not limited himself to solely become a pastiche of a scene for which he has fond memories, but has actively sought out sounds and textures from the vast spectrum of electronic music. This in turn has allowed him to create diverse and unique tracks, which all share a common quality with their bass led, beat driven, soulful and harmonic edge.
MOTSA’s ability to combine his unique artistic flair with the musical diversity he employs, has garnered the attention of several influential figures, tastemakers and labels. International dance icon, Sasha, included “Sleepless Nights” on his compilation for Mixmag, Beatport named ‘Untitled’ one of the top tracks of it’s year and i-D, THUMP, Eton Messy, Annie Mac, Dummy Mag and XLR8R are all included in his surplus of supporters. Besides Blog, Magazine and DJ support, MOTSA has recieved airplays on BBC Radio 1 and Radio 6 plus several rotation spots on Austria’s Radio FM4 – His track „Clocks“ was also featured in FM4’s Top 100 singles of the Year 2015. Along with his friends salute, Mimu and Cid Rim, he was invited to partake at the Red Bull Music Academy Bass Camp Vienna in 2013. He has also released original and remix work on key labels such as Counter Records (Ninja Tune), PMR, Southern Fried Records, Last Night On Earth and Compost Records.
MOTSA has found himself in the enviable position of being recognized and revered by the likes of John Digweed, Tom Ravenscroft, Adam Freeland and Maribou State. This list only continues to grow with each incredible remix for established acts in the field – Submotion Orchestra, SG Lewis, The 2 Bears and Flamingods being the most recent names that have commisioned MOTSA for his remix work.
To say that MOTSA has broken through would be an understatement, his momentum only continues exponentially in with the release of each original record. His debut EP on Fatboy Slim’s prestigious Southern Fried Records for example received critical acclaim and 9/10 reviews from dance music gospels Mixmag and DJ Mag. It pushed the parameters of his own sound that did not go unnoticed by his fellow peers, one of which being Bearcubs who created the inimitable „London Drizzle“ with MOTSA on two rainy days in England’s captial.
His 2 follow up EP’s on Southern Fried in 2016 continued in the same light and his recent success was aknowleged with a nomination for the Austrian „Amadeus Music Award“.
MOTSA is a musician driven by a desire to convey his serious love for sounds and to push his own musical boundaries. Instead of resting on familiar structures, Valerio decided to change his approach and started recording and incorporating organic textures, instruments, synthesizers and his own voice in his new work. This has led him from a purely club directed sound towards a more melodic yet still beat heavy and danceable realm of electronic music.
The 4th EP will be released on his very own imprint “Petricolour” in November 2016. This will also begin the debut of MOTSA’s live-set which he will be touring across Europe in late 2016 and 2017.
Men I Trust
NAVVI is the experimental electro-pop project formed by Kristin Henry and Brad Boettger. The Seattle duo blends pop melodies with darker, looming beats and production.
Dallas trio TRUE WIDOW craft patient, rounded music that calls to mind images of foggy dawns and parched fields. Formed in November 2007, TRUE WIDOW released their self-titled debut a year later and immediately caught the ears of the underground. At its core, the music of TRUE WIDOW is powered by the driving, guitar-dense aspects of shoegaze and stoner rock and the heavy, low-moving evocations of ambient music.
Following their auspicious start, the band returned in 2011 with their sophomore full length, As High As The Highest Heavens And From The Center To The Circumference Of The Earth. As High As The Highest Heavens saw the band solidify their direction and further mature their sound, but it wasn’t until 2013’s Circumambulation (TRUE WIDOW‘s debut album for independent label Relapse Records) that they reached the heights – both professionally and compositionally – they have now. Circumambulation garnered the band widespread praise both within and beyond the metal world and was praised by publications as diverse as Pitchfork, NPR, Decibel Magazine, and Metal Injection. The band followed up the success of that album with extensive touring across the US, Russia, and Europe, including numerous appearances at renowned festivals such as Roadburn, Fun Fun Fun Fest, Psycho California, and more.
This year, Avvolgere, the forthcoming LP from Texas trio TRUE WIDOW, perfects the formula that Circumambulation established. The album rocks and rolls with serene, rounded climaxes and steep, jangling choruses that engulf the listener with waves of downbeat, saccharine melodies and mesmerizing distortion. TRUE WIDOW‘s signature alternation between male and female vocals helps further blur the boundaries between the heft of stoner rock, the droning atmosphere of shoegaze, and the twangy catchiness of blues and indie rock. It’s both concise and circuitous – the album takes you on a journey that you can’t ever quite predict or expect. Avvolgere is TRUE WIDOW sounding more infectious and consummate than ever before.
Over the past decade, Cass McCombs has established himself as one of our premier songwriters. It’s a career that’s twisted and turned, from style to subject, both between records and within them. His new record, “Mangy Love,” (8/26, ANTI) ventures into realms of experimental soul, twisted psychedelia, and straight-up rock, resulting in a sound that articulates his live show better than ever before. Thematically, it’s far darker, tackling heavy issues through McCombs’ uniquely cracked lens of (oftentimes hilarious) lyrical wit and acumen toward subtlety. Hip-hop and Beat poetry influences have never been more evident, with several songs employing a speech-style and clever fast-paced wordplay. There are guest appearances by many fellow musicians of his tribe ranging from Angel Olsen to Blake Mills, under the production of veteran Rob Schnapf, and the overall result is his most immediate and upbeat record to date.