Fri, 17 Apr 2026 01:13:35 +0200 https://hearthis.at/on-juanmi/ en-EN contact@hearthis.at contact@hearthis.at https://hearthis.at/on-juanmi/ https://img.hearthis.at/8/6/3/_/uploads/9505203/image_user/w1400_h1400_q70_ptrue_v2_----cropped_1586974881368.jpg no no https://hearthis.at/on-juanmi/on-2021/
Dj Metatron – A Rare Loveletter

Ludwig A.F. Röhrscheid – Velocity

Voice Stealer (Carl A. Finlow) – Evaluation

Slam ft. Dot Allison – Vision

Claro Intelecto – Peace of mind

Bitstrean - Monolith

Autechre – Basscadet

Dj Xed - Definition

Morph - Stormwatch

Cignol – Modularity

Spacetime Continuum - Vertigo

Deemphasis – Cosmic Strings

EO (David Morley & Marcos Salon) – A.D. 2600

Morph – Planet Sweeper

Cignol – About0

Fluke - Absurd

Computor Rockers (DMX Krew) – Computor Interface]]>
Dj Metatron – A Rare Loveletter

Ludwig A.F. Röhrscheid – Velocity

Voice Stealer (Carl A. Finlow) – Evaluation

Slam ft. Dot Allison – Vision

Claro Intelecto – Peace of mind

Bitstrean - Monolith

Autechre – Basscadet

Dj Xed - Definition

Morph - Stormwatch

Cignol – Modularity

Spacetime Continuum - Vertigo

Deemphasis – Cosmic Strings

EO (David Morley & Marcos Salon) – A.D. 2600

Morph – Planet Sweeper

Cignol – About0

Fluke - Absurd

Computor Rockers (DMX Krew) – Computor Interface]]> 5818557 no no Sat, 10 Apr 2021 07:47:03 +0200 2021-04-10T07:47:03+02:00 1:07:53 https://hearthis.at/on-juanmi/on-minimix-006-insync-vs-mysteron/
Sus proyectos están principalmente comandados por Lee Purkis aka Insync que además fue uno de los miembros fundadores del sello británico y la mítica tienda FatCat Records en Crawley.Purkis fue una de las primeras personas que promovió y pinchó activamente el house y el techno en el Reino Unido. A finales de los 80 hizo viajes a Chicago y Detroit para encontrar los discos que es esa época no llegaban al Reino Unido. Colega de Juan Atkins, Derrick May o Evil Eddie Richards Purkis fue un Dj muy respetado.

Su música pues como eran los patrones de esa época, un poco más compleja, dimensional y a ratos jazzística, me recuerdan un poco a Jonas Sharp (spacetime continuum). Montaron su propia plataforma logística y sello 10th Planet pero además editaron en sitios como FatCat, Shield, Plink Plonk o Peacefrog. Su albunazo de la vida, Android Architect.

Su música pues como eran los patrones de esa época, un poco más compleja, dimensional y a ratos jazzística, me recuerdan un poco a Jonas Sharp (spacetime continuum). Montaron su propia plataforma logística y sello 10th Planet pero además editaron en sitios como FatCat, Shield, Plink Plonk o Peacefrog. Su albunazo de la vida, Android Architect.]]>
Sus proyectos están principalmente comandados por Lee Purkis aka Insync que además fue uno de los miembros fundadores del sello británico y la mítica tienda FatCat Records en Crawley.Purkis fue una de las primeras personas que promovió y pinchó activamente el house y el techno en el Reino Unido. A finales de los 80 hizo viajes a Chicago y Detroit para encontrar los discos que es esa época no llegaban al Reino Unido. Colega de Juan Atkins, Derrick May o Evil Eddie Richards Purkis fue un Dj muy respetado.

Su música pues como eran los patrones de esa época, un poco más compleja, dimensional y a ratos jazzística, me recuerdan un poco a Jonas Sharp (spacetime continuum). Montaron su propia plataforma logística y sello 10th Planet pero además editaron en sitios como FatCat, Shield, Plink Plonk o Peacefrog. Su albunazo de la vida, Android Architect.

Su música pues como eran los patrones de esa época, un poco más compleja, dimensional y a ratos jazzística, me recuerdan un poco a Jonas Sharp (spacetime continuum). Montaron su propia plataforma logística y sello 10th Planet pero además editaron en sitios como FatCat, Shield, Plink Plonk o Peacefrog. Su albunazo de la vida, Android Architect.]]> 5625554 no no Fri, 12 Feb 2021 21:24:44 +0100 2021-02-12T21:24:44+01:00 40:43 https://hearthis.at/on-juanmi/on-minimix-005-chi-e-the-original-recordings/
Estos cuatro colegas, en la época de la exploración del post-punk e inpirados por aquella época por álbunes como el My life in the Bush of Ghost de David Byrne y Brian Eno y de gente como Can, Robert Fripp o King Crimson se juntaron para grabar este álbum en una granja, con una Commodore 64, un par de sintetizadores (un Juno 60 y un JX3P,) una grabadora de carrete con la que hacían loops de hasta 7 metros de largo (que daban vuelta en unas botellas puestas sobre el piso,) pedales, flautas de bambú, instrumentos hechos en casa, agua, yogurt, y ruidos de la calle y grabaciones de voz.

6 de los tracks son el resultado de este álbum, menos uno de ellos y que es uno de los que más me gusta, Kuhl II, que fue grabado en directo en el Paradiso de Amsterdam en una mítica actuación, de hecho se oyen aplausos al final del corte y en la transición, sin mezclas, porque no hay apenas mezclas esta vez en esta amalgama sonora.

Si te mola el manto pesado y taladrante de Wolfgang Voigt, te puede molar esto, de hecho este The Original Recordings ha sido una de las mayores inspiraciones para Voigt en sus viajes para luego hacer los álbunes de GAS. No se si el y habrá tenido algo que ver que para que, unos años después, hayan lanzado este puto albunazo desde Astral Industries. Cult Ambient.

-------------------------------------------------------------------------------------------------------------------------------

**CHI** started in the late punk years in the early eighties. A time of change and mind-blowing albums. We started doing sound experiments in an old farm in Moordrecht (thanks to Jan van Rhee and Kees van der Veer). In the summer, all the doors and windows were open; birds flew in and out. In the distance we saw the highway to Rotterdam.

In the winter we sat close together, no heating, only blankets, candles and brandy. We did sessions of 3 days and nights. We brought a full PA-system for every session (thanks to Jurgen and Fijko) to get the right feel. Usually we played from the late morning until sunrise. Fijko was playing his spacey videos and projecting trippy slideshows. Jurgen was creating all kind of effects and recording everything. We used the Commodore 64 to create sequences.

We had two synths (a Juno 60 and JX3P), a few guitars, an old Revox tapedeck for loops (some loops were 7 metres long running past bottles) and a lot of weird handmade instruments, percussion, bamboo flutes; an old, broken piano, a small Philicorda organ and various effects like water, shaken yogurt (Soppin), mouth-sounds, street-noises, etc.

Essentially, the music is half electronic, half acoustic. What made it special is that we also performed it live. We brought our personal hifi-sets on stage for easy listening comfort... more
credits

Hanyo van Oosterom (bass, guitar, piano, percussion, synth)
Willem Cramer (loops, sequences, percussion, guitar)
Koos Derwort (bamboo flutes, clarinet and mouthsounds)
Michel Banabila (philicorda organ, percussion, bass, flute and fx)
Sound treatments by Jurgen Brouwer
Video by Fyko van Leeuwen

https://www.discogs.com/es/artist/197792-Chi

.]]>
Estos cuatro colegas, en la época de la exploración del post-punk e inpirados por aquella época por álbunes como el My life in the Bush of Ghost de David Byrne y Brian Eno y de gente como Can, Robert Fripp o King Crimson se juntaron para grabar este álbum en una granja, con una Commodore 64, un par de sintetizadores (un Juno 60 y un JX3P,) una grabadora de carrete con la que hacían loops de hasta 7 metros de largo (que daban vuelta en unas botellas puestas sobre el piso,) pedales, flautas de bambú, instrumentos hechos en casa, agua, yogurt, y ruidos de la calle y grabaciones de voz.

6 de los tracks son el resultado de este álbum, menos uno de ellos y que es uno de los que más me gusta, Kuhl II, que fue grabado en directo en el Paradiso de Amsterdam en una mítica actuación, de hecho se oyen aplausos al final del corte y en la transición, sin mezclas, porque no hay apenas mezclas esta vez en esta amalgama sonora.

Si te mola el manto pesado y taladrante de Wolfgang Voigt, te puede molar esto, de hecho este The Original Recordings ha sido una de las mayores inspiraciones para Voigt en sus viajes para luego hacer los álbunes de GAS. No se si el y habrá tenido algo que ver que para que, unos años después, hayan lanzado este puto albunazo desde Astral Industries. Cult Ambient.

-------------------------------------------------------------------------------------------------------------------------------

**CHI** started in the late punk years in the early eighties. A time of change and mind-blowing albums. We started doing sound experiments in an old farm in Moordrecht (thanks to Jan van Rhee and Kees van der Veer). In the summer, all the doors and windows were open; birds flew in and out. In the distance we saw the highway to Rotterdam.

In the winter we sat close together, no heating, only blankets, candles and brandy. We did sessions of 3 days and nights. We brought a full PA-system for every session (thanks to Jurgen and Fijko) to get the right feel. Usually we played from the late morning until sunrise. Fijko was playing his spacey videos and projecting trippy slideshows. Jurgen was creating all kind of effects and recording everything. We used the Commodore 64 to create sequences.

We had two synths (a Juno 60 and JX3P), a few guitars, an old Revox tapedeck for loops (some loops were 7 metres long running past bottles) and a lot of weird handmade instruments, percussion, bamboo flutes; an old, broken piano, a small Philicorda organ and various effects like water, shaken yogurt (Soppin), mouth-sounds, street-noises, etc.

Essentially, the music is half electronic, half acoustic. What made it special is that we also performed it live. We brought our personal hifi-sets on stage for easy listening comfort... more
credits

Hanyo van Oosterom (bass, guitar, piano, percussion, synth)
Willem Cramer (loops, sequences, percussion, guitar)
Koos Derwort (bamboo flutes, clarinet and mouthsounds)
Michel Banabila (philicorda organ, percussion, bass, flute and fx)
Sound treatments by Jurgen Brouwer
Video by Fyko van Leeuwen

https://www.discogs.com/es/artist/197792-Chi

.]]> 4808416 no no Sat, 30 May 2020 22:22:18 +0200 2020-05-30T22:22:18+02:00 46:25 https://hearthis.at/on-juanmi/on-minimix-004-psychick-warriors-ov-gaia/
Celosos del mainstream de aquella época ya fueron referencias para gente como Plastikman, Mark Broom o Coil, con varias colaboraciones en algunos de sus trabajos.

Formation from Holland (Tilburg), specialised in blends of deep techno, subtle trance and ambient soundscapes, mostly redefining the adjective 'tribal'.

At the end of 1992, Robbert Heynen left the group to concentrate on his solo project Exquisite Corpse. PWOG went through different line-ups and after a long silence re-emerged in the 2000's with a remix compilation and a few appeareances and dissolved after an final performance at Incubate 2016.

«In the early eighties of last century, like many other declining industrial cities, the town of Grublit was a pretty grim place. Against this backdrop, dominated by brick and steel carcasses of redundant factories a lively counterculture thrived.

What to think of the infamous «salsa extravaganza» Los Infantilos for instance, who, during their first and last live performance, turned VU’s Venus in Furs into an unknown episode of Jackass? But more was going on, halfway the decade one of the initiatives was the Katharos Foundation, a loose collective of outsiders, self-proclaimed artists who, by the act of collaboration found a way to express their ideas and thoughts. Besides several multimedia events and concerts, the Foundation published some compilation cassettes, a magazine and a video magazine.

As music was the core activity, the Foundation harboured several bands. One of these projects was Sluagh Ghairm consisting of Reinier Brekelmans and Reinoud van den Broek. At that time the sound was atmospheric, industrial but not particularly aimed at the feet. Inspiration was drawn from a wide range of sources, music from all over the world and of all times, but also from philosophy, science, literature and last but not least nature. One particular notion, amongst others, is that we humans are part of nature,instead of being apart from or above it, Homo sapiens evolved in the same manner and from the same source as did Culex pipiens, the latter being the more successful. A humbling yet liberating and challenging notion that needed to be communicated, at least we thought so then……and, although supposedly wiser, still do.

For the realisation of their ideas they were aided by the musically ever busy Robbert Heijnen who, almost casually and often unasked for, always added something extra and indispensable. Robbert’s interest in electronic music made him eager to explore experimental studio set-ups that found a willing ear in us. This collaboration would eventually evolve into PWOG. Something had to trigger it though.

In 1988 we were invited to this party which we attended rather reluctantly for it being all «Love and Happiness». Hours later, coming to our senses again, covered in sweat, completely relaxed and satisfied amidst a crowd of all kinds of other smiling faces who apparently had just shared the same experience, the last acidic beats of the Second Summer of Love still ringing in their ears too, things had changed.

Probably silly but it only then occurred to us that the dance could be a powerful tool too, a way to communicate on a physical level, a way to celebrate life. A niche had opened and this was something we had to explore….not to copy but to incorporate. The ensuing project was given the ludicrous working title Psychic Warriors of Gaia which wasn’t supposed to stick.»

Reinoud van den Broek (2015)]]>
Celosos del mainstream de aquella época ya fueron referencias para gente como Plastikman, Mark Broom o Coil, con varias colaboraciones en algunos de sus trabajos.

Formation from Holland (Tilburg), specialised in blends of deep techno, subtle trance and ambient soundscapes, mostly redefining the adjective 'tribal'.

At the end of 1992, Robbert Heynen left the group to concentrate on his solo project Exquisite Corpse. PWOG went through different line-ups and after a long silence re-emerged in the 2000's with a remix compilation and a few appeareances and dissolved after an final performance at Incubate 2016.

«In the early eighties of last century, like many other declining industrial cities, the town of Grublit was a pretty grim place. Against this backdrop, dominated by brick and steel carcasses of redundant factories a lively counterculture thrived.

What to think of the infamous «salsa extravaganza» Los Infantilos for instance, who, during their first and last live performance, turned VU’s Venus in Furs into an unknown episode of Jackass? But more was going on, halfway the decade one of the initiatives was the Katharos Foundation, a loose collective of outsiders, self-proclaimed artists who, by the act of collaboration found a way to express their ideas and thoughts. Besides several multimedia events and concerts, the Foundation published some compilation cassettes, a magazine and a video magazine.

As music was the core activity, the Foundation harboured several bands. One of these projects was Sluagh Ghairm consisting of Reinier Brekelmans and Reinoud van den Broek. At that time the sound was atmospheric, industrial but not particularly aimed at the feet. Inspiration was drawn from a wide range of sources, music from all over the world and of all times, but also from philosophy, science, literature and last but not least nature. One particular notion, amongst others, is that we humans are part of nature,instead of being apart from or above it, Homo sapiens evolved in the same manner and from the same source as did Culex pipiens, the latter being the more successful. A humbling yet liberating and challenging notion that needed to be communicated, at least we thought so then……and, although supposedly wiser, still do.

For the realisation of their ideas they were aided by the musically ever busy Robbert Heijnen who, almost casually and often unasked for, always added something extra and indispensable. Robbert’s interest in electronic music made him eager to explore experimental studio set-ups that found a willing ear in us. This collaboration would eventually evolve into PWOG. Something had to trigger it though.

In 1988 we were invited to this party which we attended rather reluctantly for it being all «Love and Happiness». Hours later, coming to our senses again, covered in sweat, completely relaxed and satisfied amidst a crowd of all kinds of other smiling faces who apparently had just shared the same experience, the last acidic beats of the Second Summer of Love still ringing in their ears too, things had changed.

Probably silly but it only then occurred to us that the dance could be a powerful tool too, a way to communicate on a physical level, a way to celebrate life. A niche had opened and this was something we had to explore….not to copy but to incorporate. The ensuing project was given the ludicrous working title Psychic Warriors of Gaia which wasn’t supposed to stick.»

Reinoud van den Broek (2015)]]> 4726032 no no Wed, 13 May 2020 10:22:20 +0200 2020-05-13T10:22:20+02:00 44:42 https://hearthis.at/on-juanmi/james-bernard-atmospherics/
Euph starts the cd with a deep, ominous and eerie beginning to what will be a wonderful trip into space. Complete Nonsense changes that. Your ship just went on remote auto pilot and you get redirected into a sci-fi interference like you landed on the wrong planet. Last minute of that song bridging to Helix sounds like Brian Enos Apollo release. Helix takes you out of harms way and back on your original mission. As it floats you about in awe it then cuts and Phosphorous begins to build. More eerie sci-fi melodics and voice samples like "it just won't stop singing in my head" and "the most difficult thing I've ever tried is to clear the mind". Acid line comes out over bassline nearly making this a trance track without the beat. Thankfully it does not here. Mars Rain is exactly how it sounds. As the song progresses the thunder sounds (TIM February 26, 2012 like bombs a little bit which makes the track even more eerie. Lost in It starts with goose bump keyboard tones and builds to a majestic peak and you reach your mission objective. FM rewards you for the heavy listening of Lost in It and easies you down to take a breather and enjoy your trip. Odyssey gives you time to reflect and recount your journey in your journal. But you are not alone...]]>
Euph starts the cd with a deep, ominous and eerie beginning to what will be a wonderful trip into space. Complete Nonsense changes that. Your ship just went on remote auto pilot and you get redirected into a sci-fi interference like you landed on the wrong planet. Last minute of that song bridging to Helix sounds like Brian Enos Apollo release. Helix takes you out of harms way and back on your original mission. As it floats you about in awe it then cuts and Phosphorous begins to build. More eerie sci-fi melodics and voice samples like "it just won't stop singing in my head" and "the most difficult thing I've ever tried is to clear the mind". Acid line comes out over bassline nearly making this a trance track without the beat. Thankfully it does not here. Mars Rain is exactly how it sounds. As the song progresses the thunder sounds (TIM February 26, 2012 like bombs a little bit which makes the track even more eerie. Lost in It starts with goose bump keyboard tones and builds to a majestic peak and you reach your mission objective. FM rewards you for the heavy listening of Lost in It and easies you down to take a breather and enjoy your trip. Odyssey gives you time to reflect and recount your journey in your journal. But you are not alone...]]> 4656712 no no Mon, 04 May 2020 08:48:34 +0200 2020-05-04T08:48:34+02:00 44:27 https://hearthis.at/on-juanmi/on-minimix-002-biosphere-microgravitypatashnik/
**Tracklist**

Microgravity

Baby Satellite

Tranquilizer

The Fairy Tale

Chromosphere

Baby Intephase

Biosphere

Novelty Waves

Cygnus

Patashnik

*Links*

[**Biosphere**](http://www.biosphere.no/)

[**Microgravity**](https://en.wikipedia.org/wiki/Microgravity_(album))

[**Pastahnik**](https://en.wikipedia.org/wiki/Patashnik)

https://en.wikipedia.org/wiki/Biosphere_(musician)

]]>
**Tracklist**

Microgravity

Baby Satellite

Tranquilizer

The Fairy Tale

Chromosphere

Baby Intephase

Biosphere

Novelty Waves

Cygnus

Patashnik

*Links*

[**Biosphere**](http://www.biosphere.no/)

[**Microgravity**](https://en.wikipedia.org/wiki/Microgravity_(album))

[**Pastahnik**](https://en.wikipedia.org/wiki/Patashnik)

https://en.wikipedia.org/wiki/Biosphere_(musician)

]]> 4632669 no no Fri, 24 Apr 2020 22:37:21 +0200 2020-04-24T22:37:21+02:00 43:14 https://hearthis.at/on-juanmi/on-danzoolana/ 4592548 no no Thu, 16 Apr 2020 19:10:17 +0200 2020-04-16T19:10:17+02:00 1:03:40