Zendid
Space Ep

Space Ep
Space EpSpace EpSpace EpSpace Ep

Artists

Zendid

Labels

Discobar

Catno

DISCOBAR 08

Formats

1x Vinyl 12" EP

Country

Germany

Release date

Jan 1, 2018

Styles

Minimal

Media: Mi
Sleeve: M

11€*

*Taxes included, shipping price excluded

A1

Space

A2

Virgin

B1

Space

B2

Berlin 6

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With the UKG scene carving out it's niche, 1996 saw the all too brief, but much lauded appearance of the mysterious Mred Marquez for this excellent one-off release on Crosstown Records. Dedicating himself to the tougher, trackier & darker side of UK house and garage, this 4 tracker perfectly encapsulates his vision.'I Release', opens with melodic chord stabs and heavy, warm analogue bass, swinging percussion drives the track on before a classic garage organ plays an unforgettable riff. 'I Realise' (Dub) strips it down and goes for a heads down vibe, a slammer of a track that never loses any of the original's devastating punch and potency. 'Nathalie X' brings the muscle, driven along by yet another monstrous speaker rattling b-line that builds and moves to an incredible peak, there's yet again top draw bumpin' drums and quintessential garage chords and keys. Lastly, 'Do Not Pass Go' is a classic sweaty basement jam. Gritty and more uncompromising in it's approach, banging kicks underpin the percussion that builds with those ever essential skipping snares and clipped hi-hats.There's hefty lo-slung bass throughout, whilst classic riffs and dubbed out chords lift the higher end.
Neck-breaking swing and deep moody pads; that when good Naybas make good beats.
A few months after the landing of 'Point A', the debut instalment in a series of 12-inch VAs blending in works from new faces and more established names, On Board Music returns this winter with 'Point B' - a followup featuring choice slices from on-the-rise French soundscaper Diane Barbé, Madrid-based dub experimentalists Uanamani and well-known Spanish techno artist Daniel Kyo under his CORE alias.Starting off with Diane Barbé's 'Something For The Mountains' - an eight minute piece of textural sublimation fusing strains of Easternmost traditional music and heart-raking downtempo, the disc moves on towards further dynamic, verbed-out atmospherics with Uanamani's 'Luzzu' - taking us straight to some eerily exotic place, where delayed drums and teeming layers of faux-organic luxuriance make one.Flip sides and you'll find CORE setting the deepness'o’metre to eleven with a pair of dubbed-out rollers. Cutting a path of hypnotic devastation across the dancefloor, 'Mantra' loops you in for a truly mind-bending trip down techno's deepest depths. Beaming back the energy levels stacked up by the previous, hectic closer 'Energia' spits out fiery waves of mesmeric synth arpeggios to ensure definitive control upon the dancers' body and mind. Headtrip-advisor recommends.
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I would often wander into the forest after school. This wasn’t Sheffield, or Manchester, as much as I thought I wanted it to be. Sometimes the mushrooms we picked would make me sick, which added a vital sense of adventure to the days and weeks that could pass without much happening at all. Something to talk about, a story we made together. It was a dead city. Not great, not terrible. Nothing to break an illusion. We had no idea what we were doing, but a reality check was the last thing we were looking for. Wasted from the youth centre, we would go and listen to people spin records at Skandal. The melodies in The Cure songs lingered with me for days. I wanted to make my own music. I started to leave early and bang onmetal into a microphone. I saved up and bought a Casio FZ-1 sampler and drum machine. We poured ourselves into bands. We would stay in and practice, programming MIDI on an Atari ST-1024. Nobody would hear this music. My Korg MS-10 was stolen by an ex-band mate from our rehearsal basement. I would dive inside myself, burrowing a tunnel to a new world. Configuring an inner system. A fascination with Clock DVA became an obsession with techno. KLF. Future Sound of London. Themelancholy was still there, in traces, but it was moving somewhere, looking for company. Growing. Ecstatic. Ecstasy! I left the basement to share this with others. I moved to the big city and the music got faster. My process got faster. Collaborations. Plug-ins. That’ll do. Take it to the people! What used to be a personal practice became a public practice. A call and response. A communal effort. Abstract numbers heard this music. My technique sharpened. My studio served a function greater than my own; a system outside myself. Then I found the DAT tapes, and the VHS footage. They had traveled with me. Far from a nostalgic exercise, this was a reclamation of the original impulse. A reminder of the music I always wanted to make. Reorientingmyself with analog machines and obsolete formats, I stole hours to bring this work into the world. I hope that it speaks to you.

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