Artcore is pleased to announce the arrival of Label Cantroll.

Label Cantroll has been releasing downtempo, trip-hop, electronic and instrumental hip-hop releases since 2008. The roster includes over 50 bands and artists from all continents of the world. Some of the best known artists include Nordgroove, Asa Taura, Paradeigma, Decision Space, Plushka, Mr Peel, Zaranka, Ogi feel the Beat and Surmachina.

We have a chance to talk to Mark Shishlev, the founder and head of the label, and ask him some personal questions.

What was your motivation to create Label Cantroll?

In 2007 I started doing different underground music in Chelyabinsk, Russia. I was 17 years old at the time. The main directions were three: breakcore/speedcore, ambient and downtempo/abstract hip-hop. On the local city forum I posted my own tracks under the name Paradeigma and the spelling "Cuntroll". I decided to call my label that, first of all, publishing my own music and albums of friendly projects. In our city nobody was doing this kind of music. For context - Chelyabinsk has a population of 1.2 million people, it is an industrial city, with many hundreds of factories and enterprises from almost all sectors. Historically, there were few music bands here - even in popular genres. So I started to correspond on the city forum with different guys to find like-minded people. And there I found them! After that, decided to make some party extreme electronic music with the name "Cuntroll". The first release was issued on April 8, 2008, and further albums started to be issued monthly. This date is now the label's birthday. There were no streaming services - I published albums on two dozen forums and music sites with free mp3 files. I also registered on European music forums to correspond with different authors, a little later I came up with an idea to make a compilation with breakcore/speedcore music. Demos started coming in from unfamiliar guys from these forums. I didn't have big ambitions, but the compilation was put together. In parallel, releases in ambient and abstract hip-hop releases were coming out, members from different countries started joining. These three directions were relevant for me until about 2018-2020. Then, I decided to remove them, leaving only downbeat electronics (I mean: 

downtempo, trip-hop, chill-hop, beats, abstract hip-hop

). At the same time, I renamed the label to "

". So, don't wonder why I will use the label name with A instead of U.

The basic principles I've been following all these years:

- You can buy music, but you can also download it for free. Zip archive can also be downloaded on our website, all releases are available on torrents. The choice is up to the listener.

- For culture, not for money. Label Cantroll is focused on experimental genres. We want to be timeless, we don't make a trendy sound.

- I answer all the emails. Sometimes even the next day. It's an important principle - your question, a demo tape or a wish doesn't go unanswered.

- Traditions. The label has a traditional series of compilations, we give gifts for the best album of the year. There were some traditions that are in the past - weekly informative and entertaining columns that were published for ten years, but were closed in 2022 to focus on new areas of work.

- We connect people. Many of our residents come together to record collaborative tracks, we help with covers, and until recently, gigs.

- A clear plan of action. We write publicly about what the benefit of publishing on a label is, where the release will be published and what tasks we can help accomplish. An article is written about it with a specific list of actions. I don't think any label does that publicly?

As a label manager, did you strategically plan to partner with well-known international brands, or did it happen by chance?

I work with local and international brands - they can buy or borrow free music to use in their videos or projects. Our music is used in YouTube videos for brands: car brand Alpine (a subsidiary of Renault), smartphone manufacturer Doogee, football club Nice, Discovery channel and CGTN, mining and metallurgical holding UMMC, airline Azimut, GQ Germany magazine, as well as many local companies and dozens of bloggers. I publish these videos in a 

. Our music is open to everyone! It's more image promotion than commercial promotion. My task is to add music to as many resources, videos as possible. Besides, I believe that partnerships (with brands, content producers or streaming platforms) are one of the most effective ways to promote without a budget.

What's the key to make a music label sustainable?

The most important thing is to have clear goals. If your goal is to make money from music, then the main thing is to find potentially or already known artists. Exactly artists - those who will do shows, brighten their lives, lead every day social networks, perform at concerts and go on podcasts. I have a different goal, what I do is not a big commercial success. And that's okay - not everything has to sell well. It's something I chose to do myself. Ask yourself why you do what you do. What's your goal and what do you want to get out of it? Do you really need it? Or are you afraid to do what you really want to do? Everything has to fall into place. You have to learn to reject decisions that don't make you happier and that are not what you really want.

The second is the ability to communicate with people. Thanks to like-minded people, partners, and regular listeners, I have gained a lot of experience. Even the entertaining and informative sections I mentioned earlier - posts and texts were written at different times by people who wanted to do it free of charge and on their own.

Third - constant labor. In general, everything good in our lives - the final of hard and long labor. Do not give up, no matter what happens. Develop your business, improving your processes, step by step. I realized that I can play one game for a long time, do one thing.

Many people dream of starting to do something in life. And almost everyone waits for the right moment to do it. But when it comes, they wait for someone to give permission, advice, wave a flag, bless you, or ask to be part of your team. It rarely happens that way. So simply, do it.

Are you optimistic regarding underground music these days?

A few years ago, during the pandemic, I realized and experienced one thing - whatever we do - it may not be there tomorrow. The world, outside circumstances, or a new law in government - all of these things can take away what we strive for. Tomorrow your career, athletic accomplishments, musical projects, or health could be ruined.

One of the tenets of stoicism is to be ready to lose what you value and love.

We can make a lot of efforts to protect ourselves from all kinds of troubles. But no one will ever give a guarantee that things will only get better. Try to realize the value of what you already have, as it is not a given, everything can be deprived. To become happier, focus not on what you lack, but on what you already have.

Can you tell us a bit of your future plans for Label Cantroll ?

I want music to be played in movies and TV series. There is already one experience of synchronization into a TV series. My plan is to do such deals more often.

A few months ago, a new thread was launched. It's called EXTRA. It's basically a sub-label, but using the current infrastructure, options and name. There are no music restrictions on EXTRA, so I would like to work with young and talented authors who make interesting electronica, but also experiment with folk, hip-hop and other genres. The first release on the EXTRA stream has already been released - an 

Also, I'm always open to new collaborations with music platforms. And I'm glad to be joining Artcore almost at the start.

Are there artists you would love to have on Label Cantroll?

I never called any artists for a release. All the artists sent in their own recordings. Label Cantroll doesn't have an A&R department. The only thing is that sometimes I was invited to participate in compilations, and wrote to some artists. And the most surprising thing is that I almost always didn't get any answers. For example, recently I offered participation in Take a Trip to bands like Halou, SPC ECO and The Dining Rooms.

What are top 5 releases you would recommend as an introduction to the label's extensive catalogue?

At different intervals, we release review compilations that include the most interesting tracks from previously released releases. 

 These compilations will help you get an overall impression of the kind of music that is coming out on the label.I'm preparing part eight right now.I think I'll be able to upload them to Artcore soon. And if you want to listen to something right now, here are 5 good releases:

"Stronger than the Problems" by Ogi Feel the Beat 

How do you balance existing vs new artists?

We have on our label not only artists who have been making music for many years, but also newcomers. I have many times released debut albums from newcomers who don't have any social media pages.

Are music producers able to send you demos?

What should aspiring label managers know before starting their own labels?

1) Answer yourself the question - do you really want to own a label or is it better for you to be a producer or manager of one or more artists? These are different jobs. Think about your goals.

2) Determine your niche - what genre of music your label will represent. Or will you have no genre organising? What will your label look like visually?

3) Develop a marketing strategy and a detailed action plan to promote future artists. What can you offer them? It's not just about advertising here, but also about the opportunities that will draw people or companies to you.

4) List all the resources you need. And which ones you already have. What are your strengths and weaknesses? What specialists do you need to achieve your goals and what role will you have?

5) Uploading music to streaming is easy, but what other additional ways of earning money can you organise? Make a table, write down all your thoughts and attach any links to potential partners.

Interview with Mark Shishlev of Label Cantroll

Mark Shishlev, founder of Russian multi-genre Label Cantroll shares his philosophy and history of the label.

In celebration of Pride Month, we honour the remarkable & fabulous Wendy Carlos! 

Renowned for collaborating with Robert Moog on the first commercially available Moog synthesizer and for her groundbreaking soundtracks for the feature films "A Clockwork Orange" and "Tron." 

Despite her challenging journey through her M to F transition, marked by societal prejudices, Wendy persevered, often living in solitude for extended periods, yet continuing to create and innovate in the world of music.

Born in Pawtucket, Rhode Island, in 1939 to a music-loving working-class family, Wendy began piano lessons at age six. Unable to afford a piano, her father drew a keyboard on paper for her to practice. At just ten years old (!) she composed "A Trio for Clarinet, Accordion, and Piano." By age fourteen, she earned a scholarship to set up a computer, a rarity at the time. Wendy later attended Brown University, studying music and physics, where she struggled with societal expectations, trying to date girls while still living as a man.

After graduating from Brown, Wendy pursued a master's degree in music composition at Columbia University. Her fascination with electronic instruments grew, and she met Robert Moog at a conference, advising him on the Moog synthesizer. She suggested innovations like pitch variation sliders, a filter bank, and a touch-sensitive keyboard, which appeared in the 1970s model.

Wendy acquired her first Moog synthesizer in 1966, using it to perform classical music and create jingles. In 1968, she released "Switched-On Bach." Despite Columbia Records' low expectations, offering her only $2,500 upfront, the album was a massive success, becoming the second classical and the first electronic album to achieve platinum status in the United States.

In 1971, following the success of "Switched-On Bach," Wendy composed the soundtrack for Stanley Kubrick's"A Clockwork Orange," blending classical music from Rossini, Beethoven, and Purcell with contemporary pop tracks like "Singin' in the Rain."

The following year marked significant milestones for Wendy: she underwent gender confirmation surgery and released the pioneering ambient music album "Sonic Seasonings," which predated Brian Eno's "Ambient 1: Music for Airports" by five years. In "Sonic Seasonings," she combined natural sounds with synths to depict the four seasons.

After her surgery, Wendy spent several years in seclusion in her New York apartment. In 1979, she was featured in a Playboy interview that largely focused on her gender transition rather than her musical achievements, leaving her feeling betrayed.

In 1980, Wendy was invited by Stanley Kubrick to compose the soundtrack for "The Shining." Although Kubrick used only two of her pieces, the remaining compositions were released in 2005 in an album titled "Rediscovering Lost Scores."

That same year, Disney hired Wendy to compose the soundtrack for the 1982 science-fiction film "Tron." Using digital and analogue synthesizers alongside recordings from the London Philharmonic Orchestra, the University of California choir, and the Royal Albert Hall’s pipe organ, Wendy created a rich, less overtly electronic score that remains popular today. This project marked her first collaboration with her partner Annemarie Franklin, blending the Moog synthesizer with the rare Crumar General Development System (GDS) digital synthesizer.

Following "Tron," Wendy released several more studio albums, including "Digital Moonscapes" in 1984. Inspired by astronomy, the album featured music written for an orchestra or its electronic equivalent, simulating a symphony orchestra using advanced synthesizers like the GDS and Synergy Digital Synthesizers. Wendy dubbed her ensemble the LSI Philharmonic, referencing "Large Scale Integration" computer chips, creating the first significant digitally synthesized orchestra controlled by a single composer.

Wendy also collaborated with comedic musician 

 on a parody of Prokofiev's "Peter and the Wolf." Embracing the opportunity to showcase her sense of humour, Wendy re-orchestrated the music with a "MIDI orchestra," marking her initial use of digital interface technology.

Now 84, Wendy Carlos remains active and can be found on her retro-style 

 She has a passion for cats and photographing 

, for which she travelled often to capture them.

Unfortunately, most of Wendy Carlos's music is unavailable on major internet platforms due to her personal choice.

Wendy Carlos - Female Pioneers of Electronic Music

Discover Wendy Carlos' groundbreaking music journey and untold struggles behind iconic soundtracks like "Tron" and "A Clockwork Orange"!

Vaporwave, it’s not just a genre of music, it's also a genre of art. So, what exactly is Vaporwave? In short, Vaporwave is an internet movement, started in 2010, that samples consumerist media and artificial pop music. It also celebrates nostalgia from the 80s, 90s and even 00s. Artists go to extremely creative measures where they get to sell their music in different and unusual forms, like for example cassette tapes, VHS, floppy disks, mini discs, and even Game boy advance cartridges. If you got a couple of minutes, 

The visual aesthetic includes colours like pink & turquoise, 3D geometric shapes, palms & dolphins, Japanese & Western anime, classical sculptures & neoclassical art, CRT monitors & Windows XP. Vaporwave includes many famous sub-genres such as Future Funk, Barber beats, Dream Punk, Slushwave, Mallsoft & VHS Pop.

So, today we have this special occasion to have a talk with Artur, the owner of Miami Palm, an exclusive Vaporwave label.

Artur, can you tell us how you discovered the Vaporwave genre?

I discovered the genre during the beginning of COVID pandemic, I was listening to a lot of Synthwave music and eventually ended up in the V A P O R W A V E. Anyone who is into electronica should definitely take a dive into the genre.

What are the most notable characteristics that you like about Vaporwave?

I like the slow tempo and the distortion that the genre brings, you start to experience feelings you’ve never had before such as alienation, nostalgia, peace and Deja-vu.

Do you listen to Vaporwave all the time or do you have space to listen to other genres of music?

You’re right, I do listen to Vaporwave all the time. I listen to it when I work & study, but it is a huge genre, and I haven’t even fully yet explored all of it's sub-genres alone. Every day I learn something new about it and that is what keeps me fascinated.

Is there is a dedicated Vaporwave festival?

Yes, one that I can think of right now is the Flamingo Fest by My Pet Flamingo label. I’ve heard also some happening in Florida.

As a Label owner, how do you recognize a new Vaporwave artist, can you do it without the use of the visual aesthetics?

The label is open almost to any vaporwave artist. However, there are rare circumstances when I must refuse a submission simply because it just doesn’t fit the label aesthetically. Visual aesthetics is a critical element because there is a vibe or a connection between your album’s music and its art cover.

Of all the Vaporwave subgenres, can you tell us which are your favorites?

I love Future Funk, a very energetic genre that makes you want to party on a sunny day and wear Hawaiian shirts. I also like Junglewave or as I’d like to call it, Pizzawave. A subgenre that got very famous by an artist called Pizza Hotline. Here are some of my favorite albums of all time:

- LEVEL SELECT by Pizza Hotline
- 大​理​石​の​フ​ァ​ン​タ​ジ​ー by haircuts for men
- ネ​ク​ロ​マ​ン​サ​ー by macroblank
- 夢​の​砂​漠 by desert sand feels warm at night

Do you think that there will be an evolution of the genre, in which case, where do you think the genre is going these days?

The genre does evolve, new sub-genres, labels, and artists get born or get suddenly a massive attention at some point which sparks a huge growth in fanbase.

What are the plans for Miami Palm in the future?

We’re preparing to start releasing vinyls soon, we just need to get everything in order so we can run them smoothly. Definitely in the upcoming months we will be releasing more often tapes. There are also discussions about starting a new sister label possibly in Phonk/Hip Hop genre.

Interview with Miami Palm Collective

We chat with Vaporwave label boss Artur of MIami Palm Collective.

On the 13th and 14th of April, the iconic Rich mix will host the Crux AV Festival. This weekend-long event promises a diverse programme of audiovisual performances, workshops, and jam sessions that will leave you inspired and captivated.

As the sun sets on Saturday and Sunday evenings, the stage comes alive with a lineup of both emerging and established artists showcasing their audiovisual talents.

During the day, the festival offers a range of workshops and talks for those looking to dive deeper into the world of audiovisual arts.

Whether you're a seasoned artist or a curious beginner, there are opportunities to participate in open-mic-style electronic music performances or join in on Sunday jam sessions.

The festival truly caters to all levels of interest and expertise, making it a must-visit event for anyone passionate about the intersection of music and visuals.

's show, there is something for every art enthusiast to enjoy.

 will lead a workshop on Immersive Sound. Renowned for her electrifying performances, she has become a prominent figure in the electronic music scene, captivating audiences worldwide.

 a project by the Disability Music charity Drakemusic.org will be hosting a "taster session." Designed as a platform for both Disabled and non-disabled musicians, technologists, and makers to share practices and delve into innovative accessible instruments, this event offers a unique opportunity for collaboration.


The one-hour DMLab session will feature a performance by award-winning artist 

, followed by a panel discussion on accessibility in music. Joining Elizabeth for the discussion will be artists John Kelly and Andre Louis.

Don't miss out on the chance to attend the Crux AV Festival, a hub of creativity and inspiration.

https://richmix.org.uk/events/crux-festival-of-audiovisual-performing-arts/

Trip Through Audiovisual Arts: Discover the Crux AV Festival

Mark your calendars for April 13th and 14th to experience the Crux AV Festival. We list our picks and how to get tickets.

When I was a kid I didn't know anything about Delia Derbyshire or the BBC as I grew up in Italy. But, I knew for sure that I was intrigued by the Doctor Who theme track and still I am.

Delia Derbyshire was a genius. She had a knack for both mathematics and music and her career has been consistent and in line with her aspirations, but with many difficulties for the same old reason: she was a woman. Delia was born in Coventry, England, in 1937.

Her early education at Coventry Grammar School and Girton College, Cambridge, where she earned a degree in mathematics and music, set the foundation for her illustrious career.

In 1959, she was denied a position at Decca Records because of her sex.

She didn't give up, so Delia took a detour to work for the UN in Geneva before returning to London to work for music publishers Boosey & Hawkes.

In 1960, she joined the BBC as a trainee studio manager. Her talent and dedication saw her excel in this role and joined the fledgling Radiophonic Workshop.

This marked the beginning of what is still referred to as the Golden Age of the Radiophonic Workshop.

Delia's contributions at the Radiophonic Workshop were revolutionary. 

As the sole member with advanced music qualifications, she brought an innovative approach to sound and music production, leaving a lasting impact on her colleagues. Her iconic creation, the Doctor Who theme, remains one of the most recognisable TV themes to date, crafted in 1963 in collaboration with Grainer. However, bureaucratic hurdles at the BBC hindered Grainer's attempt to credit Delia as a co-composer, as the workshop's anonymity was preferred by the organization.

Delia's Style at The BBC Radiophonic Workshop

She blended both tangible sounds from real objects and recorded sounds through the use of 

techniques. Delia harnessed real-world objects like bells, bottles, and clocks from the BBC Radiophonic Workshop's eclectic collection. One standout discovery was the resonant chime of an old industrial metal lampshade, a cherished found sound.

Beyond physical objects, Delia explored the electronic test equipment inherited from other BBC departments. In the absence of synthesizers in the early 1960s, the Workshop ingeniously crafted a "keying unit." This contraption comprised calibrated signal generators tuned to musical notes and an octave keyboard fashioned from keys salvaged from a dismantled piano.

Delia's resourcefulness extended to magnetic tapes, where she expertly synchronised machines manually during mixing or used a remote control box for simultaneous starts. The recorded sounds, once captured on tape, became the building blocks for her compositions. Delia's creativity soared as she manipulated these sounds, employing techniques such as cutting and splicing the tape to unlock a myriad of exciting possibilities.

1965: How DELIA DERBYSHIRE made the DOCTOR WHO theme I Tomorrow's World I Music I BBC Archive

Her on-screen credit finally came with Doctor Who's 50th-anniversary special, The Day of the Doctor. Delia's initial arrangement remained the main theme for the first seventeen series, spanning from 1963 to 1980. However, subsequent re-workings over the years didn't sit well with her, as the only version she approved of was the original composition.

Delia's talent extended beyond the confines of the Radiophonic Workshop. She was called upon to create music for drama and documentary programmes, science, arts and educational programmes, and her abstract style was well-suited to these tasks.

Her work with Barry Bermange 1964–65 on the four Inventions for Radio is perhaps the best instance of her intuitive way with soundscaping. It was a series of collages of people describing their thoughts on dreams, belief in God, the possibility of life after death, and the experience of old age, voiced over an electronic soundscape.

She also collaborated with renowned composers such as Sir Peter Maxwell Davies, Roberto Gerhard, and Ianni Christou, doing sound treatments of their orchestral music. She was also an assistant to Luciano Berio at the 1962 Dartington summer school.

Despite facing criticism at the Workshop, (she was told that her music was 'too lascivious for 11-year-olds' and 'too sophisticated for the BBC2 audience) Delia found other avenues to express her creativity. She worked in film, theatre, 'happenings', original electronic music events, pop music and avant-garde psychedelia. She also encouraged the establishment of private electronic music studios like 

She left the BBC in 1973 and worked briefly at Hodgson's Electrophon studio where she contributed to the soundtrack to the film The Legend of Hell House.

She also composed a score for Yoko Ono's short film Wrapping Event, but unfortunately, the copy of the film with the soundtrack got lost.

She stopped creating music in 1975 and worked, in different places such as a bookstore and an art gallery.

She then back to music in 2001 providing sounds used as source material to 

Sychrondipity Machine (Taken from an Unfinished Dream

), a 55-second track for the compilation Grain: A Compilation of 99 Short Tracks, released by Dot Dot Dot Music. She died before the release and was credited in the compilation.

Sadly, her latest years were difficult as she struggled with alcoholism. She died of cancer, in July 2001, when she was 64.

Delia Derbyshire's talent still resonates and influences the music industry. Her works are still broadcast on radio and TV, and she is often credited and covered by many bands from Add n, Sonic Boom, Aphex Twin, The Chemical Brothers and Orbital.

Here at Artcore, we strongly believe in inclusivity and we value female and non-binary talents; upload your music 

Female Pioneers of Electronic Music - Delia Derbyshire

We continue our learning journey about the female pioneers of electronic music with Delia Derbyshire, the great British trailblazing composer.

In our staff picks series, we'll be highlighting tracks that stood out to us, either because we loved them, they introduced us to something new or they pushed a boundary that needed pushing.

This is our selection for February. We hope you find something in the list that resonates with you. 

Hard techno with rapid-fire vocals and acid reece synths.

Deep, glitchy psy-trance, full of distorted stabs and disorienting burbles.

Soulful chillout electronica. Just beautiful.

UK garage as seen through the eyes of Frank Zappa - Moody vocal samples from the man himself, and a progressive, experimental feel.

I'm a sucker for good original breakbeat music, and this track has a bit of everything

Bouncy tech house with an old-skool vibe.

Crunchy, downtuned progressive metal with orchestral elements. Slayer guitar riffs over Fear Factory-style drumming.

Soulful liquid drum and bass combining echoing vocals with driving breaks and synthy leads

Artcore Picks February

A selection of hand picked tracks from our editorial team  - this month curated by Dan Howe.

At the recent Synth Fest UK, we had the opportunity to chat with the lovely Gaz from Sonic State and explain how Artcore is providing artists and labels with an alternative avenue to publish their music and reach a wider audience.

Watch it here: 

https://sonicstate.com/news/2023/10/09/synthfest-uk-23-artcorecom-bandcamp-alternative

Sonic State @ SynthFest UK

We chat with Gaz from Sonic State and explain how Artcore is providing artists with an alternative avenue to publish their music to the world.
