Download statistics update

Published 2014-12-11 in label info / blog updates with these tags: , .

Update on the statistics data from the primary source. Again not included are Soundcloud downloads (some tracks there are already down due to limited space) and mirrors like Archive.org which would add (in some cases substantially) to the numbers.

  Releasedate Hits Traffic
www001: Mefjus – “Fugly Habits” 2009-09-10 15,756 32,251,670
www002: Acid Lab – “Fallen Angel” 2009-11-04 15,476 26,477,349
www002: Acid Lab – “Nuclear War” 2009-11-04 13,899 26,150,153
www003: Kaiza + Shots – “Starkstrom” 2009-12-07 16,683 34,786,027
www004: Paul Saint Jack – “Timeless” (Mefjus + Bowser Remix) 2010-02-21 23,579 50,422,010
www004: Paul SG – “Grey Skin” (Mefjus + Bowser Remix) 2010-02-21 11,507 31,053,770
www004 .zip 2010-02-21 2,806 14,517,044
www005: Arje – “Something Better” 2010-04-29 16,042 36,035,612
www666: Zardonic + Replicator – “Ten Commandments” 2010-10-27 14,083 28,688,735
www007: kr4y – “Boodshed” 2010-11-07 13,585 22,933,624
www007: kr4y – “Gritual” 2010-11-07 13,655 28,683,104
www008: Synode + Hench – “Sulaco” 2011-06-02 7,578 4,024,996
www009: El Haijn – “Surface Of The Sun” 2011-07-07 5,841 4,553,336
www009: Apotheist – “The Darkness Inside El Haijn Remix” 2011-07-07 4,918 3,203,177
www010: Sublimator – “Snore” 2011-09-12 7,098 3,926,877
www010: Sublimator – “2nd Try” 2011-09-12 7,070 3,983,785
www010: Sublimator – “Understand” 2011-09-12 4,910 2,604,570
www011: Acid Lab – “Quadrant Delta” 2011-09-27 4,386 4,726,390
www011: Acid Lab – “Fear Of The Dark” 2011-09-27 4,648 4,302,837
www012: Benou – “Born Ready” 2012-03-15 3,086 2,427,875
www013: Budoka – “Yellow Cake” 2012-05-28 2,909 3,986,467
www014: Jumpat – “Newskull” 2012-12-06 2,285 3,313,048
www014: Jumpat – “Skeletor” 2012-12-06 2,242 1,854,183
www015: Hoob – “Pug On Extacy” (Radio Version) 2013-02-07 1,970 1,638,191
www015: Hoob – “Pug On Extacy” (DJ-Version) 2013-02-07 1,540 1,894,765
Hoob Promomix (with www015) 2013-02-07 1,207 1,635,901
www016: kr4y / Willem B – “b-sides LP” .zip 2013-02-27 875 44,482,701
www016: kray-zie – “Breaking Glas” 2013-02-27 2,328 1,237,141
www016: kr4y – “Turbo Encabulator” 2013-02-27 867 1,020,507
www016: Willem B – untitled 177f 2013-02-27 883 1,076,170
www017: JOIX – “Feuchter Traum” 2013-02-27 2,026 3,043,426
www017: JOIX – “Schlummernde Kraft” 2013-03-12 1,385 2,655,657
www017: JOIX – “Strange City” 2013-03-12 1,538 2,129,332
www018: Acid_Lab pres. Kodama – “Radius” 2013-03-27 1,408 2,618,828
www018: Acid_Lab – “Warpath” 2013-03-27 1,766 2,329,292
www018: Acid_Lab – “Autumn Days” 2013-03-27 1,774 2,655,577
www018: Acid_Lab – “Insider” 2013-03-27 2,283 1,798,483
www019: Noya – “Nine Six” 2013-04-29 1,908 3,925,988
www020: Jimix – “Ubiquitous Sun” 2014-01-03 627 1,532,575
www021: johannesvanbebber feat. loom – “maulwurfkolonie” 2014-03-11 52,380 95,562,270
www021: jvb – “das prinzip sirup oder die utopie des sozialistischen staates” 2014-03-11 563 1,299,428
www021: loom feat. johannesvanbebber – “maulwurfkolonie” (loom Remix) 2014-03-11 2,435 9,989,472
www022: Vector Burn – “Ghost Maps” LP Sampler .zip 2014-04-09 860 34,579,919
www022: Vector Burn – “Spider Garden” 2014-04-09 645 1,481,459
www022: Vector Burn – “JamOnIt” 2014-04-09 5,618 13,149,802
www022: Vector Burn – “Seven Thorns” 2014-04-09 2,593 10,651,607
www023: Vector Burn – “Ghost Maps” LP Vol. I .zip 2014-05-09 2,266 150,902,648
www023: Vector Burn – “Ghost Maps” LP Vol. II .zip 2014-05-09 1,794 119,481,135
      GB, MB, KB
Total 2014-11   307,581 887,678,913

cf.

“According to Nielsen, from data provided by managers at Nielsen SoundScan, which collects recorded-music sales information, of the eight million unique digital tracks sold in 2011 (the large majority for $0.99 or $1.29 through the iTunes Store), 94 percent – 7.5 million tracks – sold fewer than one hundred units, and an astonishing 32 percent sold only one copy. Yes, that’s right: of all the tracks that sold at least one copy, about a third sold EXACTLY one copy. (One has to wonder how many of those songs were purchased by the artists themselves, just to test the technology, or perhaps by their moms out of a sense of loyalty.) And the trend is the opposite of what Anderson (Chris Anderson, author of ‘The Long Tail’) predicted: the recorded music tail is getting thinner and thinner over time. Two years earlier, in 2009, 6.4 million unique tracks were sold; of those, 93 percent sold fewer than one hundred copies and 27 percent sold only one copy. Two years earlier still, of the 3.9 million tracks that were sold, 91 percent sold fewer than one hundred units and 24 percent sold only one copy. The trend is clear: as the market for digital tracks grow, the share of titles that sell far too few copies to be lucrative investments is growing as well. More and more tracks sell next to nothing.

Equally remarkable is what is happening in the head of industry’s demand curve. In 2011, 102 tracks sold more than a million units each, accounting for 15 percent of total sales. That is not a typo: 0.00001 percent of the eight million tracks sold that year generated almost a sixth of all sales. It is hard to overstate the importance of those few blockbusters in the head of the curve. And the trend suggests that hits are gaining in relevance. In 2007, 36 tracks each sold more than a million copies, together these tracks accounted for 7 percent of total market volume. In 2009, 79 tracks reached that milestone; together they make up 12 percent of the sales volume.

The level of concentration in these markets is so astounding, in fact, that it is nearly impossible to depict the demand curve: it disappears entirely into the axes… It is staggering to see how few titles at the top contribute to a significant portion of sales, and how many titles at the bottom fail to do the same. Those are the realities of digital markets. Assortments may become more and more expansive, but the importance of the few titles at the very top keeps growing, while average sales for the lowest sellers are going down.

The same patterns are visible in album sales. …out of a total of 870,000 albums that sold at least one copy in 2011, 13 album titles sold more than a million copies each, together accounting for 19 million copies sold. That’s 0.001 percent of all titles accounting for 7 percent of sales. The top 1,000 albums generated about half of all the sales, and the top 10,000 albums around 80 percent of sales. Deep in the tail, 513,000 titles or nearly 60 percent of the assortment, sold fewer than 10 copies each, together making up half a percent of total sales.

The numbers certainly do not come close to the trusted ’80/20 rule’ that many managers live by, which supposes that 80 percent of the sales tend to come from 20 percent of the products on offer. For music albums, it is close to an 80/1 rule – if we can speak about a rule at all. Even if we take a conservative estimate of what would be on offer in a bricks-and-mortar store at any given point in time, Anderson’s predictions that long-tail sales will rival those in the head are far off.

Of course the goods in the long tail include not just true niche content but former hits as well. Sales of a blockbuster – even one on the scale of Lady Gaga’s ‘The Fame’ or Maroon 5’s ‘Songs About Jane’ – will eventually dwindle. Such products can now live forever online, even if they have long been cleared from the physical shelves. For old hits, then, digital channels may present a real opportunity. But the large majority of products in the tail were not very successful to begin with. Most of them, in fact, never met the bar for a release through traditional distribution channels. Or, in the case of individual music tracks, they are orphans of unbundling activity: now that online consumers can cherry-pick the most popular tracks on an album, the rest shoot quickly into the long tail.”

Chart 1:

“In the recorded-music industry in 2011, more than 8 million unique digital-track titles together sold 1.271 billion copies… For instance, nearly 6 million titles – 74 percent of all unique titles – each sold fewer than 10 copies, accounting for only 1 percent of sales.

102 titles selling 1,000,000 copies or more/189,758,000 copies sold/15%

1,412 titles selling 100,000-999,999 copies/318,473,000 sold/25%

13,492 titles selling 10,000-99,999 copies/374,827,000 copies sold/29%

74,246 titles selling 1,000-9,999 copies/212,571,000 copies sold/17%

382,720 titles selling 100-999 copies/111,117,000 copies sold/9%

1,620,959 titles selling 10-99 copies/48,687,000 copies sold/4%

5,927,729 titles selling fewer than 10 copies/15,722,000 sold/1%”

Chart 2:

“In the recorded music industry in 2011, more than 800,000 unique album titles together sold more than 330 million copies (including both physical and digital copies)… For instance, 513,000 titles – 58% of all unique titles – each sold fewer than 10 copies, accounting for only 0.5 percent of sales.

13 titles selling 1,000,000 copies or more/23,287,000 copies sold/7%

387 titles selling 100,000-999,999 copies/93,992,000 copies sold/28%

4,229 titles selling 10,000-99,999 copies/114,949,000 copies sold/35%

21,042 titles selling 1,000-9,999 copies/61,493,000 copies sold/19%

87,986 titles selling 100-999 copies/27,032,000 copies sold/8%

251,566 titles selling 10-99 copies/8,261,000 copies sold/2%

513,146 titles selling fewer than 10 copies/1,558,000 copies sold/0.5%”

From Harvard Business School professor Anita Elberse’s book Blockbusters: Hit-Making, Risk-Taking, And The Big Business Of Entertainment”

(source)

www023: Vector Burn – “Ghost Maps” LP

Published 2014-05-09 in releases with these tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , .

Vol I:

00. Intro: U Believe In Ghosts (2014)
01. Vector Burn – “Cyan” (1999)
02. Vector Burn – “Graphite” (1999)
03. Vector Burn – “Lens Flare” (2000)
04. Vector Burn – “Lens Flare” Mercury Mix (2000)
05. Vector Burn – “Frostbite” (2000)
06. Vector Burn – “Frozen Light” Techno Mix (2000)
07. Vector Burn – “Hypothermia” (2000)
08. Vector Burn – “Sterile” (2000)
09. Vector Burn – “Blood Pressure” (2001)
10. Vector Burn – “Glaciers” (2001)
11. Vector Burn – “Icebreaker” (2001)
12. Vector Burn + Tempest – “Rift” (2001)
13. Vector Burn – “PNG II” (2001)
14. Vector Burn + Castor – “Patient Zero” (2001)
15. Vector Burn + Castor – “Afterimage” (2001)
16. Vector Burn – “PNG III” (2002)
17. Vector Burn – “Diatribes” (2002)
18. Vector Burn – “Downer” (2002)
19. Vector Burn – “Even Stars Die” Rebuild (2002)
20. Vector Burn + Motion Theory – “The Day The Oceans Boiled” (2002)
21. Vector Burn – “Air Liquide” (2002)
22. Vector Burn – “Force My Hand” (2002)
23. Vector Burn – “JamOnIt” (2002)

Vol II:

24. Vector Burn – “Oxygen Freeze” (2002)
25. Vector Burn – “Silence” (2002)
26. Vector Burn – “Malpractice” (2002)
27. Vector Burn – “Relapse” (2002)
28. Vector Burn – “Weightless” (2002)
29. Vector Burn – “Sickle Cell” (2002)
30. Vector Burn – “Sickle Cell VIP” Vaccine Resistant (2002)
31. Vector Burn – “Despot” (2003)
32. Vector Burn – “Human Element” (2003)
33. Vector Burn – “Evolution Ends” (2003)
34. Vector Burn – “Silkworm” (2003)
35. Vector Burn – “Scorch The Sky III” (2003)
36. Vector Burn – “IFix” (2003)
37. Vector Burn – “Lithium Flower” (2004)
38. Vector Burn – “Warm Heart Turns Cold” (2004)
39. Vector Burn – “Lifeblood” (2004)
40. Vector Burn – “Spider Garden” (2005)
41. Vector Burn – “Apocrypha” (2005)
42. THE RIOT – “Build And Destroy” (2005)
43. Vector Burn – “Witch King” (2005)
44. THE RIOT – “Teargas And Plateglass” (2006)
45. Vector Burn – “Thousand Thrones” (2007)
46. Vector Burn – “VII Eyes VII Thorns” (2007)

.m3u playlist file (for streaming in your music player)

Download 320 kbps mp3 (all-in-two zip files):
www023-1__Vector_Burn_-_Ghost_Maps_LP__Vol_I.zip (mirror)
www023-2__Vector_Burn_-_Ghost_Maps_LP__Vol_II.zip (mirror)

Download wav (all-in-two zip files):
www023-1__Vector_Burn_-_Ghost_Maps_LP__Vol_I__wavs.zip
www023-2__Vector_Burn_-_Ghost_Maps_LP__Vol_II__wavs.zip

Artwork in higher resolutions:
Square big .jpg, large .jpg
Gatefold big .jpg, large .jpg


(Photography by Scott Kinsey)

Vector Burn, hiatused Drum & Bass moniker of US based producer Oliver Scott, entered the books in the years after the Millenium. His music was acclaimed and celebrated among DJs and fans of technoid DnB for his unique sound, heavily Techno-influenced percussive textures and radical abstinence from traditional Jungle/Drum & Bass clichés.

When growing up he played bass in indie/hardcore bands, and started producing Drum & Bass in 1999. Two years later he broke into the scene and quickly gained followers worldwide through his releases on labels like Cyanide, Technorganic, Scientia, Replicant Audio and Critical. On the “Replicant Audio vs Critical” Knowledge Mix-CD he had three of his tunes featured. Around that time he started his own label named Alloy Recordings together with Castor (with whom he also released a number of studio collaborations as THE RIOT some years later) that never got off the ground and ceased to exist after putting out testpress of their first planned release.

In time Vector Burn branched out to harder tunes and overall covered a wide spectrum of influences and nuances within his unique trademark sound, somewhere between cinematic and technoid. After a couple of years of exposure to a broader audience through labels such as Beta, Habit, Human Imprint, Barcode and Metalheadz, his Drum & Bass release career gradually phased out. His last known releases were a digital tune on the US based label Force Recordings in 2008 and a remix on Fanu’s second Album on his own label Lightless in 2009. Today, most of the old interviews, mixes, articles and such (including Vectur Burn’s own old websites) are offline; the digital past slowly degrades and the knowledge of things past blurs in detail as we progress. But the releases remain and give reference in the rubble of time.

Oliver Scott still makes music today under a number of pseudonymes (Lightning Tree for slow trip hop, Forward Remnants for experimental electronic, Grandfather Moth for experimental ambient, Baphometrics for extreme electronics), but has basically left the mainstream dance music scene. He is still involved in the music industry as he has been working in various capacities on music videos, design and animation. However, quite a few of his older Drum & Bass tunes were never released at the time. Some had been signed for releases that didn’t happen for one reason or another (on Replicant Audio, Rumble, Hiatus, Logistic, Square One, Defcom, Renegade Hardware and Vector Burn and Castor’s own Alloy Recordings), a handful of leaks have circulated on Soulseek and the likes for a decade, and one of his remixes (incidentally a bootleg in itself) was actually bootlegged to a whitelabel vinyl (DNB001) from such a leaked mp3 in 2003. But more than half of Vector Burn’s tunes were never available to the public, aside from some appearing in DJ sets many years ago.

For this release, the artist spent months combing through his archive and network of old contacts from back in the days to gather tunes, including many from his early years, some of which only existed on other people’s hard drives anymore. He reconstructed and salvaged some material, collaborated with designer Chadwick Halbritter on the artwork, compiled the album and had it mastered by Eric Racy (who also mixed the latest Photek album)… And now he hands it to the public as a massive free download album in two volumes, asking for nothing in return (not even a mandatory “like” on his Facehook page).

This might well be one of the most gracious gifts a Drum & Bass producer has ever made to their scene. There are predecessors on the label front – Kniteforce, Nerve and Tilt have put their release catalogs online as free mp3 some years ago (although Kniteforce eventually took the links offline and went back to commercial), and a number of artists have released tunes on existing Drum & Bass netlabels and/or made tunes available as free downloads on their websites or “social” profiles. But so far, few (if any) producers in Vector Burn’s league have put almost their entire catalog of unreleased tunes out for free, with such effort to put it in a decent form, let alone years after (more or less) leaving the scene. This is a massive heads up to all those who still appreciate the early millenium tech funk, Vector Burn’s works in particular, and to all who are in it for the love of music:

“Thank you for downloading / sharing / stealing this album.”

Vector Burn links: Facebook, Myspace, Discogs, Wikipedia
Oliver Scott links: Homepage, Soundcloud, Youtube

elsewhere:
http://hearthis.at/noyadelta9/tribute-to-vector-burn-ghost-maps-lp/
http://dnbdojo.wordpress.com/2014/06/01/vector-burn-ghost-maps-lp-internet-recordings/
http://weltamdraht.blogsport.de/2014/05/20/vector-burn-ghost-maps-lp-www023-2014/
http://starfrosch.ch/2014/05/17/vector-burn-internet-recordings-2
http://dropthebass.ru/news/5118/vector-burn-ghost-maps-lp
http://www.jmlowery.com/2014/05/vector-burn-ghost-maps.html
https://twitter.com/Filthcast/status/465008800005500928
http://ink361.com/app/photo/ig-674238849014315714_48174365

…mind the exclusive track and remix samples on the LP sampler [www022]…

www022: Vector Burn – “Ghost Maps” LP Sampler

Published 2014-04-09 in releases with these tags: , , , , , , , , , , , , , , , , , , , , , , , , .



320 kbps mp3, 5:23 min: Vector Burn – “Spider Garden”
320 kbps mp3, 7:46 min: Vector Burn – “JamOnIt”
320 kbps mp3, 7:42 min: Vector Burn – “Seven Thorns” (sampler exclusive; wav included in the zip file)
–> Bonus: remix sample packs (sampler exclusive; wavs included in the zip file)

Download (all-in-one zip file):
www022__Vector_Burn_-_Ghost_Maps_LP_Sampler.zip (mirror)

Artwork in higher resolutions: front .jpg and back .jpg


(Photography by Scott Kinsey)

Vector Burn, once a familiar name to Drum & Bass, had disappeared for years…
Now he says hello to the scene; watch out for his “Ghost Maps” LP to drop soon!

Meanwhile enjoy this sampler with three previously unreleased tunes with assorted remix samples – unconstrained remixing is strongly encouraged!

(The remix samples and the Dubstep tune “Seven Thorns” are exclusive to this sampler; the two Drum & Bass tunes “Spider Garden” and “JamOnIt” will reappear on the LP)

Vector Burn links: Facebook, Myspace, Discogs, Wikipedia

elsewhere:
http://starfrosch.ch/2014/04/25/vector-burn-internet-recordings/
http://www.jmlowery.com/2014/04/vector-burn-ghost-maps-lp-sampler.html
http://mail.spbdnb.ru/releases/4778/vector-burn-ghost-maps-lp-sampler
http://adelaidemassive.com/wp/?p=1214
http://robynthinks.blogsport.de/2014/05/02/vector-burn-ghost-maps-lp-sampler-www022/

first remix:

www021: johannesvanbebber feat. loom – “subpen & gruenzeug EP”

Published 2014-03-11 in releases with these tags: , , , , , , , , , , , , .



320 kbps mp3, 7:09 min: johannesvanbebber feat. loom – “maulwurfkolonie”
320 kbps mp3, 6:17 min: johannesvanbebber – “das prinzip sirup oder die utopie des sozialistischen staates”
320 kbps mp3, 8:42 min: loom feat. johannesvanbebber – “maulwurfkolonie” (loom Remix)

johannesvanbebber and loom (together: aka Manosonique) from Mannheim (Germany) are of the new generation of digital music producers… People who produce tunes and put them online (on Soundcloud or whatever), but then leave it at that; people who are creative with sound and dabble freely in various styles and genres without actively pursuing recording artist careers. This is their first official release.

johannesvanbebber has been playing several traditional instruments since his childhood, occasionally connects with other producers for collaborations here and there and does multimedia-live-performances at theaters and festivals in Frankfurt, Giessen and Berlin together with various people (under monikers like “musica practica,” with a strong focus on theoretical & reflective approaches).

loom has gained a standing as a DJ in the local Techno scene around Mannheim.

johannesvanbebber links: Soundcloud, Discogs
loom links: Facebook, Soundcloud, Discogs

www020: Jimix – “Ubiquitous Sun”

Published 2014-01-03 in releases with these tags: , , , , , , , , , , .

320 kbps mp3, 5:24 min: Jimix – “Ubiquitous Sun”

Jimix is a complete newcomer from the Ruhr region in Germany. He is the typical bedroom producer without any public history outside of his Soundcloud profile; his only musical education came from his parents being into Blues and Psychedelic Rock. Seemingly out of nowhere he makes Drum & Bass tunes with soul that need to be made available to the general public…

Jimix links: Youtube, Soundcloud, Discogs

www019: Noya – “Nine Six”

Published 2013-04-29 in releases with these tags: , , , , , , , , , .

320 kbps mp3, 6:59 min: Noya – “Nine Six”

Noya is an Italian DJ who came to Drum & Bass in 2003 after having been a drummer in several bands. He started to produce tunes (using a combination of hardware and software), contributed to the formation of the north Italian Drum & Bass scene via promoting events with his crew Delta9 and is living in Berlin now. He is also behind Delta9 Recordings, but debuted on a free download compilation on the Australian, now defunct netlabel Materializm. He has also put out a remix for free on Madblock.net and has an EP forthcoming on Ex-Machina.

Noya links: homepage, Soundcloud, Discogs

www018: Acid_Lab – “Sounds From The Lab EP”

Published 2013-03-27 in releases with these tags: , , , , , , , , , , , , , , , , , , .




320 kbps mp3, 5:58 min: Acid_Lab pres. Kodama – “Radius”
320 kbps mp3, 5:29 min: Acid_Lab – “Warpath”
320 kbps mp3, 5:58 min: Acid_Lab – “Autumn Days”
320 kbps mp3, 5:35 min: Acid_Lab – “Insider”

Since www011 in 2011, Acid_Lab aka Kodama aka Parametric has not at all slowed down with several more EPs and features on Dysfunk Music, Machinist Music, Break-Fast-Audio, Absys, Digitalgewitter, Turbine Music, Syncopathic, Delta9, LW Recordings and most recently Secrets Of The Sun. Despite the growing musical variety of his output under his three monikers on over 20 labels, this particular EP here originally started out to continue the fun tradition of Acid_Lab’s bi-annual Internet releases consisting only of distorted skulls and oldschool Photek style Techstep. But, being the third of its kind, it grew a third tune and then attracted a fourth one (actually his first ever tune sent out to labels, six years ago, finally available publically in its only remaining version), as if to end this subtle cycle of musical fixation, just as Acid_Lab keeps experimenting with sounds and styles. For example, His album scheduled for T3K is a journey through the minimal and halftime Drum & Bass sound. Acid_Lab is also signed to Trace’ new label 117 and continues his musical journey with many more tunes forthcoming on Machinist Music, Delta 9, Tech Cycle, Order In Kaos, Eastern Promise Audio, Danger Chamber, Digibeat Music, Interactive, Urban Poetry, Dust Audio and Omni Music among other, more “secret” labels.

Acid_Lab links: Soundcloud, Discogs

www017: JOIX – “Mannheim EP”

Published 2013-03-12 in releases with these tags: , , , , , , , , , , , , .



320 kbps mp3, 6:49 min: JOIX – “Feuchter Traum” (2012)
320 kbps mp3, 7:21 min: JOIX – “Schlummernde Kraft” (2012)
320 kbps mp3, 5:21 min: JOIX – “Strange City” (2010, mixdown reworked 2012)

JOIX is a deep Techno producer / liveact performer from Mannheim (near Heidelberg), Germany, originally from Berlin. One of his distinctive features is the usage of dynamic audio signals instead of looped samples. He generates them by himself in his studio with his analog modular synthesizer, and the irregular voltage levels inside the analog gear give his tunes and liveact performances a very own, dynamic, voluminous and warm depth. Also he uses a Didgeridoo and Facebass.
His onstage history exceeds 15 years (spanning from raves to clubs like the Tresor in Berlin and radio stations like Evosonic) and for quite a while he co-organized legendary events such as the “Harlequins’ Castle” festivals in the rural woodlands of Southern Germany.
His solo release career started comparatively late. He self-published one CD album in 1998 and one vinyl single together with his back then studio / liveact partners of “Der 7. Weg” under the “Harlequins Universe” crew flag in 2003 and after that pretty much disappeared for half a decade to focus on building his studio and further developing his own sound. Then in 2010 he released his first solo tune on a free download compilation, two remixes on Electrogravity in 2010 and 2011, his debut album “Random Control” on LCR Records in 2012, also 3 EPs and a handful of compilation features on Anecdote, Plastiq, LW Recordings, Electrogravity and LCR in the same year. Now in 2013 he has another EP forthcoming on plunk! in April, the same day he performs live at a Techno Liveact Special of an audiophile Drum & Bass event series in his home town Mannheim (which he also co-founded in 2012, following his album release party); two weeks after that comes his next live appearance in the hottest club in town and other than that he just keeps making tunes.

JOIX links: homepage, Youtube, Soundcloud, Discogs

www016: kr4y / Willem B – “b-sides LP”

Published 2013-02-27 in releases with these tags: , , , , , , , , , , , , , , , , , , , , , , , .

Excerpt (3 of 30 tunes):



320 kbps mp3, 6:43 min: kray-zie – “Breaking Glas” (2004)
320 kbps mp3, 6:39 min: kr4y – “Turbo Encabulator” (2008)
320 kbps mp3, 7:59 min: Willem B – untitled 177f (2010)
[...]

Download all-in-one (30x mp3 + txt + artwork zip file):
kr4y / Willem B – “b-sides LP” [www016] (mirror)

00. Intro – “Listen” (2004)
01. kray-zie – “India” (2004)
02. kray-zie – “Bombay Mix” (2004)
03. kray-zie – “Breaking Glas” (2004)
04. kr4y – “Abstruse” (2005)
05. kr4y – “Spirit Beat” (2007)
06. kr4y – “Green Deal” (2007)
07. kray-zie – “Creaking Waterfalls” (2005)
08. kray-zie – “Tomato” (2003)
09. kray-zie – “Troublemaker” (2003)
10. kray-zie – “Dub n Bass” (2003)
11. kray-zie – “Limbo” (2004)
12. kray-zie – “East Analog” (2006)
13. kray-zie – “Funk27b” (2003)
14. kr4y – “Controversy” (2006)
15. kr4y – “Rise Up” (2006)
16. kr4y – “Project 12×2″ (2007)
17. kr4y – “High Impact” (2007)
18. kr4y – “Neuro Linguistics” (2007)
19. kr4y – “Half F” (2007)
20. kr4y – “No Regrets” (2007)
21. kr4y – “Turbo Encabulator” (2008)
22. kr4y – untitled 175f (2010)
23. kr4y – untitled 171j (2010)
24. kr4y – untitled 024s (2012)
25. prince kray – “Machine Dub” (2000)
26. Willem B – untitled 177f (2010)
27. Willem B – “Face” (2010)
28. Willem B – “Reporting 016 5″ (2011)
29. Willem B – “Brown” (2012)

As some may recall, kr4y is a humble and dutch producer/DJ who has been around in music and the Internet for a while.

Over the recent two years he has slowed down a little on the netlabel front compared to the first decade of this century. His and Arje’s own netlabel Beataddiction is offline and kr4y himself has only put out a remix on T-FREE‘s 35 tunes strong “tl;dr Happy End” LP in 2011 since www007 in 2010. Other than that he had another couple of Drum & Bass tunes released commercially (two tunes on Section 8, two more on a joint EP on Extent and one Remix-EP on T3K).

But he has not completely succumbed to relative laziness – he has kept himself busy in the studio, has stepped further into Techno, released his first EP under his Willem B moniker on Filter (“techno with balls and brains”) and continues to share his ideas (and a good handful of his Techno tunes so far) with the rest of mankind.

He ‘returns’ to the free scene with an inoffensive outing on this obscure netlabel of yours truly. His “b-sides LP” is a selection of formerly unreleased material from 2000 to 2012 and consists of 54% Drum & Bass, 23% Hiphop, 16% Techno, 3% Dub and 4% beatless sound experiments, with an overall musical range from soft and melodic to dark and technoid. It displays kr4y’s evolution from melody-driven loop music to threedimensional technoid “post-music” and is coherent to the evolution of electronic music over the past couple of decades as well as to humankind’s technological and cultural development at large.

(Technical note: some of the tunes are unretrievably lost in their original format and this album contains their last remains. So the bitrate in some cases is not the usual 320 kbps but instead 256, 192 and in one case only 128 kbps. Apologies for that – but the alternative would have been to leave them out and it’s a lost works album anyway, so there.)

Computers have made potentially all information available and transmittable to every entity with access to the world wide web, thus propelling human culture rapidly to unexpected heights (and quite likely its zenith in the post-millenium online-forum era before the takeover of social networks). Borg perfection is still miles away but we are certainly getting closer ever faster. Via the Internet everyone can, in principle, communicate with everyone else and this affects all areas of the human realm and its deeper-growing interconnection with evolving technology.

In regards to music (as all other forms of production of content/data and even physical forms) it has become normal that fans/consumers can reach artists/producers directly (via text, visually and audiovisually both time-shifted and in real-time), give feedback, make specific requests and thereby influence to varying degrees the respective production, publication and even conception processes. This obviously brings advantages as well of disadvantages with it (better connection between producer and consumer means better reception but also more work for producer), but by broad consensus the advantages prevail.

This release njhah is as much the result of such a positive feedback loop as of the cultural conditions created through the media environment “Internet” itself: Fans/followers of kr4y (aka kray-zie aka prince kray aka Willem B) hustled him to let out more of his tunes, including older ones that didn’t make it onto a release at their time, and with this huge LP on a netlabel now he obliges with great generosity while keeping his technical effort with the publication at a minimum level, leaving himself free for new productions and experiments under his two still-active monikers.

kr4y links: Soundcloud, Discogs
Willem B links: Soundcloud, Discogs

www015: Hoob – “Pug On Extacy”

Published 2013-02-07 in releases with these tags: , , , , , , , , , , , , , .


320 kbps mp3, 4:52 min: Hoob – “Pug On Extacy” (Radio Version)
320 kbps mp3, 4:52 min: Hoob – “Pug On Extacy” (DJ-Version)

Internet Recordings is proud to present this piece (in two versions) by Hoob, a producer/DJ from Austria who has been passionate about music from his childhood on. Later he studied instruments, composition and studio production at the University of Music and Performing Arts in Vienna, but basically dropped out to fully concentrate on (“uplifting”) Drum & Bass. So far he has released a concept EP on Point Audio , a remix on High Tension and two tunes (plus a free one) on Abducted Records. Recently he has been working on more collabos with Isee, Joe Ford and MC Flax and is detailing the plan for his new studio. More of his tunes are to be expected this year on High Tension and other labels.

Here is a short mix recorded by Hoob on the occasion of this release:

320 kbps mp3, 13:25 min (mirror)

01. Neonlight – “Cosmic Cowboy” [Lifted Music LFTD012]
02. Locust feat. MC Flax – “You Don’t Know” [Abducted]
03. Imprintz & Kloe – “Shade of the Knight” (Isee + Thoran Remix) [Ammunition ARDIG084]
04. Isee + Hoob – “Rage Against Racism” [unsigned]
05. Black Sun Empire – “Inpeak” (Telekinesis Remix) [Black Sun Empire BSELP005]
06. Hoob – “Pug On Extacy” [Internet Recordings www015]

Hoob links: Soundcloud, Discogs