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viewing 1 To 12 of 12 items
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LP
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COSMO 011LP
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On his adventurous first new album in five years, Vladislay Delay renders an extreme ecology of electronic sound inspired by time spent above the arctic circle, surrounded by tundra and the raw force of nature and visually given life by Ripatti's wife, Antye Greie-Ripatti, aka AGF. Although it features no location recordings, Rakka clearly imparts its theme thru a riveting palette of weathered textures, unyielding rhythms and the kind of reverberating, widescreen sound design that's defined his catalog of cult, contemporary music since the late '90s. While Vladislav been notably absent from release schedules in recent years -- aside from working on the soundtrack to The Revenant (2015) recording with Sly & Robbie in 2018 -- this new album is surely a bracing reminder of his knack for creating utterly immersive environments at the poles of ambient, dub, and noise. Inspired by the struggle to survive in unforgiving conditions, the music patently resembles a number of styles associated with music from northerly latitudes. Elemental traces of Scandinavian black metal, Pan Sonic or Deathprod-like power electronics and Thomas Köner-esque ambient isolationism are all detectable in the album's brutal panoramas, and evidently speak to a shared conception of the extreme Arctic's uncontrolled and uncorrupted wilds, and their frighteningly magnetic sort of push/pull on the senses. Titled in Vladislav's typically alliterative style, the tracks cascade in aggressive iterations of gravel-swilled rhythm and tonal attrition. The barely-harnessed might of opener, "Rakka" triggers a chain reaction on events that follows into a sort of blast-beaten ambience in "Raajat", and what sounds like throttled blvck metvl vocals meshed with flashcore in "Rakkine", whilst "Rampa" hammers home a martial noise techno tattoo, and the final couplet take this sound to its logical end-of-earth degrees with breathtaking form. Rakka is certain to both reaffirm and upend what listeners know and love about Vladislav Delay, while firmly galvanizing his sound for an unsure future. Mastered at Dubplates & Mastering, Berlin. Artwork by LCR.
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2LP
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KEPLARREV 001LP
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Repressed. Multila was the third album by Finnish producer Sasu Ripatti under the moniker Vladislav Delay. It compiles the Huone and Ranta 12" EPs Ripatti released on Basic Channel's Chain Reaction label in 1999 and 2000. The album features six hauntingly murky dub ambient tracks and the impressive 22-minute techno odyssey "Huone". 20 years after its original release as a full-length CD album (Chain Reaction), these timeless recordings of modern electronic music are now finally available for the first time as a double-vinyl edition. The label Keplar has been on a long hiatus and is now back with its KeplarRev series presenting vinyl re-issues of essential electronic albums from the '90s and '00s, as well as new recordings by momentous electronic and ambient artists. Drawings by Kaisa Kemikoski; Layout by Marco Ciceri. Remaster by Rashad Becker and vinyl cut by Kassian Troyer at Dubplates & Mastering. Includes download code.
"Life films us exactly. Our experience of it, though, lies beyond images and descriptions. Emotions, coming in irrational flashes, are non-figurable. We lose our little connection to them very quickly. We look for forms which promise to take us to our own experience. We construct forms with this in mind: that they can take us to meet the subconscious. Multila's construction is principled this way. Fragments of experience, moments without definition or localization are captured within tiny fragments of time and then within one's mind space. We can look into it and see that experience has left some of its data to us. As we receive it, again and again, we are connected and reconnected to certain indefinable moments. Both during and after its recording, Multila is a tool to learn about the unintentional states of us. It is a way to see our own emotional loops. Multila is a soundtrack for vision." --Vladislav Delay (2000)
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2LP
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RIPATTI 009LP
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Double LP version. Sasu Ripatti is one of electronic music's most prolific and eclectic producers. Throughout the last two decades Ripatti has explored every imaginable genre with over 20 albums under aliases such as Luomo and Sistol. A classically trained percussionist, the Finnish native has also performed as a part of the Moritz Von Oswald Trio and his own Vladislav Delay Quartet. He returns now under his Vladislav Delay moniker with a uniquely inspired album. Visa was a product of pure happenstance. In early 2014, Ripatti was denied entry to the United States and was forced to cancel an entire tour. Suddenly left with unhindered time and a surplus of creative energy, he was able to give birth to the album in a span of only two weeks. Ripatti describes this time as a moment in which "a valve broke open... and I collected what came out the pipes." Visa is Ripatti's first foray into ambient music in over ten years, yet it is not simply passive background music. Rather it is an active entity, a soundscape built from textured layers of evocative industrial noises and dream-like melodic loops. Clocking in at just under an hour and made almost entirely with analog hardware, the album was designed to be listened to at high volume and in full detail. Beatless and void of percussion, Visa's five cuts challenge the listener to follow Ripatti on his journey through time and musical machinery. Mastered and cut by Matt Colton at Alchemy.
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CD
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RIPATTI 009CD
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Sasu Ripatti is one of electronic music's most prolific and eclectic producers. Throughout the last two decades Ripatti has explored every imaginable genre with over 20 albums under aliases such as Luomo and Sistol. A classically trained percussionist, the Finnish native has also performed as a part of the Moritz Von Oswald Trio and his own Vladislav Delay Quartet. He returns now under his Vladislav Delay moniker with a uniquely inspired album. Visa was a product of pure happenstance. In early 2014, Ripatti was denied entry to the United States and was forced to cancel an entire tour. Suddenly left with unhindered time and a surplus of creative energy, he was able to give birth to the album in a span of only two weeks. Ripatti describes this time as a moment in which "a valve broke open... and I collected what came out the pipes." Visa is Ripatti's first foray into ambient music in over ten years, yet it is not simply passive background music. Rather it is an active entity, a soundscape built from textured layers of evocative industrial noises and dream-like melodic loops. Clocking in at just under an hour and made almost entirely with analog hardware, the album was designed to be listened to at high volume and in full detail. Beatless and void of percussion, Visa's five cuts challenge the listener to follow Ripatti on his journey through time and musical machinery. Mastered and cut by Matt Colton at Alchemy.
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12"
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RIPATTI 003EP
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Following on from his debut release as Ripatti, and a complex riddim trip in collaboration with Max Loderbauer (NSI., Sun Electric, MvO Trio) as Heisenberg, Sasu Ripatti returns with his third release for the label, his first as Vladislav Delay. "#5" is complex and unforgiving, an intense percussive tangle that takes the dub essence of so many classic Vladislav Delay productions and re-assembles them into a frazzled steppers-riddim at double speed. "#22" opens with more immediately familiar Delay markers, a dub bass-line lures you in before once again re-configuring the template with a jittery percussive tangle that runs amok.
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CD
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R-N 144CD
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Raster-Noton presents a new album from Vladislav Delay aka Sasu Ripatti. The record features eight new songs which allow the listener to dive into Delay's cosmos of deep and likewise organic sounds. Subtle yet complex electronic manipulations are used, resulting in a high degree of variation within every single track and a nearly imperceptible intensification of their density. Progressive and energetic rhythms play an important role as already indicated on Espoo, the EP which forms a bridge between his former album Vantaa (R-N 136CD) and Kuopio, best illustrated by the track "Kulkee," meaning "to move forward." Kuopio clearly represents a further attempt to depict the Finnish landscape as well as its isolated charm, which is also obvious from its design and conceptual approach by referring to the city of Kuopio.
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12"
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R-N 141EP
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Vladislav Delay's EP Espoo features two conceptual, rhythm-intense tracks. Whereas the groove of the opener "Olari" derives from a sound loop which is manipulated by filters and echoes, the reverse is done with "Kolari." Starting from an impulsive, staccato beat, a sound carpet is woven by means of modifiers which gradually shape a permanent melody, close to Terry Riley's minimalistic concepts. Both tracks share a linear increase in density, and because of their break with the common four-four time, they create a folkloric atmosphere.
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CD
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R-N 136CD
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With Vantaa, Raster-Noton releases for the first time an album by Vladislav Delay aka Sasu Ripatti. Ripatti is one of the pioneers of electronic music of the last decade(s). 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, grey-ish, 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 tranquility. Being an experienced producer, he uses his know-how to layer compact sound fabrics in unusual ways. In this case, these elements arouse associations with gushing water, crackling wood, or growing grass. The tracks on Vantaa merge into each other and their density escalates with "Lauma" into an energetic climax, which is all at once the ecstatic, shamanic and truly moving peak of the album. Vantaa's style is sensitive and intelligent, but nevertheless subtly stirring and rich in detail. While listening to it, it is possible to completely dive into its matter and detect something new in nearly every bar, or simply let it have an effect as a particular but unobtrusive sideline. With this typical Vladislav Delay aesthetic, Ripatti has acquired a unique and distinctive style that Vantaa, his 10th Vladislav Delay album, deservingly celebrates.
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12"
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ECHO 051EP
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Echocord welcomes Sasu Ripatti aka Vladislav Delay from Finland. Sasu is known from many projects, such as Luomo and the Moritz Von Oswald Trio. Now that Sasu has the Quartet, where he can fully search for the acoustic music and jazz-influences and beyond, the Vladislav Delay solo stuff will be focused again on electronic experiments. These two tracks shed light on where the project is heading. Something old, something new. Includes a collaborative remix from Ricardo Villalobos and Max Loderbauer.
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CD
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HUUME 015CD
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Huume Recordings re-release of Vladislav Delay's (Luomo) classic Mille Plateaux album, originally released in 2001, including a previously-unreleased alternate version. Anima is an opus of over 60 minutes, a continuous mix that reveals itself beyond audio design. Delay succeeds in developing his new, atypical methods of production: rather than familiar electronic traits of looping sounds, Anima continually develops in an organic flow, thus giving the interpretation that perhaps the music is less a digital excursion and more an instrumental development. Vladislav Delay is setting on potentials, effects and impulses of the never-heard: a new world of audio. Furthermore: the word "anima" is a psychological term meaning "an inner feminine part of the male personality." Both the artwork and the music, demure and beautiful, perfectly reflect these qualities. The original song is indexed as a single 62-minute track, a continuous flow that constantly, unpredictably shifts gears while retaining recurrent themes and coherence. The sound set is a vast, atmospheric sonic sandbox of Arctic synth pads, low-end blips and throbs, fragments and smears of fractured audio and an expansive selection of percussive minutiae. Melody and rhythm are sometimes more implied than expressed, allowing your brain to fill in the blanks, and at other times they coalesce effortlessly, flawlessly and gracefully all on their own. The recording marked a decisive change and break in Delay's production style from programming/sequencing to playing live; the whole album was played from beginning to finish in full takes, instrument by instrument and sound by sound with only a minimum of editing or post-production. The original recording is joined by the author's previously-unreleased favorite version of Anima at a slower speed. Edited and produced in 2008, it's a collage/remix of the original, offering a different view of this important piece of electronic music.
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CD
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HUUME 005CD
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Vladislav Delay (aka Luomo and Uusitalo) is a techno producer and one of the most highly-regarded Finnish innovators in experimental music and especially with the method referred to as clicks and cuts. The Four Quarters is his third release on his own Huume label, not counting his releases under his alter-ego Luomo. The longer, more ambient aspects of his approach were revealed through releases on Chain Reaction (Multila), Mille Plateaux (Entain, Anima) and Staubgold (Naima). This solo record continues the Delay tradition of intriguingly moody motifs in his most personal and intimate recording to date. Having become slightly sensitive and critical towards "electronic" music in some way, the composer challenged himself and set a goal to create an "electronic" album he'd like to hear and listen to. While ignoring labels and sub-genres and concentrating on sound and music instead, something of a personal revelation was experienced while producing The Four Quarters; for after having escaped the electronic sounds and his recent musical past for some time now it felt refreshing and inviting to go back to where it all had begun some ten years ago. A quest to find music not yet heard. This time around, though, it was possible for him to paint the picture with the exact colors he wanted; to realize his vision in sound and beyond. The soundtrack of Vladislav Delay. Music for the humans. As the title suggests, there are four lengthy pieces of music being offered for more than casual listening. During the making of this music, the utmost care was taken to create something for the pure pleasure of it, and nothing was protected or kept sacred, and no over-thinking or analyzing ever took over the artist. As always, Vladislav Delay is on the look-out for new and surprising elements, sounds and arrangements, and it might be that on The Four Quarters the aspect of sound design is taken to the furthest limits imaginable amongst all his works. The result is the unmistakable, warm sound of Vladislav Delay.
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CD
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STAUB 023CD
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"Exclusive live recordings from the Ars Electronica Klangpark 2001. For this exclusive release Vladislav Delay compiled the best moments of his live recordings during the Klangpark sessions at Ars Electronica festival 2001. On the basis of the sound material used on his current studio album Anima (Mille Plateaux) Delay transformed the park near the river Danube into an impressive acoustic environment. Music for a river and for passers-by. Out of his home in Helsinki, Finland, Delay has brought forward a new directive into the sounds of dub and minimal electronics, placing him as one of the premier artists involved in the recent wave of electronic dub hybrids. His music, released on labels like Mille Plateaux, Chain Reaction and Sigma, is a continuous mix that reveals itself beyond audio design. Delay succeeds in developing his new methods of production and altering music as it is typically translated. Rather than familiar electronic traits of looping sounds, the music continually develops in an organic flow, thus giving the interpretation that perhaps the music is less a digital excursion and more an instrumental development."
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viewing 1 To 12 of 12 items
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