IDM: H+ – Haunted

On 30th of March, Capiroto Records released Haunted, album by H+, project of Malcolm Swan, from Bermuda island.

The idea of H+ comes from reading a lot of science fiction. He got the impression that some of the writers of science fiction were creating technologies that they would like to see in the future. Looking at current technology he thinks that science fiction writers have had an impact on the present day, so their writing inevitably will influence the future. Could music have the same impact? The obvious solution would be expressing the ideas with the lyrics, and while H+ believes in using words to express ideas he wanted the music to be the thing that excites the imagination.

In Haunted we can find elements typical of IDM, British Dubstep and Drum & Bass, mixed with some jazz elements, a rich album, that contain tracks involving a more phantasmal and demoniac thematic, nothing more appropriate to a label called Capiroto Records. Malcolm shows himself to be an splendid bass player in the whole album, which highlights the jazz influence on it.

Before working with H+ , Malcolm had another project called 1undred, since 2012.

New Techno, Dub, Leftfield from 2019

Today I chose three techno tracks that are worth mentioning here in the blog. The first one coming from Japan, SEMIOSIS with Amenouzume. The second 1998 and A001 coming from Phoenix, USA and the third from Germany, by Lewo [DE] and his Chamhoi, from Otto EP, released by Capiroto Records the 22nd of February.

Amenouzume is the god of dance’s name in the Japanese mythology.

SEMIOSIS produced this track to represent a scene typical of what is popularly known as the Gods’ festival in Japan. Therefore, they incorporated ancient Japanese tradition with techno. According to them, they not only used Japanese traditional music instruments, but also a traditional rhythm called Shin-Gaku in this track.
Amenouzume is part of their new album, not yet released, Mythological Parade, in which they aimed to represent an imaginary “Gods’ Rave”. There, they imagined that if each one of those gods enjoys dancing and singing, then they would also enjoy creating a melody and rhythm.

Next track is called A001, a robotic name, nothing more appropriate for a techno composer called 1988, artist from Phoenix, USA. A work that unfortunately hasn’t yet been released, but it’s available for streaming in Soundcloud in 1988’s page. A typical dub techno tradition, a pretty genre to listen, specially when you want to relax, it’s meditative, danceable and mixes the best of both worlds from techno and dub.

Next one has been released by our label Capiroto Records, featuring another techno composer from Berlin, Lewo [DE] that has three powerful tracks that are minimalistic just like A001, but with a more traditional techno mood, ideal for that dancefloor around 3 to 4am in your local underground club. In his latest EP, Otto, there are three tracks, which Chamhoi is a more IDM style of techno followed by Posville and Sumitomo, that come with the minimal, progressive side of it. It can be also a great one for fans of progressive house, though this work is for sure more influence by dark, minimal techno. Chamhoi has been curated to our playlist Synths of Techno.

For more techno, check our playlist Synths of Techno in Spotify:

Dubstep: The mng_0 EP

Released by Capiroto Records The mng_0 EP is for those who enjoy dubstep with a contemporary touch of genres such as Synthwave. Jeff, mng_0, mixed spoken word with heavy drum beats bass lines containing long attacks, resulting in those typical wobbling bass sounds. It’s also an EP full of sense of humour behind its creation, putting altogether post-apocalyptic squirrels, pizza and mango, which resulted in this crazy psychedelic cover art, designed by myself that was also in charge of the audio engineering, mastering all the tracks and making sure it’s sounding as best as possible. mng_0 is a producer and DJ from Baltimore, Maryland (USA) and its name is a reference for Mango Tango, that was his persona when DJing at Fraternity Parties in his college. When he cut his teeth DJing and learning music production. While The mng_0 EP was his debut work, he recently released a single called Bigshot.

You can purchase and stream The mgn_0 EP via this link.

Interview: Moran Gang – Andromedary

Released 7th of December by Capiroto Records, Andromedary is the newest release by Swedish artist from Stockholm, Moran Gang. After his previous EP entitled Squid Tango, produced for a dance performance. Moran Gang also has another project which is his “main persona” as an artist, Nathanael Saposnikoff, released in the same year independently. With a more delicate, psychedelic rock influenced sound. With special remarks to Not Welcome and all its power. We interview him in November 2018, before the release of Andromedary, asking him to tell a bit of his story and what inspired him as an artist:

1) How was the process of composing Andromedary? What were the instruments you used to record it? How do you like to work in the studio? Considering both of your projects. How’s your creative flow? 

Andromedary started out with me messing around with the Pro Tools stock synths. Usually I work in Logic so I was just trying to get my head around Pro Tools and found this synth sound I actually liked. I drenched the vocals with chorus effects and then added a lot of swell synth pads and resonance effects using a Korg Minilogue. My favourite part, though, was recording a bunch of vocal parts and then putting them all through a step sequencer. 

For me it’s all about emotions and communicating a certain feeling. For most Nathanel Saposnikoff it’s a process of improvising with myself until I have a pretty solid feel of where things are going sound- and groove-wise. Vocals and lyrics are basically the last thing I do. Sometimes I write with a theme in mind and sometimes the emotion itself serves as a theme – even though that’s more hard to express in words. I seldom try to copy sounds or songs, it’s more of a in-the-moment kind of process.

With Moran Gang it’s a bit different. I generally don’t get caught too much in trying to achieve a certain feel or emotion, it’s more about the experimentation and having fun. I don’t put as much boundaries on Moran Gang, which is a big relief and a great way of finding an outlet musically. 

2) What changed from Squid Tango until now? 

Squid Tango was made together with dancers for a dance performance. It was made thematically and as a project with a clear goal. I love working with people from other art forms to try and achieve something from very different perspectives. We worked a lot brain storming ideas and using free association, on many hands throughout the process.

Now I’m continuing to produce Moran Gang’s material on my own. So the biggest difference is that I’m doing it all solo, but also that I’m kind of switching formats from a soundscape/noise/techno kind of music – meant to accompany other things happening in the room – to a more song based material. Squid tango was also all instrumental, from now on it won’t be. I guess it’ll be easier to listen a shorter track.

3) What are your future plans with both of your projects?

To keep writing and producing. I do it for myself, I feel the need to express myself musically. I still play in groups, but there’s a certain freedom to making music all on your own. The reason I want to release it is that, if I like it, someone else might like it too. 

4) What are your biggest influences in music considering both of your projects? What do you like to listen? Who were the key influences for Moran Gang’s project? 

For Moran Gang I have to say John Maus, no doubt. 

For Saposnikoff I think Daniel Norgren. But of course there’s a a lot of Mac Demarco and Tame Impala kind of retro vibe going on there as well. But I seldom try to recreate what I listen to or play a certain genre, which is why it might sound a little schizo or hard to pin point sometimes.

5) Besides producing your own music, are you also connected with other ways of expressing yourself artistically? 

Well I do make the artwork for both projects on my own, which is fun, but I really don’t consider myself a photographer or artist in that sense. I just do it for fun and more like a DIY thing. I have to say that I spend most of my time making music, if not with Moran Gang or Nathanael Saposnikoff its punk drumming with The Wave or experimental impro flute drone with Duo Woland. 

6) Why the name Andromedary? Why this specific animal served as inspiration for your work? 

Well from Squids you can really only go one direction. Add some galaxies to the mix and you have the perfect visual for any Moran Gang song. 

Not Welcome by Nathanaeal Saposnikoff has been added to our Spotify playlist Psychedelic Waves of Eden:

Techno: KULTOFF – Don’t Sleep

Art by LPascolatti

From the same producer of Aliens Must Die, featured here earlier. KULTOFF from Rome, is back with a new single Don’t Sleep, released Friday, 25th of January by Capiroto Records. The single has two tracks inspired by acid techno, with the usual sequenced bass lines (famous for using Roland 303 groove machine). Nonetheless, with both tracks, KULTOFF dares to innovate, applying different style of vocals, such as Don’t Sleep, featuring Frank Sepioni and in Love Is Revolution featuring vocals plus acoustic guitars by Special West, with an amazing sequenced bass line. The drop of Love is Revolution makes you feel like in between psychedelia and acid techno at the same time, due to its guitars.

Don’t Sleep has been featured in our Spotify playlist Synths of Techno. The single is also available to be purchased in Beatport and in Bandcamp. Check the retailers link here.

Besides being a techno music producer, KULTOFF is also a playlist editor, with his playlist Techno Kult in Spotify and in Instagram. So, today instead of embedding Synths of Techno, as usual, I’ll embed his playlist, Techno Kult instead:

New Electronic: ea Collective – Amazonas Cruise

Turning corners again, ea Collective goes clubbing. Many thanks to Uenay who remixed our rudimentary demo into an atmospheric dark underground soundtrack. Oliver Kern (ea Collective) then replied with an edit, strictly using only snippets from the original. Many thanks to belrost.com for the mystic cover collage and to Capiroto Records for releasing this piece.

“Amazonas Cruise is the result of ea-Collective’s collaboration with German music producers Uenay and Oliver Kern. Amazonas Cruise has originally been produced using a simple, short circuited mixer as music instrument, that later on has taken different forms after two new mixes. Amazonas Cruise shows us once again that there are no limits to independent music production, that music can come out of simple electronic devices such as a mixer.“
Capiroto Records, Amsterdam.

Released 21st December by Capiroto Records, Amazonas Cruise is a purely original single by ea Collective, Oliver Kern and Uenay, artists from Freiburg, Germany. The opening track, ACE, sounds like an exciting melody of a humming bird with marked distorted “kicks”. Although it’s experimental in the sound design, melody and composition. Overall it fits with the underground techno scene and can be highly danceable. The artwork was created by Belrost and it has an important role in making Amazonas Cruise so unique. Uenay’s version is even more underground, sounding more atmospheric and dares to dive even deeper in the audio production, adding voice over samples and field recordings (?). Amazonas Cruise ends with its original version by Oliver Kern, that served as the base inspiration for the two other versions by ea Collective and Uenay.

You can listen for the whole piece on Spotify:

Electronic: Moran Gang – Andromedary

And every rhythm is a fire
Just want to be part of your tiles
So let us push these things aside
And start ourselves a paradigm

Capiroto Records presents you Moran Gang, from Stockholm, Sweden, and his single new single Andromedary. He provides us a delicate experimentalism, that shows the subtlety of synthesizers summed by poetic vocals. It’s etheric, starting slowly, growing, exploding with bright lead synth lines and ending gloriously, fading as a message or a blown leaf.

Moran Gang or Nathanael Saposnikoff, comes from Stockholm and generally plays in a couple of different groups and projects. He started producing solo materials under his alias (Nathanael) about 2 years ago and around the same time started to produce music for a dance performance that was more electronically oriented. Later on, he released the result of that show as Moran Gang (the EP ‘Squid Tango‘) and he is working continuously with both projects. The music for Nathanael Saposnikoff is more personal, more analogue, or indie-psych-dreamy oriented, while Moran Gang is electronic oriented, with drops of experimentation. Both projects are all produced by Nathanael throughout the whole process.

Check our Spotify playlist Synths of Eden for more:

Electronic: LPascolatti – Mushroom Head


Recorded in the summer of 2018, by LPascolatti in his new studio in Amsterdam. Using an electric bass guitar, Arturia Drum Brute and Microbrute, plus other digital vintage synthesizer. As an experience to record in 150bpm, the track features the Original Version plus an Instrumental Version. The original mix contains vocals singing the lyrics of Mushroom, by German Krautrock band Can (1971).

New single released today by Capiroto Records, Mushroom Head, by LPascolatti.

Mushroom Head has been featured in our Psychedelic Waves of Eden, Spotify Playlist:

Synths of Techno: Various Artists – Hazedoom

New techno release from Capiroto Records. Hazedoom. Official release date 9th October. By São Paulo based producers Hibern, Mochakk, Dynamic (BR), Mita (BR) as a collaborative project. Dark, energetic, bringing a primal sound design. The progressive kind of techno, mental, the details of drums summed by finely written melodies. The track shows what can be the result of group work in techno.

www.beatport.com/label/capiroto-r…s/67779/releases

capirotorecords.bandcamp.com/track/hazedoom

Check our playlist Synths of Techno for more tracks like this:

Electronic: LPascolatti – Rotterdam’s Forgotten Tales

Two unreleased tracks from LPascolatti produced in Spiderhuis Studio when he was based in Rotterdam during the autumn, winter and spring of 2017/2018. Both tracks combine digital and analogue synthesizers with emulated orchestral instruments, with a final result resembling cinematic classical compositions.

Check Capiroto Record’s new release.