rump recordings releases

System are Denmark’s longest surviving electronic “super group”. With a membership consisting of Thomas Knak (aka Opiate) Anders Remmer (aka Dub Tractor) and Jesper Skaaning (aka Acustic), their collective presence in Scandinavian electronica is all but impossible to ignore.
B is Systems first full album since their debut on ~scape in 2002, and the album sees the group return to more ambient and melodic territories (- previously a trademark when they were called Future 3), while still being influenced by dubstep, which could also be heard on the 'Tempo EP' from 2007.
Dark ambient moods mix with sublime melodies, dubstep rhythms and a timeless production that refers to both Phil Spector's "wall of sound", King Tubby's dub experiments and Brian Eno's soundscapes. In spite of these references "B" comes across as an extremely homogenous album, borne out of a mature melancholy and a knack for getting electronic beats to swing organically.

With "Browen" Bjørn Svin has succeeded in creating an album that deviates from sounding like anything else within the contemporary electronic scene, as well as marking a new era in Bjørn's versatile work as a composer. Bjørn Svin’s sound in 2010 is marked by a strange and a mature sincerity that - mixed with a childlike naivety and curiosity - causes the most soulful Bjørn Svin release to date.

Icarus' 2007 album 'Sylt' further consolidated the band's exploration into remixing recordings of live performances, which were in turn remixes of earlier studio tracks (a trait first explored in 2005's 'Carnivalesque'). With the 'Sylt Remixes' album, this reprocessing passes over to third parties, gathering contributions from Denmark (home of Rump Recordings), the UK (home of Icarus) and further afield.
14 artists have remixed 'Sylt', including international acts as Ital Tek, ISAN, Xela & CoH as well as Danish acts such as Svartbag, Badun and Opiate give their own account on the 7 tracks from the original album.

After nearly 3 years since the release of his last album, the Danish electronica artist Rumpistol is now ready to release his third album entitled 'Dynamo'.
The album is balanced between an introverted expression and a more outward-looking experience, while an ongoing alternation between melancholy and optimism adds a tinge of nostalgia.
This is enhanced by the orchestration and production, which contain references to both new and old electronic music (i.e. glitch, techno, dub (-step) and ambient), yet at the same time pointing towards rock, jazz and classical music.

With the use of guitars, loop-pedals and analogue effects, Svartbag creates a minimalist instrumental music, where generated coincidences are intuitively integrated in a repetitive universe of drones.
The references are clear: kraut-rock (Neu/Can/Popol Vuh), space-rock (Spacemen 3), noise-rock (VU/Sonic Youth), and electronic pioneers like Terry Riley, Brian Eno and Suicide.
The band Svartbag is an entity full of contradictions. Like its namesake the gull, Svartbag is a free bird, but also a scavenger with a black back. An outsider impelled by an underlying primitive force. A black sheep.
Elements, that on the surface seem violent and indigestible for everyday people are, in the hands of Svartbag, transformed into something oddly fascinating, alluring and soothing.

Bearing in mind the sound of bands like Gang Gang Dance, early Animal Collective and Kemialliset Ystävät, it is tempting to file Snöleoparden´s sound under 'psych folk', but it just wouldn´t be fair to the music.
Apart from being mainly instrumental (unlike the above mentioned artists), Snöleoparden´s selftitlted album comprises such different elements as Steve Reich-like minimalism, Pakistani folk songs, childrens pop songs, ritual/ceremonial music, electronica & psychedelic rock.
Elements of world music also has a strong influence on Snöleoparden´s music, but to simply label it 'world music', wouldn´t do it justice either.
What unites the tracks is the fact that they´re created in a state of childish ingenuousness, musical curiosity, and with eminent instrumental skills rarely heard like this.

'Sylt' is Icarus' first album in two years, following the understated 'Carnivalesque' in 2005, and the acclaimed 'I Tweet the Birdy Electric' in 2004, over which time the duo Ollie Bown and Sam Britton have continued working on related projects in electroacoustic performance, composition and music-related research.

Even though Vektormusiks new EP is dominated by well known instruments such as piano, clarinet and trumpet, it´s hard to define their sound, which has references to jazz, folk and glitch electronica.
It is a very atmospheric music that reveals itself as Interfoliere goes along at snail´s pace, and pictures of deserted landscapes and dark windy streets appear on the retina. There is a strong yet calm rhythmic foundation, based on a delicate mixture of acoustic and electronic soundscapes, and the music never ceases to dwell in itself, but constantly floats in textures leaving the listener with a feeling of progressive subtlety.
With their hand-played loop-structures, discrete electronic elements and understated rhythms, Vektormusik continue the neo-ambient tradition, that labels like City Centre Offices and acts like Dictaphone are representing. At the same time they add an organic feel to the sound, a touch of modal-jazz (Bill Evans inspired piano) and distant echoes of old Scandinavian folk songs.

Despite this being their debut album, the band Badun has quite a few years on its back as well as a long line of live gigs.
It is the fruits of all these years of experimentation and search for a unique sound that now sees the day.

New material from Denmarks 3 electronic pioneers is a quite rare experience.
After 5 years of silence, System is back with an EP entitled “Tempo EP” that shows the trio in more unfamiliar upbeat territories.
In a way “Tempo EP” continues the sound of the System album on Scape, only this time presented in a slightly faster tempo, hence the title.
It´s no secret that the group have been listening to two-step and dub-step, but instead of being a rip off of the genre, System incorporates the UK-styles into their own sound universe, creating something that sounds much more like System than like Skream.

A lot has happened to Karsten Pflum´s sound since his debut “Tracks” on Worm Interface in 2003. The curious playfulness that has characterized his work since the debut has evolved and become less naïve and more sophisticated.
Being his most “electronic” release to date, “Idhax” shows Karsten Pflum as a creator of twisted yet melodic tracks with an epic quality, exploring the borderland between repetition and rhythmic intricacy.
Through his ultradistinct programming, alluring ambience and low frequency treatment Karsten Pflum brings the minimal compositions to higher grounds, balancing between machine-generated tightness and organic plasticity.

This ultra limited single was originally included as a bonus to the vinyl version of the IDHAX album.
Now it´s released as a stand alone release in 200 copies with hand-made covers by Nicolas Freng.

The 2nd album from Rumpistol continues the warm melodicism and dub sensibility from the debut, only this time presented in a more instrumentally expansive mix, including elements such as melodica, glockenspiel and kalimba.
The melancholic melodies and warm harmonies, which played a big part on the debut, have receded into the background on ”Mere Rum”, and a more experimental approach to both sound and rhythms has emerged.
The influence from the dub-genre is present on all the tracks like on the debut, and the rhythms are once again build up around dry clicks and found sounds.

The new release from the third member of Future 3, Jesper Skaaning (aka Acustic), has been anticipated for some time. The last time he released a full solo album was in 1998 (”Star Quality”), and we are therefore proud to announce Acustic’s third album, entitled ”Welcome”, this time released on Rump Recordings.
On ”Welcome” we once again encounter the strongly melodic approach to electronica, which has been Skaaning’s trademark, both as a solo artist and as a part of the group Future 3.
”Welcome” is a return to the irresistible riffs and melodies which we might expect from Skaaning, only this time presented in a slightly more experimental sound universe.
In contrast to the previous Acustic records, where the tracks were often built around repetitive loops or based on riffs instead of actual melodies, the new material seems more complete and at the same time the sound is characterized by greater edge.
With his sense of harmony, and his consciously minimalist approach, Skaaning constructs a sound which is forthcoming without trying too hard to please.

"Second release for the promising Rump Recordings label, after 2004's initial release, the debut album from Rumpistol. 'Rump Comp Volume One', is a collection of tracks from various newcomers (oRfeUs and Melk) and experienced, established artists (Manual & Syntaks and Prinz Ezo) showcasing the best in Danish electronic music."
(Tim Johnson, www.angryape.com)

Rumpistol is the debut album from the Danish electronica artist Rumpistol (danish for spacegun), aka Jens Berents Christiansen.
Along with its experimental approach, Rumpistol is a quite friendly and inviting album with its elastic sense of rhythm, harmonic warmth, and melodic clarity.
Several tracks from the album such as “Tangoboy” and “Sdr. Fasanvej kl. ca. 22.00” has been featured on different compilations, and “Sdr. Fasanvej..” was also played by the late John Peel at his legendary BBC Radio 1 show.