nvr mnd blog
Another weekly edition of dark electronic, dance, and experimental rave music! This week we are featuring an artist, some hardcore fans of the genre may recognize. Hailing all the way from the motherland, and yes I am talking about Russia! In the Eastern European city Rostov-on-Don (a port city and the administrative center of Rostov Oblast and the Southern Federal District of Russia) resides Portwave. That may be a tip off, as for the reason why “Port” is in their name, funny huh! Well heres why you should take them seriously, Portwave just released an Experimental-Noise, Crushwave, #Witchhouse ‘LP’ titled There Sore Eyes. The LP features immensely great dance tracks, absorbing you, and entracing you in all of its warm fuzziness with tracks like the first track on the album “Flora“, jumping out of that warm synth experience for a racey synth solo, returning listeners to hardcore gothpop percussions, and hymms. I do not wanna spoil the entire listen for you, so go ahead an plug in your head set ••
’Astrosuka performing live, taken from Astrosuka Flickr’
Three years ago many humans may or may not have heard of Astrosuka, but in 2012 I found myself encapsulated in the experimental concert dance style from the Argentinian Artist Astrosuka. Astrosukas’ presentation of music follows through with such an audible spectral spectrum not unlike a buffering loading menu with a melodicXasthur guitar intro seamlessly accelerating into muted hard bass, with racy-pop synths, and sadden South American vocal chanting, sharp & aquatic textured ambience, a fork in the road in terms of where we found ourselves spiritually growing out of the carcass of dolphins, a mass the back drop of a glitchy rural town, burning crosses, and strobing decadence. The dead can dance, to the wailing drone tracks, with progressive synths reaching up and voices are heard echoing back, moan and subtly crying out, and you begin to hear tearing distortion not only in the vocals but panning of multiple voices and crunchy fractals of sound crinkling to these hellish sounds.
A little later on down the road, ‘now’ it’s the summer in the western world, June 2013 to be exact and Astrosuka finds a new way to plug us into their saddened-electronic death-Reggaeton, pop music. A dimension of sound projected like am oceanic vision streaming into our ears & eyes.
Dos Mil Ojosojosojos (por Espírtitu Santo)
Astrosuka released ЗОЛОТАЯ / / / / / ГРЯЗЬ and this album marked a huge turning point, not a major difference in style – rather a more fine tuning, and honing in on the style which they had been carving this certain niche, for years. South American hymns and screaming, coming from Tatiana (DRUMS & VOX) will have you creaming while the distorted reggae turns into a few different synth sample breakdowns all rolled in one, & build ups all mashed perfectly into a 11 really-really tight bite sized tracks. (I have to keep Astrosuka on repeat, regardless of the fact I follow the language entirely well at all). I can hear the witch in her voice beckoning me to continue listening, its all still very enchanting – with its jazzy live concert performance drum repetitions, which ultimately made it just a bit “dancy-er” to me.
Since then two additional releases appeared from Astrosuka, the first titled “Dislexia Amable.” A 6-track compilation of a tracks by Astrosuka, “Dislexia Amable”, the rest are remixes by featured artists such as Aylu, Vo5uru, Camilo GP aka Âgata Bostok, and finally Ornamenti d’Oro. The second release but including ЗОЛОТАЯ / / / / / ГРЯЗЬ have all been released on Aural Sects. The take Vo5uru expressed on Astrosuka’s Dislexia Amable was very funky, fresh, and had a classic feel. More or less was a series of Brazilian House, Hip-Hop, Dance remixed together, and fit well with the original soundscape, gotta love it for sure.
The waviest tape Astrosuka has released, has to be the one simply titled ||||. Their most recent as well, this album takes us such a heightened place in terms of their music.The first track opens up with very heavy and hard hitting bass drums, and male choir vocals along side their angelic keyboardist. Fully realized, omnipotent and with resident outbreak item screen samples, and tuned into their hip hop influences, and witchy over-chanting. We are lead into one of our first ‘Hi-Def’ & ‘Hi-Tek’ track’s, jungle beats, strewn under a distortion of VOX, scrambling like a discombobulated rendering animation, stuttering and spazzing across a screen. One-moment later flutes and more oceanic distortion begin pumping through the speakers, ending in a final dance transition into the next track “ℐunglα”.
That’s the thing with Astrosuka, as long as a track is playing, the energy never stops, keeping you jumping out of your fucking seat endlessly!
Amass the invoking of Spanish demons Astrosuka has grown so much since the beginning of their creation, with theses melodic incantations properly place over tight drum kits, with experimental death electronic instrumental samples, mixed into Reggaeton Dance-pop, into various breakdown styles. Crunchy spoken word over “RnB” based around thee dopest drum and bass rhythms I have ever heard contemporarily speaking.
NN: You have a heavy Reggaeton influence being from Buenos Aires, Argentina, is that something you think will always be present in your music, or purely Astrosuka?
Astrosuka: I think that the reggaeton influence comes more from when I was living in Bolivia and didn’t even like that music, actually i kinda hated it, but since it was everywhere i couldn’t really avoid hearing it. With Astrosuka we allowed our unconscious influences to come out in our music, so there was reggaeton and shitty mainstream pop stuff we kinda grew up listening to unintentionally. We liked the idea of using all the shit we’ve been brainwashed with to make something we like. It was kinda like finding beauty in ugly stuff too, you know there were a lot of people doing the same thing not just with music, but visual arts, fashion, etc. As for the future work, I’m not sure what will happen with the project’s sound, for me it’s supposed to mutate, we’ll have to see if the reggaeton genes in Astrosuka’s sound are strong enough to make it to the next step.
NN: How old were you, when Astrosuka became your main endeavor?
Astrosuka: I was 25 and my bandmate, Alan, was like 20 I think, we were in a post hardcore band at that moment, but decided to make a new one and design it in a way we could work as much as we can without depending on people with very little commitment. So there were laptops and we started playing the qwerty keyboards and making noise loops with cheap multi fx pedals like 6 days a week (lol)
NN: Where has your favorite place to have toured?
Astrosuka: We’ve been playing in some cities here in Argentina, and I loved all of the places we’ve been to, for me it’s like magical that I’m actually traveling and making new friends because of my music. Both times we went to Cordoba were great, we’ve played at a venue that’s legit as fuck and they treated us with much <3 Also a lot of people showed up at the gigs, we sold a bunch of CD-Rs, it was like ok, looks like this is starting to get serious. We made a lot of friends there, one of them Gon invited us to stay at his home for some days, and he lived like in the woods, there was a river near with big stones that looked like sleeping dinosaurs and the guy had a bunch of instruments and no Internet, it was very fun. Also Rosario is a place I love to visit, have good friends there who make rad music.
NN: Titaina was not featured on the latest release, will she be returning to Astrosuka in the future?
Astrosuka: She’s now working on her solo project (Qeei) and there are no plans of her returning to Astrosuka, but we talked a bit about making some little collabs in the future.
NN: It’s a bit early in the year, but can we expect to see some more digital releases from you soon?
Astrosuka: Now I’m more focused on the live shows, we’re working with a friend Pablo (he also has a musical project Bungalovv, check it out it’s rad) So he’s a new member of Astrosuka and will be mostly making visuals but we’re figuring out some ways to make both visuals and sounds interact in a super fantastic way. After that I’m sure we’ll be releasing more free music for all the people who are kind enough to listen.
NN: Since you have had three major releases on Aural Sects, what has your reception been like since, older releases like ¡¡¡En vivo en Club!!! & Ѧ$†ЯӨ$ЏҠѦ (QLN / 005)?
Astrosuka: When we made the first release (a live recording of one of our shows) we were playing at local underground punk and noise rock gigs, so the people who knew us were basically our friends. Then we released a cassette on Quelonio Records; that and some Youtube videos helped to get some more attention on the internet. We started to make new friends more involved with electronic music, after releasing with Aural Sects people from other countries started to listen to our stuff and it was cool, we had the possibility to make some collabs with artists we liked, dj mixes and stuff like that. Around the time of our first release with “AS” we started to travel to other cities here in Argentina and playing live a lot, too. Bunny and Joe helped us a lot to promote our music, got much <3 for them
NN: How do you feel your musical creations, have changed from what they were originally or grown since 2012 to where we are now currently in the year 2015?
Astrosuka: I think they’ve changed a lot, not just the music itself, but the way we play it live and stuff. In 2012 Alan and I were experimenting a lot with electronic music tools, without really knowing how to use them but trying to make them sound the way we wanted, so there was a bunch of noise, drone, psychedelia and stuff like that, our live sets used to be like 4 songs and the rest was improvised noise. Then Tati appeared, she played drums and sang and I was playing a synth with one hand and a sampler with the other + adding noise with a footswitch pedal haha, so the whole thing had more of a live band feel. The songs were more pop cuz Tatiana knew how to sing very well. And what I’m making now is more focused on the sound design, I’ve been learning to use synths and kinda know which tools are the best for me now, but at the same time the vocals are noisy and it’s kinda dark.
For me it has been like 3 different projects with different people, tools and ideas merged into one.
NN: What is something about Astrosuka, that people are missing or don’t quite get? (Doubtful)
Astrosuka: hmmm, hahaha. I don’t know…
Korn Falling Away From Me (Astrosuka R∑mix)
NN: Ultimately I believe remixes like Falling Away are brilliant constructions, taking really strong vocal concepts and merging them with your style and influence, what’s been your favorite track to remix?
Astrosuka: Thanks : ) I made that one kinda fooling around, had a lot of fun. For me it’s always a pleasant experience to make a remix, also it allows me to try things I normally wouldn’t with my own songs (like applying the “witch house formula” to Mision Indecente’s track haha)
I think that the remix I enjoyed working on most was Sobrenadar’s tune “Mision”. I only kept the vocal track and rebuilt the whole instrumental, changing harmonies and rhythmic signatures beneath the same vocal melody and it was fun as fuck.
NN: Will we be seeing you in North America anytime soon?
Astrosuka: No plans for that yet, but I would love to.
NN: Aside from the influences you get from where you’re from, where do the others come from?
Astrosuka: Hip-hop, punk, noise rock, ambient, soundtracks and being outside a club with loud dance music.
buenos aires electronic reggaeton witch house abstract electronic dance-pop death electronic dance music experimental electronic noise noise pop sadcore techno Japan