#Keith Tenniswood

[negativeoffice]

Radioactive Man - Radioactive Man

[affairesasuivre]

Sex Beat /  Two Lone Swordsmen (WARP, 2004)

British electronic music duo from London, England. It consisted of Andrew Weatherall and Keith Tenniswood.

Formed by Andrew Weatherall and Keith Tenniswood in 1996,[1] following the dissolution of Weatherall's the Sabres of Paradise, Two Lone Swordsmen released material on the record label Emissions Audio Output, run by Weatherall.[2] However, the small nature of the operation limited the duo's success and they subsequently signed to Warp.[2]

Two Lone Swordsmen's debut studio album, The Fifth Mission (Return to Flightpath Estate), was released in 1996.[3] The duo released Stay Down in 1998.[4] It was placed at number 22 on Pitchfork's "50 Best IDM Albums of All Time" list.[5] The duo released Tiny Reminders in 2000.[6] It was placed at number 19 on Pitchfork's "Top 20 Albums of 2000" list.[7] The duo released From the Double Gone Chapel in 2004.[8]

On 17 February 2020, Andrew Weatherall died due to a pulmonary embolism at the age of 56

[quickdisco]

1640. Two Lone Swordsmen - A Virus WIth Shoes (Warp - 1999)

Andrew Weatherall et son comparse Keith Tenniswood joue à l’électro dark downtempo comme savait si bien produire un label tel Warp dans les 90′s.

Cloned Christ On A Hover Donkey (Be Thankful)

Spotify

Discogs

[burlveneer-music]

Victor Valiant - V is for Victor

Keith Tenniswood and Suade Bergemann give you seven tracks of sublime funk and sonic experiments coming straight from Suade's mega studio deep in the North East of England. Recorded last year over two 3 day sessions, it’s the next release on Keith's Asking for Trouble label.

[imathers]

Spiritualized — “Come Together (Two Lone Swordsmen Remix)”

If you’re not familiar with the original, it might not be clear just what a radical job Andrew Weatherall (RIP) and Keith Tenniswood did here, as they often did when TLS got their hands on a song. As it is, it took multiple listens to even discern where the connections to the source were, and it certainly wasn’t (the first time I heard it) what I expected either from a Spiritualized song, remixed or not, or from the guy who I mostly knew as the one who made Primal Scream’s Screamadelica what it was. But, really; if you’d handed off a song to Weatherall and got this back, how could you be anything but thrilled?

A while back I posted an interview with Weatherall here and mentioned how influential he’s been, for how he thinks about work and art as much as for how I’ve enjoyed his music over the years. I actually love the post-punk Two Lone Swordsmen records, From the Double Gone Chapel and the first Wrong Meeting especially, and I still love looking at what TLS would do for remixes (compare, for example, their amazing take on Primal Scream’s “Stuka” to the two excellent but less inventive dubs on Echo Dek). Weatherall died suddenly, of a pulmonary embolism, on the 17th. He was in the hospital but they couldn’t keep the clot from reaching his heart; he was 56. I was deeply looking forward to what kind of art he’d keep making as a weird old dude.

[allmusic]

AllMusic Staff Pick: Two Lone Swordsmen The Fifth Mission (Return to the Flightpath Estate) August 12, 1996 Ambient Techno

Andrew Weatherall's first post-Sabres outing (together with Keith Tenniswood) is a truly beguiling cachet of alternately moody and unexpectedly funky down- and mid-tempo electro. Miles more complex and integrated than such future-funk wibblers as the Clear Records stable, Fifth Mission is often as tear-jerkingly emotional as it is goofball lino material; machine music imbued with more than a bit of humanity. Uniformly excellent. - Sean Cooper

[deephouseamsterdam]

Interview: Dave Clarke By: Steve Rickinson - Deep House Amsterdam After fourteen years, Dave Clarke is set to release his third full length album, “The Desecration of Desire”. Available on 27 October, the years-in-the-making project distills Clarke’s life long love of Punk, New Wave, Noise and Industrial into something truly original and wholly... http://www.deephouseamsterdam.com/interview-dave-clarke/ #Anika, #BladeRunner, #DaveClarke, #DepartmentS, #DepecheMode, #GazelleTwin, #HansZimmer, #Interview, #KeithTenniswood, #Louisahhh, #MarkLanegan, #MtSims, #Skint, #TechNoir, #TheDesecrationOfDesire

[spy-in-the-house]

THE KITBUILDERS aka RIPLEY & BENWAY

[ ERSATZ AUDIO Det l WORLD ELECTRIC l ELECTRECORD l BREAKIN' RECORDS UK l ART OF PERCEPTION  l  TELEVISION RECORDS  l  VERTICAL / Kompakt Distr., Cologne GER ]

Brief bio of an artist: THE KITBUILDERS - Ripley & Benway - are a legendary Electro-Duo from Cologne (GER) who produce rough digital Electro with twisted vocals, and a bit of dark Synth Pop too. They have released on several worldwide known labels like Ersatz Audio, Electrecord, Breakin' UK and their own Vertical Records (Distribution KOMPAKT) amongst others. Their music is fast, funky and fantastic and they know seriously how to rock a club live reel rite. Keep readin' more via RA-biography

without the past … there’s no phuture … these alltime top20 faves in no particular order

01 1000 HOMO DJS [AL JOURGENSEN, ERIC BOUCHER, JEFF WARD, MIKE SCACCIA, PAUL BARKER, WILLIAM RIEFLIN & TRENT REZNOR]: Apathy [ A-side from “Apathy / Better Ways” Wax Trax! Records WAX 032 US 12" | 1988 ] 02 ADULT [ADAM LEE MILLER, NICOLA KUPERUS, SAMUEL CONSIGLIO]: Love Sick _ The Minor Version [ B1-track from “Nausea” Ersatz Audio EZ-014 US 12"/ Mini-Album | 2000 ] 03 THE APHEX TWIN [RICHARD DAVID JAMES]: Analogue Bubblebath EP [ Mighty Force MIGHTY-001 UK 12" | 1991 ] 04 AUX 88 [KEITH TUCKER, TOMMY HAMILTON, WILLIAM ‘BJ’ SMITH]: Play It Loud [ Diverse versions “Play It Loud (The 12" Mixes)” Direct Beat DB4W-034 / 430 West US 12" | 1998 ] 05 BOLZ BOLZ [ANDREAS BOLZ]: Take A Walk [ A-side from “Take A Walk” World Electric WE-005 GER 12" | 1999 ] 06 DJ GODFATHER [BRIAN JEFFRIES]: Aliens Got My 808 [ Twilight 76 Records TL-013 US 12" | 1999 ] 07 DMX KREW [EDWARD UPTON]: 17 Ways To Break My Heart [ Rephlex DMX-017 EP UK 12" | 1998 ] 08 DREXCIYA [GERALD DONALD & JAMES STINSON]: Aquatic Invasion [ Underground Resistance UR-030 / Submerge US 12" | 1995 ] 09 I-F [FERENC E. VAN DER SLUIJS]: Space Invaders Are Smoking Grass [ A1-track from Viewlexx V-002 / Reference Analogue Audio NL 12" | 1997 ] 10 ELEKTROIDS [GERALD DONALD & JAMES STINSON]: Algorithm [ B1-track from “Kilohertz” Warp Records WAP-065 UK 12" | 1995 ] 11 VOICE STEALER [CARL FINLOW]: Electromotive Force [ A-side from Subvert VERT 002 / R.A.M.S. International Records UK 12" | 1998 ] 12 UR: Electronic Warfare [ B1-track from “Electronic Warfare - Designs For Sonic Revolutions” Underground Resistance UR-033 / Submerge US 2x12" | 1995 ] 13 KRAFTWERK [Ralf Hütter, Wolfgang Flür, Florian Schneider, Klaus Röder]: Autobahn [ Philips-6305 231 GER LP / Album| 1974 ] 14 MANTRONIX [BRYCE WILSON, JADE TRINI, KURTIS KHALEEL, TOURE EMBDEN]: Who Is It [ A/B-track(s) from “Who Is It? / Ladies / Bassline” 10 Records TEN X-137 UK 2x12" | 1986 ] 15 DI´JITAL [LAMONT NORWOOD]: The Mind Of The Master [ Direct Beat DB4W-040 / 430 West US 12" | 1999 ] 16 HERBIE HANCOCK: Rockit [ A-side from "Rockit (Extended Dance Version)" CBS - CBSA-12.3577 / Columbia EU 12" | 1983 ] 17 RADIOACTIVE MAN [KEIH TENNISWOOD]: Jommtones [ C2-track from “Luxury Sky Garden” Asking For Trouble AFT-001 UK 2x12" | 2017 ] 18 EXZAKT [LARRY McCORMICK]: Sub Sonic Bass [ B1-track from “The Second Wave EP” Satamile Records NYC SAT-021 US 12" | 2004 ] 19 LOWFISH [GREGORY DE ROCHER]: Your Last Legs [ B2-track from “Lowfish / Solvent” Suction Records suction-001 CAN 12" | 1997 ] 20 CYBOTRON [RICHARD DAVIS/ 3070 & JUAN ATKINS]: Cosmic Cars [ A-side from “Cosmic Cars / The Line” Fantasy D-212 US 12" | 1982 ]

#kitbuilders bookmarks: KITBUILDERS  |  RIPLEY | BENWAY | FACEBOOK | DISCOGS | SOUNDCLOUD   |  WIKIPEDIA  |  OBSESSION RECORDS VERTICAL RECORDS |  RA  | YOUTUBE_KITBUILDERS YOUTUBE_SBX-80 | UEBERALL ZERFALL | WAKE UP

[solplparty]

[M/V] 모임 별 (Byul.org) - 박쥐들 우리는 (The Bats We Are) https://youtu.be/UA6fUZtuLlU Artist : 모임 별 (Byul.org) Album Title : 주인 없는 금 (Nobody’s Gold) Release Date : 2021.03.11 Genre : Rock [Listen here] Melon - https://bit.ly/3rEU0ON Genie - https://bit.ly/30L82mp Bugs - https://bit.ly/3rCkqR7 Vibe - https://bit.ly/30zHZOE FLO - https://bit.ly/3qCs1Oy ■ Mirrorball Music http://mirrorballmusic.co.kr/ https://www.facebook.com/mirrorballmusic https://twitter.com/mirrorballmusic “Goodbye to sleeping monsters and intimate ghosts. We are on the road again.” – (from “Friendly Enemies”) The demons of night are out again: Seoul’s one-stop shop creative collective Byul.org returns this fall with its third international album, entitled Nobody’s Gold, out 23 November 2018 via Alien Transistor (LP: worldwide) and the group’s own Club Bidanbaem imprint (CD: South Korea only). Comprising 14 new songs, it’s a dizzying, haunting affair that channels the group’s manifold influences and references points (from post-punk to Stockhausen and back via club culture) and yet sounds intriguingly coherent. Founded around the dawn of the millennium as a group of poetry-loving friends who’d occasionally meet for drinks, Byul.org has long become an prolific and versatile collective within Seoul’s scene: Main song-writer TaeSang Cho and his mates Yu Hur, Jowall, SuhnJoo YI, HyunJung Suh, and SoYoon Hwang went from publishing to recording, from releasing tunes to design, art direction and more. Although their list of clients includes Atelier Hermès and the Venice Biennale Korean Pavilion, the group still remains a small drinking circle of close friends at its core: Pals who simply like to carouse, live, write songs and play tunes together. - + 모임 별의 두 번째 정규음반이자 세 번째 인터내셔널 음반으로 뮌헨 기반 레이블 Alien Transistor에서 LP를 자체 레이블 비단뱀클럽에서 CD를 제작/배급. + 음반은 열네곡으로 이루어졌으며, ‘모임 별’의 여타 음반들이 그러하듯 밴드 구성원 및 친구, 동료들의 일상사/상념들을 담고 있다. + ‘친밀한 적들’은 ‘비행선’이란 이름의 서울 서래마을 작은 바에서 열린 영업 마지막날 파티에 초청되어 처음 연주한 곡이다. 가게 문을 닫을 수 밖에 없던 젊은 사장님들을 위로하기 위해 하루만에 작곡했기에 초기엔 명칭조차 없었으나, 이후 공연을 거듭하며 자연스럽게 ‘친밀한 적들’로 정리되었다. 2002년 이래 신디사이저 연주자로 활동해온 이윤이는 미술작가로서의 작업에 전념키 위해 밴드를 떠나기로 했다. ‘친밀한 적들’은 그의 녹음이 포함된 마지막 트랙이자, 밴드의 기타리스트인 조월과 새로이 멤버가 된 황소윤의 연주가 동시에 포함된 첫번째 곡이다. 특히 도입 및 후반부의 기타 솔로는 황소윤이 독자적으로 구성. + ‘박쥐들 우리는’은 2009년 10월 31일 열린 단독 공연에서 처음 공개 연주되었다. + 밴드는 음반의 커버 아트워크를 오랜 동료인 미술작가 양혜규에게 의뢰했고, 음반의 데모 트랙들과 정보를 전달 받은 작가는 몇몇 기존 작업물을 변용한 안을 제안했으며, 의견을 모아 최종 결과물을 만들게 되었다. 음반 제목인 ‘주인 없는 금’은 커버 이미지로부터 영감을 얻어 만들어졌다. + 유일한 세션 (’불량배들, 서울’의 목소리)으로 참여한 장용석은 디자인 스튜디오 ‘모임 별’의 핵심 구성원으로서 다수의 프로젝트를 진행한 디자이너다. (그는 음반에 밴드 정식 멤버로서 이름이 명기되는 것을 두차례 거부했다) + 밴드는 뮤직비디오 연출을, 멤버인 조태상이 평소 팬으로서 작업을 좋아하던 미술작가 김희천에게 의뢰했다. 작가는 데모 상태인 음반 전체 트랙 및 정보 등을 건네 받은 후 ‘친밀한 적들’을 선정하여 작업했다. 이후 ‘태풍 전날 밤’과 ‘박쥐들 우리는’의 뮤직비디오는 밴드가 직접 제작. + 독일 레이블측의 음반 설명 자료 작성과 관련, 멤버들의 일상사 외 보다 구체적인 영향을 묻는 질문에 보낸 답신. “…굳이 말을 만들어 보자면, 오래 흠모해온 Karleinz Stockhausen과 Bill Evans를 함께 들을 수 있는 음반 같은 것.. Brian Eno/Peter Scmidt가 만든 카드 세트 ‘Oblique Strategies’는 예나 지금이나 종종 우리가 뭘 하고 있는지, 무엇을 하고 싶은지 알게 해준다…” + ‘태풍 전날 밤’은 서현정의 스산한 브러시 연주 및 황소윤 본인의 표현에 따르면 “소소하게 기타로 만든 소리들”을 포함하고 있다. + ‘콩 이야기’는 2018년 4월 22일의 공연에서 처음 공개 연주되었다. : All tracks written by TaeSang Cho except track 16 written by TaeSang Cho & Jowall. All tracks produced by TaeSang Cho except track 6 & track 14 produced by TaeSang Cho & Jowall. Additional voice on track 12 by YongSeok Jang. / Recorded by Byul.org in Seoul, South Korea. Released & distributed by Alien Transistor (München) & Club Bidanbaem (Seoul), 2018. Project direction by TaeSang Cho & Markus Acher. Mixed by EunChurn Park. Mastered by Keith Tenniswood at Curvepusher, London. Cover artwork originally by Haegue Yang (Sonic Full Moon – Medium Ultralight #14, 2015 / Photo: Studio Haegue Yang). Designed by Byul.org. Project management by Florian Steinleitner. Communication by Flow Zimmer. ■ More about 모임 별 (Byul.org) http://www.byul.org https://www.youtube.com/channel/UCKgGahoU1j73QNQZ_apaaUA http://instagram.com/byul.org_seoul #Byul.org #모임별 미러볼 뮤직 - Mirrorball Music

[bizaarbazaarbyrocktea]

PREMIERE: KAMRON SANIEE - CHA

PREMIERE: KAMRON SANIEE – CHA

Cover illustration by Ryuto Miyake Cover image by Margarita Boyarskaya Design by Paul Putzar  BIZAARBAZAAR · Kamron Saniee – Cha composed & produced by: @kamron-saniee label: @svs-records release date: March 5th, 2021 mastered by: Keith Tenniswood link: svsrecords.bandcamp.com/album/svs017-…ic-studies-ep “Positivity. Lucidity. Velocity. In his second solo release, Kamron Saniee presents six…

[negativeoffice]

Two Lone Swordsmen - Brootle

RIP Andrew Weatherall

[kraftwerk113]

Life´s too short for weird music - Tagesempfehlung 19.02.2020

Two lone swordsmen / Machine maid

Mit Keith Tenniswood war Andrew Weatherall zwischen 1996 und 2007 unter dem Alter Ego Two lone swordsman unterwegs. Als Two lone swordsmen veröffentlichte Weatherall deutlich komplexeren, fraktierten Electro. Bestes Beispiel hierfür ist das in 200 auf dem Album „Tiny reminders“ veröffentlichte „Machine maid“

[earinfluxion]

Lali Puna: Two Windows (Morr Music)

Lali Puna has always skirted the periphery of IDM and indie-pop, never quite splashing in any way that’s yielded significant acclaim. And yet their music always exudes a quiet confidence, carried by their laptoppy arrangements and singer Valerie Trebeljahr's breathy vocals. While one might have traced a trajectory across their discography that moved from being almost entirely electronic to progressively more of a band format, perhaps influenced by Markus Acher’s work in his primary project The Notwist. Acher and Trebeljahr separated in the time between Two Windows and Lali Puna’s previous release, 2010's Our Inventions, and as a result, Acher is also absent on Two Windows. This lends the album a distinctly different flavor that’s immediately apparent on the opening title cut. During an age where most primarily electronic acts seem to embrace traditional songwriting and instruments as a forced sort of trajectory, it’s refreshing to hear Lali Puna as a trio revert to a keenly electronic focus moving forward. Acher’s guitar work is conspicuously absent, but the trio make up for it with full-bodied arrangements that still very much feel like a realization of Trebeljahr and long-time musical partners Christoph Brandner and Christian Heiß's collective vision.

Two Windows by Lali Puna

It’s not to say that Two Windows is purely electronic; there are still other instruments integrated into their production, but it definitely takes a backseat to layered electronics. So while no doubt Acher and Trebeljahr’s separation shook things up for her (both musically and personally), that change may have been a compelling enabler in advancing Lali Puna into a new phase of their sound without losing their identity. Even some of the less surprising tracks like “Her Daily Black” feel infused with a bit of new life, a fidgety energy that's evoked through detailed vocal stutters and bulbous synth swells as its rhythm section picks up momentum. My favorites are those cuts that reinfuse the band’s sound with a stronger pulse, recalling the dance music flirtations of their underrated debut, Tridecoder, but updated to sound current, often brimming with fat synth bass, clear hand claps, and punchier rhythmic details. Even as Trebeljahr continues to sing with a breathy, hushed vocal on “Deep Dream,” a collaboration with Dntel (Jimmy Tamborello), the buoyancy of its production lends it a refreshing immediacy when compared to some of their more typical mid-tempo material, and even then their sonic palette feels edgier and more sprightly. The album boasts additional collaborations with Mary Lattimore, Radioactive Man (Keith Tenniswood of Two Lone Swordsmen), and Mimicof, and they fit neatly into the tracklisting without sounding like any one of them is vying for more attention. Much of this has to do with Trebeljahr never relinquishing vocal duties, her breathy voice always providing an anchor as the soul of the music. I do find my attention waning by the time the album has fully played through, even with the welcome updates to their sound, but that is more a testament to their consistency and my attention span than a complaint. Even still, “Birds Flying High” also delivers a punchier result falling later in the album, a more rousing cut full of little vocal details that precedes the album's final stretch which curiously includes a decidedly unfaithful cover of Kings of Leon's ��The Bucket.” I’ve always felt that Lali Puna has flown too low under the radar in the pop music landscape, never really receiving their proper dues. Two Windows reinforces that opinion with renewed enthusiasm, one of their strongest efforts to date. Fans of their more rock-infused albums might be surprised by the minimal amount of guitar and a more overtly electronic slant, but to my ears it’s great to hear them advancing their sound and sounding more confident than ever.

Buy it: Bandcamp

[thisisheffner]

Andrew Weatherall, British producer behind Screamadelica, dies aged 56 | Music | The Guardian

Andrew Weatherall, the British musician, DJ and record producer known for helming Primal Scream’s Screamadelica, has died aged 56.

His management wrote in a statement: “We are deeply sorry to announce that Andrew Weatherall, the noted DJ and musician passed away in the early hours of this morning, Monday 17th February 2020, at Whipps Cross Hospital, London. The cause of death was a pulmonary embolism. He was being treated in hospital but unfortunately the blood clot reached his heart. His death was swift and peaceful.”

The author Irvine Welsh was among those paying tribute, writing: “Genius is an overworked term but I’m struggling to think of anything else that defines him.”

Following a young adulthood in the post-punk scene, Weatherall became a key figure in countercultural – and occasionally mainstream – British music after becoming one of the key DJs in the acid house movement of the late 1980s. He was recruited by Danny Rampling to play at London nightclub Shoom, and soon founded the record label Boy’s Own Recordings and the production outfit Bocca Juniors.

Further musical projects included the group the Sabres of Paradise, which splintered into the duo Two Lone Swordsmen with Keith Tenniswood, though perhaps his most famous musical work was with Primal Scream on their breakthrough 1991 album Screamadelica. By taking the band’s anthemic songwriting and adding samples, loops and the euphoric energy of Ibiza, Weatherall’s production made the album one of the most celebrated of the 1990s.

Speaking to the NME in 2011, he said of Screamadelica: “Looking back, my arrogance makes me wince, but I would never have had the confidence to do it if I didn’t have that kind of attitude. In a few months I’d gone from basically bumming around to all of a sudden being part of a proper scene. I was at the centre of the cyclone and loving it.”

He remixed artists including Björk, My Bloody Valentine and Saint Etienne; with Terry Farley, he remixed New Order’s 1990 World Cup song World in Motion. He was an early champion of the Chemical Brothers and their debut track Song to the Siren, playing it in his DJ sets and remixing it. Writing on Twitter, the duo’s Ed Simons said Weatherall was “a true inspiration and hero. A lovely funny man. Incredible DJ”.

Weatherall consolidated the trip-hop sound of the mid-1990s with his production on Beth Orton’s 1996 breakthrough album Trailer Park. Orton described him in an Instagram tribute as “a beautiful soul and a genius,” calling his death “a profound loss”.

He continued to work as a DJ and producer until his death, with his A Love from Outer Space club night series and production projects like the Asphodells. He reunited with Primal Scream in 2002 to co-produce their album Evil Heat.

He spoke of the eternal appeal of DJing in a 2016 Guardian interview: “It’s quite vampyric, DJing. You’re never going to have that feeling of hearing that record for the first time again, but if you look into the eyes of someone who’s hearing it for the first time, it’s a nice vicarious feeling. But it’s not selfish. I think I’ve never lost that thing I had when I was 12 years old and inviting my mates round to my house. They’d all be copping off with girls and I’m going, ‘No, check out this B-side.’”

Andrew Weatherall: ‘Anyone can make music. What a double-edged sword’

Read more

Musicians paying tribute included the Charlatans’ Tim Burgess, who wrote on Twitter: “Shocked and saddened to hear that cosmic traveller Andrew Weatherall has left the building. Always a pleasure to meet up with him and share good times.” Dave Haslam, another key figure in the acid house era, said that Weatherall was “one of the greatest, sweetest, funniest guys I’ve ever met”.

This content was originally published here.

[viciouscyclesradio]

RIP to Windsor, England's Finest

Andrew Weatherall Passes Away

We lose yet another legend of the once underground or originally modern league of electronica and intelligent dance, Andrew Weatherall. Known for his contributions across two major projects: the experimental, but movement defining The Sabres of Paradise unto 1995, to form the slightly more accessible Two Lone Swordsmen with Keith Tenniswood. And his co-collaborations with the alternative rock band, Primal Scream on their 1991 album, "Screamadelica" which became the bridge soundtrack between the scenes of alternative rock and rave culture when MTV was still cool.

He is also known for numerous, memorable remixes, and an aloof, but chill personality in and out of his music that was uniquely rare. He pushed boundaries and took young listeners on journeys of uncharted terrain, throwing a curve into the mix, from his earliest times on Warp Records, and as the founder of Sabres Of Paradise as a label. The recent hipster-dom trends of dubstep, EDM culture and the latest waves of electronic lounge all have him in their debt.