sagats & madi grein

upc/barcode: 827170534162 Release: 31st March 2014 Tracklist: A side: One Month Off, The Wall B side: Cave Dwellings, Marker Shop, Viewpoint The third release for Stroboscopic Artefacts in 2014, SA22 is the new cut from Italian producer Chevel. 'One Month Off' is an EP built around the abstract themes of construction, starting with demolition and ending on perspective. Opening track 'One Month Off' combines a warm thump with skittering percussion. Ragged cymbals build pressure. As the track continues to strut, through insistence as much as confidence, it gives out. 'The Wall', next up, is perhaps misleadingly a more unsettled affair. There is little linear impetus, a panoply of syncopated beats and foreign noises from the undergrowth. This is a wall of multitudinous surface, a front concealing the unsettled and unsure within. 'Cave Dwellings' is a more organic construct, building from the traditional basics of a kick drum and hi hat. Like the opening number this is a confident piece, but the Caves resonate with greater darkness and menace. The kick squelches at the bottom, the snare drips; glistening echoes bound through the chamber. 'Marker Shop' is fourth up, uniting disparate urges and glorious moods. The beat is uncomfortable, and repeatedly gives way. The record closes on 'Viewpoint', a piece of warmer perspective. It is not, however, a calm scene: in many ways this is a view of something more unsettled than what has come before. It is both jungular and industrial, an uncompromising marriage of nature and noise. Chevel lands, then, on SA, with a discussion of construction and constructs. Out on March 31st.

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WAS - Word and Sound Medien GmbH
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Germany
Contact: gpsr@wordandsound.net

Tracklist: A / Lucy - Rema Rema Canoero B1 / Donato Dozzy - OZ Taped B2 / Sendai - Inverse Array 1 Short info: After four technically and aesthetically impressive salvos of eclectic electronics, the 5-year anniversary compilation from Stroboscopic Artefacts reaches its terminus with this new release. Worrying about whether or not the series "goes out with a bang" seems unnecessary, since the series has always felt pleasingly unconventional, and thus not too concerned with the conventional act of providing listeners with a grand finale. Simply put, this high-quality 'retrospective' series has been more about challenging the S.A. constellation of artists to forge new paths than it has been about nostalgically revisiting the past, and so it's better to approach this last installment as a statement on the past informing the future. Donato Dozzy, Lucy, and the Sendai duo are the parties responsible for bringing us the final report of the series. Those already familiar with these artists' past works for S.A. will understand immediately that these artists are not all cut from the same cloth, and those who didn't know that will soon find out. As with the previous 'anniversary' records, the intent here is to synthesize significantly different sounds into a uniform or seamless listening experience, to the point where the record seems more like a genuine collaboration between the artists than a mere "sampler" record offering eclecticism for its own sake. Donato Dozzy's entry here is very much in keeping with the spirit of his S.A. release Terzo Giorno. It is as propulsive as any of the best techno music of past decades, exhibiting a marked indifference to the inessential and a knack for smashing together percussive atoms of a thick and bombastic quality. To do so without punishing speakers completely into submission or turning everything into a fatiguing mess is more difficult than it sounds, but Dozzy is certainly up to the task here. The sole synth sequence appearing in the mix behaves like another component of the drum kit, testifying to the enthusiasm for ambiguity that this artist, label, and series of releases share. Sendai's recent work - particularly their Monad XVII EP released for the same label - has set a very high standard for what could be called 'non-orthogonal' techno, i.e. a rhythmic electronic music that impresses upon the listener like an imaginary city built up from topological novelties and huge undulating structures. Their contribution here, though more insistent than the chimerical soundscapes to be found on the aforementioned outing, nevertheless keeps the duo's reputation for sonic precision intact - doing so with a highly energized low-end bounce, half-submerged brooding basslines, and cleverly twisted hybrid sounds. Lucy's track, clocking in at eleven and a half minutes, is suitably vast, and composed with the inquisitive skill of a seasoned documentarian. While some might see such an epic track as an attempt by the label boss to remind everyone just who 'runs the show' at the label, Lucy's piece manages to be highly engrossing without upstaging either Dozzy or Sendai. Guided along by an overwhelming metronomic thump and a slightly hesitant organ refrain, this tense track sends the listener hurtling deeper into inner space with the addition of each new sonic element. Panning bits of tunnel ambience, distorted snaking figures, and metallic ephemera all make bold entries into the total sonic scenario and - as if reluctant to leave - undergo a variety of tonal and timbral permuations before eventually receding again. Not content to simply end this adventure with a slow fade into silence, Lucy makes it culminate in a brief chaotic whiteout that might bring to mind the sensation of watching the on-screen projection of a filmstrip melting. Now, having noted that conclusive statement, the Stroboscopic Artefacts team knows well that finding the "ultimate" sound would mean the end of sound creation altogether. They are to be commended for not striving towards that end point, and for releasing a "final chapter" that has little to do with finality, instead suggesting more and better creations instigated by the changing circumstances in the artists' lives.

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WAS - Word and Sound Medien GmbH
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Germany
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UPC 827170563568 Release: 08.09.2014 Tracklist: A1 - Rrose - Drowned by Sight A2 - Perc - Tri-City B1 - Pfirter - Atman B2 - Lakker - Pier Short info: Stroboscopic Artefacts celebrate five years in business with a series of special anniversary releases, featuring selected artists from the SA story-so-far who have strongly shaped the label's identity. In 'Drowned By Sight', Rrose sets the tone for the record with a deep and twisting take on club techno. A thick, low-end groove rolls out at unhurried pace, and widescreen, hissing synths fill the high-end. The track's brilliance lies in its tense, narrative arrangement: a five-minute, detailed climb followed by euphoric release as the drums fade away. Perc's 'Tri-City' is a more direct assault on the dancefloor. The kicks pump like pistons, held together by weighty sub bass, cymbals and claps. The defining feature, though, is the haunting piano keys that emerge in the breakdown. Set against the harsh textures Perc is known for, the keys sound especially vivid and transcend the track beyond standard peak-time fare. Flip the record to find Pfirter's exceptional 'Atman'. This track comes from the more reserved end of Pfirter's discography, deriving its impact from titanic sound design rather than brute muscle. The concise range of elements interact both tonally and rhymically to create a masterful piece of music that's fit to move both body and mind. Irish duo Lakker provide the closing track, 'Pier'. In typical style, they re-imagine classic IDM influences into something totally unique, where mangled vocals sit amongst eerie atmospheres and drones. Skipping along way above traditional techno tempo, 'Pier' is the most experimental offering on this record, and represents a key part of the Stroboscopic sound. 'V - Five Years Of Artefacts - Chapter One' provides a well-rounded snapshot of what Lucy's label has explored since its conception. These are four deeply physical, dancefloor cuts, but ones that prioritise the importance of challenging norms and creating something new - a testament to the strength of the SA roster.

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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.net

UPC/barcode: 827170542563 Release: 12.05.2014 Tracklist: 1 - Il Canto Della Maga 2 - Il Canto Della Maga Part II 3 - Terzo Giorno 4 - Sotto Ma Sotto The new imprint for Stroboscopic Artefacts: Terzo Giorno - or Third Day - by Italian producer Donato Dozzy. It is an EP of great textural dexterity, traversing the moving and the misanthropic. First track 'Il Canto Della Maga' presages the onset of Part II's kick drum with mordant wind chimes, tinkling outside a house of pain and disturbance. The chimes reverberate around impressions of capacious depth - a distant factory whirring, lorries creeping in a tunnel - and that depth is incessantly, resolutely emphatic. And on that goes to '...Part II', an immediate thrust into the deepest corners of techno. You can hear the sweat on the walls, the rumble in the speakers, the almost jubilant high-end synth rubbing against your skin. Vocals and/or metallic manipulation pour in half-way in. And then, as if summoned by the chimes outside the house, cease slowly. The third eponymous track is another made for the floor, and has a reasonably friendly upper line. Do not be fooled, however: a snarling squelch gives way to a scarily saccharine synth, incising with a jab two times a bar. A funkier beat slowly emerges from a distinctly off-beat one, bringing the piece to a natural, if not nice, conclusion. The final track, 'Sotto Ma Sotto', comes in like a train with an alarm going off. Its machine-like run, jumpy in tone and beat, is as delicate as its kick is deep. The alarm, meanwhile, fails to err: it is determined and charming, a call for heavenly climes and ecstatic moods. This is a wonderful track, built on insistence and executed with precision. The chimes having run out of puff, this is a faultlessly incessant record. It is tempo up, both feet to the floor.

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WAS - Word and Sound Medien GmbH
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Germany
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UPC 827170136328 Release 17.02.2014 Tracklist 3x12 LP : A1 - The Horror A2 - Leave Us Alone A3 - The Self As Another B1 - Human Triage B2 - Laws and Habits C1 - Follow The Leader C2 - Catch Twenty Two D - The Illusion Of Choice E1 - We Live As We Dream E2 - All That Noise F1 - The Best Selling Show F2 - Falling (feat. Emme) Churches Schools and Guns. A provocative name for a provocative album of techno from one of the genre's most consistently intriguing producers, Lucy. This, his second solo album, pushes forward from his debut full-length, 2011's Wordplay for Working Bees, and firmly establishes him in a league of his own. Over the past few years Lucy's label, Stroboscopic Artefacts, has became a watchword for techno's vanguard - providing a platform for new artists pushing at the genre's boundaries and a harbor for some of the most experimental work from names you already recognize. Lucy's progress as a producer has followed that same trajectory, moving from relatively straightforward dancefloor-driven material to deeper, murkier places. Churches Schools and Guns continues on, a collection of 12 tracks that sound - more than anything else - like the act of searching. Vital Sales Points: - Extensive Global Promo - The Album will be announced on Resident Advisor on Dec 4th - Artwork from Oblivious Artefacts

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Germany
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Zeitgeber is a German word that, loosely translated, means "synchronizer." It's also the new project of Electric Deluxe head Speedy J and Stroboscopic Artefacts' boss Lucy. Both artists make some of the most forward-thinking techno around, but Zeitgeber sees them pushing together even further into uncharted territories. Freed of dancefloor considerations, the duo have constructed an album that breathes with life and rewards close listening. That's no surprise when you consider the artists involved. Speedy J has been around from techno's very beginnings. Based in Rotterdam, his Electric Deluxe label has consistently released techno that has gleefully tugged at the constraints of the genre. Lucy, on the other hand, is a newer name to most techno fans, but his Stroboscopic Artefacts label has quickly made a name for itself as one of the leading purveyors of the stuff. That's by design, however. Because when Zeitgeber do let the light in, it's all the brighter. You'd expect nothing less from two of the most talented producers in the techno world. The culmination of 18 months of work, Zeitgeber is an album that is a collaboration in the best sense. Two artists urging other to new heights and new sounds. Tracklist: 1 - Closely Related 2 - These Rhythms 3 - Body Out 4 - Skin 5 - None Of Their Defects 6 - From Here 7 - Now Imagine 8 - Before They Wake 9 - Display 24

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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
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UPC: 827170493568 Release: 15.04.2013 Deluxe packaging with discobag 300g cardboard + hidden innerprint (visible from the hole when you take out the vinyl from the discobag). Tracklist EP: A1 - Tempered Inmid A2 - Dimen Andesso B1 - Nuis Octury B2 - Ezerb Altren For SA017 Kangding Ray brings an EP defined by dexterity: Tempered Inmid. It is a record which balances the deepest drum with the most celestial synth, weaving a legend of both menace and tenderness. Possessed of an underlying hiss, the title track surges to dampen its muscular beat with a fabric of warm melodies. The discerning 'Dimien Andesso' is the Tempered's partner, shuffling with a considered high-end and off-kilter pads. On the flip KR ramps up the pace in introducing the mendacious thumps of 'Nuis Octury', which he twists into a fever. But emblematically KR once more tempers. Closer 'Ezerb Altren' conjures the image and emotion of an underground lake: depth, resonance, and total, glacial serenity.

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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
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UPC: 827170128521 Release : 18.02.2013 Tracklist CD: 1. Vibration 2. Truth 3. Life 4. Path 5. Circle [feat. Edit Select] 6. Death 7. Transfer [feat. King Cannibal] 8. Arrival 9. Unbroken Continuity 10. Experience [feat. Øe] 11. Existence 12. Iridescent Fragment 'You Are Eternity' is the third album to be released on Stroboscopic Artefacts and comes from two of the minds who have shaped the label since its earliest days: Dadub. Recorded over a period of two years, but containing fragments and ideas that stretch back a decade 'You Are Eternity' has been mixed together to form a continuous piece rather than twelve discreet tracks. The effect? An immersive journey that encompasses the descriptors brutal, ferocious, ambient and aqueous. The album title hints at the almost spiritual origins of the album, Dadub's search for music that goes further, that spreads away from the confines of the time and place in which we find ourselves, music that seeps into the cavern of the eternal. Tucked into 'Vibration', the very first track, is a sample of the Afrobeat pioneer Fela Kuti. He leans close and says: Music is a spiritual gift, and those who misuse it, die young. Sage words. 'You Are Eternity' is a record that refuses to take any chances, Dadub are clearly producers intent on being around for quite some time. Vital Sales Points:

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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.net

UPC: 827170136229 Release: 17.02.2014 Tracklist: 1 - The Horror 2 - Leave Us Alone 3 - The Self As Another 4 - Human Triage 5 - Laws and Habits 6 - Follow The Leader 7 - Catch Twenty Two 8 - The Illusion Of Choice 9 - We Live As We Dream 10 - All That Noise 11 - The Best Selling Show 12 - Falling (feat. Emme) Churches Schools and Guns. A provocative name for a provocative album of techno from one of the genre's most consistently intriguing producers, Lucy. This, his second solo album, pushes forward from his debut full-length, 2011's Wordplay for Working Bees, and firmly establishes him in a league of his own. Over the past few years Lucy's label, Stroboscopic Artefacts, has became a watchword for techno's vanguard - providing a platform for new artists pushing at the genre's boundaries and a harbor for some of the most experimental work from names you already recognize. Lucy's progress as a producer has followed that same trajectory, moving from relatively straightforward dancefloor-driven material to deeper, murkier places. Churches Schools and Guns continues on, a collection of 12 tracks that sound - more than anything else - like the act of searching.

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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.net

UPC: 827170477469 Release : 21.01.2013 Tracklist EP: A1 - Death (Lucy Remix) A2 - Path (Lakker Remix) B1 - Life (Rrose Remix) B2 - Existence (Kangding Ray Remix) Preternity' is a vinyl that collects together four of the most dynamic artists in electronic music delving into tracks from Dadub's forthcoming album 'You Are Eternity'. Dadub's album positions itself as part of an eternity which is forever recurring and in this context Lucy, Lakker, Rrose and Kangding Ray's remixes emerge as parallel versions of the original tracks. Revolving around the axis of 'You Are Eternity' the artists use analogue machines and digital devices to either encode or decode Dadub's vision. SA016 is preoccupied with sounds that point to our most basic assumptions. It's a collection of tracks that are determined to ask questions even if they can't really be answered. All four artists selected the Dadub track that they wanted to remake, and what has been pressed to vinyl are part instinctive reconfigurations and part reflected rethinkings of that source material. This vinyl is a unique look at the processes of four of electronic music's most keen experimenters and a moreish taste of what's to come from Dadub's debut album, 'You Are Eternity'. - Album launch: Dadub Live @ Berghain 16.02.2013

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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.net

With Lucy creates a blueprint, not just the departure point for the full length format according to Stroboscopic Artefacts, but he also lays down new possibilities for the techno album. Refusing the obvious 4/4 route, Lucy traverses the widest possibilities of electronic music. ‘Wordplay for Working Bees’ encompasses IDM that leans towards drone, puckering, dub-filled techno and ambient in its most oblique forms. The beloved character of Lucy’s DJ sets, the way he layers tracks to find unique timbre and tone, is reflected in his studio approach. Lucy’s debut album results in the most delicate and delicious juxtapositions, as the unexplained and unexpected tangle together in the ear. The search for hybrid structures begins with ‘Thear’. Through Stockhausen’s words Lucy hints at a manifesto: Whenever we hear sounds we are changed, no longer the same. The record is textured with riddling vocals –be it the slither of a UN summit speech to heard on ‘Eon’ or the wisps of Le Corbusier on ‘Gas’— and none are used with idle intent. Just as on ‘Eis’, where the samples appear to be engaged in discussion but the thread of their argument is lost in the granular synthesis, the tracks are abstracted enough to provoke your own interpretations and critical judgements. The vocals’ inclusion gives rise to questions, and the ambiguity of ‘Wordplay for Working Bees’ creates an architecture that facilitates debate. It’s not just escapist or hedonistic dance music, but a concerted, dissonant effort to challenge the listener’s preconceptions. David Toop’s Sinister Resonances can certainly be heard. This mood of provocation with no certain resolutions is a fitting description of ‘Es’. It’s a track with a long half life; it resonates, poised and pertinent. ‘Es’, the German for ‘it’, is an apt title for the indescribable mood where the ecstatic meets the melancholic. It’s hard to know what this ‘it’ is, but ‘Es’ transposes it perfectly. Amid these ambient, dubby tracks it’s rare and also somehow exotic when the 4/4 techno of ‘Bein’ does emerge. Equally ‘Torul’, which sounds as if it samples the swinging of a meat hook, has the potential to be devastating on a big sound system. To close the record ‘Ter’, with its pattering percussive-line full of hypnotic persistence, is a stunning ending. It seems to be the sound of melting ballerinas. As a body of work it’s cohesive and impressive, a result of Lucy’s process. With the release of the very first vinyl on Stroboscopic Artefacts he began laying down the inital sounds for the album. Over the label’s first year he worked across all eleven tracks. In a way the record charts the development of his sound and the strengthening identity of his record label. It’s certainly not a portrait of the artist, it’s a landscape. Composed as it is of field recordings from parks, streets and Lucy’s apartment, it’s difficult not to see this as --at least in part-- a depiction of Berlin. ‘Wordplay for Working Bees’ is certainly influenced by the sounds coming from Berlin’s clubs, galleries and forgotten pockets. Lucy holds a mirror up to the Hauptstadt, only to distort and redefine its reflection. The abstraction and processing of the album’s subject matter has a painterly quality and it’s evident that in creating ‘Wordplay for Working Bees’ Lucy slaved with technology to master it so brilliantly. Tracklisting: 1- thear 2- tof 3- bein 4- gas 5- lav 6- eis 7- torul 8- eon 9- es 10- mas 11- ter

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WAS - Word and Sound Medien GmbH
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Xhin's debut album on Stroboscopic Artefacts, 'Sword', showcases the breath of his vision. As the second full-length release on Stroboscopic Artefacts, 'Sword' stretches the remit of the label's identity ever further. Produced and recorded in Singapore, Xhin plucks sounds from the outer edges of electronic music and fuses them together. Xhin's approach revels not only in a hybrid sound palette but it's also an album designed for multiple contexts. It’s a record typified by duality. Xhin's process seamlessly traversed analogue and digital production, and 'Sword' harbours electronic music that ranges from brutal club sounds to deep and delicate murmurs. It's clear from the way the album is crafted and layered that Xhin is a skilled sound designer. The tracks seem to have been worked on from a 360o perspective. His muse? The void. But rather than soundtracking the abyss, 'Sword' is a strategy, an attempt to negotiate a way out. Part of the answer that he proposes abandons the shadowy recesses of melancholy in search of the ecstatic. 'The Secret Closet' depicts a dream state in frosted tones and icy ambience that is returned to again with the discordant jangles of 'Inside'. 'Wood' picks up the motive once more. At the kernel of 'Wood' is melody that Xhin composed on the piano and then digitally processed into a state of bliss. However, 'Sword' refuses to languish in a romantic hinterland and the ambience is off set by aggressive, weighty cuts. 'Fox and Wolves' is Xhin ripping into any nostalgia that opening track 'The Secret Closet' promised. Equally 'Teeth' gnashes and writhes over a bed of deep beats. 'Vent' is fortified with metallic rasps and built from the droning aggression that characterized Xhin's early Stroboscopic Artefacts releases. Even at its darkest, its most violent, 'Swords' envisions the club as a place of refuge. Proposing a collective acknowledgement of the void, where dancing fends off its grip, and realization is paradoxically escapist. 'Sword' could not be more aptly titled. Xhin creates allusions with track titles that snatch images from a post-modern fairytale: woods, wolves, foxes, wardrobes. Xhin appropriates the fairytale hero's sword and the weapon becomes symbolic of a struggle, a tool against the void. A way out of dystopia. Journeying to the crispy cusp of experimentation and musical questioning, 'Sword' is one of those rare creations that emerge when a producer has absolute artistic freedom. The 10 tracks navigate parallels and paradoxes allowing Xhin to cut a deft mark across the album format. Tracklisting: 1 - The Secret Closet 2 - Fox and Wolves 3 - Teeth 4 - Insides 5 - Wood 6 - Medium 7 - You Against Yourself 8 - Vent 9 - Foreshadowed 10 - This Is What You Drew While You Were Half Asleep

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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.net

SA010 presents three uncompromising visions from Xhin, Go Hiyama and Donor. A1 is Xhin’s aggressive return to wax on SA. ‘Hepta’ is a gnarling, snarling tale that erupts into acrid broken beat. This track comes from Xhin’s new studio sessions, and it anticipates the coming of his most ambitious project yet. B1, ‘Tasu’, comes from a new addition to the SA fold, Go Hiyama. ‘Tasu’ is perfectly swung peak-time techno and a foretaste of the Monad chapter that Go Hiyama is currently crafting. Donor’s flipside, ‘Lapse’, shares the deep atmosphere that permeated his Monad II. While hi-hats sneak into the foreground and the background is punctuated by murmuring vocals, ‘Lapse’ gathers velocity around the weight of its bassline. SA010 is concluded on digital by Markus Suckut. His hands transform ‘Hepta’ into an essence, unravel the threads of ‘Tasu’ and in looping the vocal that’s buried deep inside Donor’s ‘Lapse’ he unleashes something that’s mesmerizingly existential

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On SA014 Xhin and Perc explore the savage side of the dance floor with four punishing tracks. The EP is sliced open by 'She's The Disease'. Xhin's A1 is saturated with details: strange metallic scrapes, squelching pads and beats that constantly push to the surface. A2 'Blinding Truth' is a master class in dense, industrial textures. The track swoons and swoops in and out of focus revealing Xhin at his shadowy finest. On the flip side of the wax Perc's 'Forge' is built around no-nonsense broken beats and layered with eerie, granulated sounds. The key to 'Forge' is counterbalance, Perc volleys sounds off one another, shifting the atmosphere between strictly industrial and sharply glacial reference points. The EP is closed as darkly as it began with 'Kater'. Atop stabbing beats Perc stacks strange reed tones, wisps of a conversation held far in the distance and split second samples that could have been prised from an opera. 'Kater' is a production that is brilliantly constructed: these sounds shouldn't necessarily work together, but their combination is brutally good. SA014 showcases two of Stroboscopic Artefacts' core artists using experimental sound design to fortify productions that are more that capable of destroying the dance floor. SA014 wa craftily mastered by Artefacts Mastering, Berlin.

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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
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Lucy’s ‘Banality of Evil’ EP teases apart the dark sides of human psychology and lays them down as fractured, angular tracks. Inspired by Hannah Arendt’s writings on conformity and totalitarianism SA013 makes for provocative listening. ‘Superior Orders’ is an off kilter introduction: Lucy took synth lines that Roll The Dice crafted in Stockholm and broke them down, buckling the lines and revealing their malevolence. ‘Stanford Prison’ layers wistful top lines over driving base creating a fluid, transitory atmosphere. ‘Milgram Experiment’ opens with a beautifully simple sequence and splinters into deep, warm dub. The track includes voices, but these are not catchy euphoric vocals, instead a voice repeats: ‘I began to feel that I was losing my identity’. The tracks don’t aim to soundtrack the experiments and theories of their titles, instead they act as a point in case.

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WAS - Word and Sound Medien GmbH
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Germany
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With SA012 Dadub carefully collate legacies of philosophical thought and transpose them into a brilliantly deep EP. The vinyl opens with ‘Perseverance’ a slick slice of bass that writhes and twists around a syncopated core. On A2 ‘Temptation of Maya’ seizes at the act of perception and what is captured is perfect for the mellow confusion of a Sunday morning. On the flip side the search for transcendence goes further with ‘Beyond the Veil’ which crackles towards a sense of enlightenment. The EP closes with a golden moment of contentment, ‘Moksha’. The track titles hint at the search for revelation, which is rendered in countless experimental layers and finely wrought details. SA012 is a peek into the conceptual framework that Dadub engage with to create their vision. And just as their central image, Maya, is intangible in the perceptible universe, the tracks seem to erupt from an equally mystical place: molten, dark and fathomlessly deep.

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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.net

‘Cutlass’ is the 12? that precedes ‘Sword’ Xhin’s forthcoming full-length album on Stroboscopic Artefacts. Four tracks from the album have been selected and spliced into completely new forms by four producers with very separate agendas. The minds, computers and analogue tools of Surgeon, Dadub, Pfirter and Perc have extracted new visions from Xhin’s ‘Sword’ with nothing short of scientific precision. A cutlass just like a sword but with a slightly curved blade, and accordingly the way that Surgeon, Dadub, Pfirter and Perc cut into these tracks is experimental and left of the centre. The four producers’ remixes uncover latent facets of ‘Sword’, adding not just anticipation to the release of Xhin’s album, but also widening the scope of Stroboscopic Artefacts’ soundscape.

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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.net

SA009 sees Stroboscopic Artefacts return to the split vinyl format, with the formidable Pfirter taking to the A-side and the two minds behind Artefacts Mastering, Dadub, taking care of the B-side. As Pfirter’s ‘Monad IV’ proved, his releases on SA are not as you’ve heard him before. His vision cut to wax is “Universe”, a 10 minute odyssey that’s both militantly 4/4 and peppered with unpredictability. It’s 4/4 that’s optimized for those liminal moments in a peak-time set. Dadub’s ‘Metropolis’ is a cityscape rendered in all its complexity. They take dub and scissor into it. It’s panoramic in scope and knottily brilliant. From these two tracks, two tools have been skillfully extracted by a new edition to the SA family: Edit Select. Out of Pfirter’s ‘Universe’ he distills a silken serum. The B-side ‘Metropolis’ is pushed deep; the beats drop fathoms below and leagues above the top lines reverberate with hazy memories.

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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.net

Beelines For Working Bees is a 12" that sees four of the most innovative artists in electronic music rethinking and reconfiguring the strands of Lucy's forthcoming album 'Wordplay for Working Bees'. The relationship between the point of origin and the en

Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.net

SA007 sees Perc and Modern Heads create the first collaborations between these two core Stroboscopic Artefacts artists. The result is a punishing hybrid of Perc’s dubstep tendencies and Modern Heads’ cutting techno. A-side “Mendax” is cavernous. Built upon solid dub foundations, it spills over into grinding, metallic territory. If the title’s to be believed it takes inspiration from the shady world of lies and deceit. The atmosphere seems to agree, there’s certainly something mendacious at work here. B1 takes the EP’s atmosphere and adds abrasion. In “Percdax” cold, hard percussion is layered over a bed of warm dub. Closer “Moddax” errs on the eerie. It skulks, is full of sticky bleeps and the result is unnervingly dubbed out. All three track titles share the same suffix and if this indicates that they also share one quality it’s that they’re best heard in the glinting shadow of a club just before day break.

Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.net

Stroboscopic Artefacts rip into autumn with a masterful split vinyl. SA006 sees Jonas Kopp taking to the A-side with the punishingly good “Alkitran” and the flip side picks up where the Monad Series left off with Markus Suckut’s “Vary”. “Alkitran” writhes hissing and spitting into existence. Snares lash across the opening, to be replaced by subaqueous grumbles and whirling from above. The title “Alkitran” begs no translation; the track’s sticky, black palette and viscous textures effortlessly communicate the notion of tar. Markus Suckut’s “Vary” takes the opposite tact; his dark tones are built amid structures that are suffused with light and dappled with the grindingly ecstatic. This is superbly elegant techno that has refused to sacrifice any of its hardness in order to achieve elegance. The digital release contains two tools extracted by label owner Lucy. Striped down, but simultaneously turned up, he takes the tracks in a distinctly IDM direction.

Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.net

SA004 features two exceptional remixes of Lucy & Ercolino’s last 12” on Stroboscopic Artefacts. The A-side “Gmork” is given the darkly elegant techno treatment by someone who needs no introduction: Luke Slater. On the B-side, Dadub rips into “So The Nothing Grows Stronger” with a massive dub agenda, showcasing the meeting point between the UK dubstep scene and Berlin’s formidable techno output. Techno pioneer Luke Slater, AKA Planetary Assault Systems, remoulds and rethinks “Gmork” in the studio, giving the track his twisted hallmark. He takes the original elements of “Gmork” and weights them base-side-up. In his hands the track becomes more dizzying, disorientating and hypnotic than before. Dadub’s retreatment takes the original material and reconfigures it using subtractive synthesis. The analogue process assures the track’s bespoke, simmering atmosphere.

Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.net

Stroboscopic Artefacts is proud to welcome on board Singapore-based Xhin. “Fixing the Error” is an enormous peak-time club killer. Xhin knits together the sinister sound of the revolt of the machines. High frequency drum machines and ferrous sub-bass synthesizers are working urgently against the clock. Close your eyes, dissolve, step into dystopia. You are transported into a post-human cityscape where strobes reflect off smelting metallic sounds and deafening alarms wail. These warning codes, layer upon layer, fashion a vision of a metropolis gorging itself on sprawling noises. The flip side, “Link” has no narrative. Instead, this deep, brooding slice of dub-techno is composed of pure atmospheric pressure. The undercarrige slithers and slinks, interrupted by crackles of lightening and prehistoric rumbles. The result is a construction created in a cold palate of pyrite grey: bubbling, spherical and terrifying. This is dark. This is urgent. This is Xhin.

Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.net

Stroboscopic Artefacts’ first vinyl release is an incendiary two track EP. Label founder Lucy gives us a visionary blueprint for the future Stroboscopic Artefacts releases, etching out the soundtrack for an apocalyptic club scenario. Out of the A-side’s dark, pulsing beats and itchy baselines, a granular voice rises up. Krishnamurti’s rasping vocal cuts through, creating a colossal techno track. Amid resonant piano samples and utopian 60s strings, a crystalline question emerges: “Why Don’t You Change”? In the middle of a hazy, overcrowded dance floor this peak-time guerrilla track hints at a moment of epiphany. On the B-side “Dub Man Walking”, Lucy’s dub-roots background collides with his techno identity. The heavy drum machine structure is injected with obsessive dubby baselines and intersected by high frequency distortion. The track floats, the elements never fully solidify, instead they surge forward becoming ever more urgent.

Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.net