Contemporary Techno Structures w/ Kangding Ray, Brando Lupi, Milan & RoboKnob

Съвместната поредица концептуални вечери на Артмосферик и Акустик Уейвс, озаглавена “Съвременни техно структури”, се завръща към началното си име след близо двегодишно прекъсване.

На 26-и март в клуб "Mixtape 5" (A-side) очакваме французина Дейвид Летелие за своя дебют на българска сцена като Kangding Ray - авторския му проект, известен с изданията си за престижните лейбъли raster-noton на Карстен Николай и Stroboscopic Artefacts, както и със специфичния за него стил, комбиниращ елементи на техно и IDM в динамична звукова картина от най-висока резолюция.

За съботната вечер от Рим ще долети и добре познатият и редовен гост на Артмосферик - Brando Lupi. Мултидисциплинарният артист, основател на Detune Records и имащ зад гърба си колаборации с множество артисти както от света на техното (Донато Доци, Джорджо Гати), така и музикални легенди като Майк Патън (за филма "La solitudine dei numeri primi"), пристига със солидно количество винил за тричасов диджей сет.

Програмата отново ще започне с авторски материал на български проекти, в лицето на Милан и RoboKnob (общият проект на Ясен Георгиев и Станислав Генадиев), а за визуалното оформление ще се погрижат Phormatik Visual Lab и Aksvenur (

Билети за събитието се продават от 29-и февруари в мрежата на Eventim на цена 25лв, а цената на място ще бъде 30лв.

26-и март, събота, club *MIXTAPE 5*, A-Side, София. Начало: 23:00ч, вратите отварят в 22:00ч.

*Клубът не работи с резервации
**18+. Политика за достъп на непълнолетни:

Събитието в: RA | facebook | Прес информация и материали са достъпни тук

Kangding Ray (Raster-Noton, Stroboscopic Artefacts, France)

*Превод предстои да бъде добавен

Kangding Ray is an electronic music producer, born in France, and based in Berlin. His music has been released on Raster-Noton and Stroboscopic Artefacts. He remixed artists such as Battles, Ben Frost, Dadub, Violetshaped, Mondkopf, ASC, Cassegrain or Inigo Kennedy

"There's something about Kangding Ray that seems to leap out into the physical world without ever actually leaving the techno realm; the bass drum feels more akin to an actual material impact rather than being a mere intangible construction of low frequency, while synthesisers scan the stereo spectrum like strobes, flowing over the music's insistent tempo and yet still very much dictated by the rhythmic throb from beneath. The sounds of Kangding Ray are born somewhere between the quantised data stream and the corporal." ( ATTN:magazine )

Since his debut on raster-noton, Kangding Ray has undergone a continuous transformation of his sound, led by a rare attention to sound texture and a constant avant-gardist attitude.

From the filigrane digital landscapes of his debuts to the massive panoramic compositions of his last releases, Kangding Ray managed to establish himself as one of the most forward-thinking producer of his time, and one which has helped building and enriching the sound of the prestigious raster-noton label.

In a progressive and sometimes radical manner, each successive record is taking us further in a journey into sound, which seems to have no boundaries.

His first album "Stabil", released in 2006, is a meticulous arrangement of melodic microstructures and pulsating tones, and remains a landmark in the most refined electronica realm.

His second effort, "Automne Fold", from 2008, was a step towards the dark side, with its cryptic use of voices, and its obscure beats, echoes of cavernous dance-floors. Kangding Ray's early influences; industrial, noise, and rock, can be here recognized, buried into deep electronic compositions, melted together with organic textures, heavy basslines, sharp beats and undulating melodies.

2010's "Pruitt-Igoe" was a quantum leap in his musical development. The four pieces 12" E.P, including remixes by Alva Noto and Ben Frost, was conceived as a comment on progress and decadence, told through the prism of a 20th century architectural myth; the Pruitt-Igoe social housing project, whose demolition in the seventies marked the end of the modernistic architectural era. Radical beats and textures distorted by the venom of disillusion, celebrating the beauty of collapse. The same balance between form and concept can be found in his following album, 2011's "Or", which marked a jump into the coldest vein of post-industrial techno and apocalyptic soundscapes, always balanced by brilliant melodic momentums. On this album, Kangding Ray is pushing further his explorations on the edge of digital and analog sounds, and continues to blur the borders between experimental and club music, to bring his signature sound to another level, somewhere at the darkest fringe of club culture. Form and content are aligned to create deep atmospheres, loaded with echoes of collapsing economies, dysfunctional political systems, and corporate alienation.

On "The Pentaki Slopes" E.P, Kangding Ray tells the story of a mythic mountain where a topographical anomaly will lead, or not, depending on which side you climb it, to a place called "the single source of truth", considered as "the ultimate goal by both psychedelic gurus and database optimization corporations".

The cryptic and ironic statement is distilled into dark monolithic dance-floor cuts, abrasive and icy on the A side, and warm, immersive, and somehow dark psychedelic on the flip. The "Tempered Inmid" E.P, released on Stroboscopic Artefacts, is a complex record, which balances the deepest drum with the most celestial synths, weaving a legend of both menace and tenderness. Possessed of an underlying hiss, the title track surges to dampen its muscular beat with a fabric of warm melodies. The discerning 'Dimen Andesso' is the Tempered's partner, shuffling with a considered high-end and off-kilter pads. On the flip KR ramps up the pace in introducing the mendacious thumps of 'Nuis Octury', which he twists into a fever. But emblematically KR once more tempers. Closer 'Ezerb Altren' conjures the image and emotion of an underground lake: depth, resonance, and total, glacial serenity. Solens arc is kangding ray's fourth album on raster-noton and the follow-up to " the Pentaki Slopes" EP. The twelve tracks of this record are assembled in the form of four "arcs", one for each side of the double LP. The different sequences are arranged seamlessly into dense, evolving compositions, while keeping their autonomy, and their role in the global dramaturgy.

One can read on the album cover : "A stone thrown, just to watch it fly. A projectile launched for the sole purpose of drawing a ballistic trajectory in the sky. The Solens arc is what remains after the subtraction of the goal; a simple parabolic curve defined by gravity, impulse and starting angle. No target to hit, no catharsis to wait for, just the beauty of the flight."

Pointillist serial loops and disintegrated melodic textures morph into abrasive rave anthems, broken club rhythms are refitted into uneven patterns, like deconstructivist sound architectures. Industrial techno stompers dissolve into granular sound waves and filtered space pads, before being overtaken by cinematic drums and rising arpeggios.

Brando Lupi (Detune Records, Italy)

Продуцент, музикант, диджей, фотограф, Брандо Лупи е повлиян от различни течения - от пост индъстриал-рок през експериментална електронна музика до съвременна класика. През годините италианецът работи съвместно с редица талантливи артисти. Издава за лейбъли като Orange Groove , Kompakt , Samuvar , Dewtone Recordings , Mental Groove , Detune Records и Elettronica Romana.

Наскоро композира музика за филма “La Solitudine Dei Numeri Primi”, чийто саундтрак е по идея на Майк Патън (Faith No More). Продукцията бе представена на 67-ия кинофестивал във Венеция.

Брандо в момента живее в Рим, но разпространява експериментални духовни честоти из целия свят.