Tracklist 12":

Side A1: DJ Hell - Electrifiying Mojo - Roman Fluegel Remix
Side B1: Dj Hell - Freakshow - Perel Remix


Short Info:

The Dj Hell Experience presents the remix package of Dj Hell's album "House Music Box". With Perel & Roman Fluegel we have two of the most outstanding artists of our electronic music community who delivers mindblowing
remixes of the highly acclaimed artist album of Dj Hell in both artistic and surprising matters.

Vital Sales Points:

Legendary DJ Hell
His new label: The Dj Hell Experience
Artwork by global painting artist Jonathan Meese

More

12"

Tracklist:

A. Movements 1-4
B. Movements DJ Hell Remix


Text:
Gigolo Records founder DJ HELL remixed this classic masterpiece, a new and already timeless interpretation.

The original was released in 1991 on the famous underground label Outer Limits/Quark at the early beginning of electronic music. And at this time it was already one of the biggest club hits in the exploding world of the Manhattan nightlife party scene. Mastermind Javier Rosario produced this phenomenal record in the UK and the first imports hit the US underground scene the early nineties with a bang. It became soon an anthem for the legendary Danceteria nightclub and spread from then all over the world.

The new release includes the original and a remix by Dj Hell and will be released on Dj Hells new own imprint "The Dj Hell Experience" distributed via Word and Sound on digital and vinyl.
More

Limited 7"

Tracklist:

A. DJ HELL - THE LAST DANCE (FEAT.TYRELL)
B. MCNZI - THIS IS OUR GENERATION

The DJ Hell Experience presents a limited edition 7inch single release of the YUNG Soundtrack.

The self titled "O.S.T." from the much hyped Berlin based Movie "YUNG" -
Music Supervision by DJ HELL.
First release on the brand new DJ Hell Label "The Hell Experience"...!

More

2LP,initial Pressing in limited Edition with Cristal Clear Vinyl!
2LP - Sleeve, Printed Innersleeve / CD as Gatefold Digisleeve incl Poster,
Coverart and Contents of both by Jonathan Meese

1/A1 jimi hendrix 
2/A2 hausmusik
3/B1 g.p.s
4/B2 freakshow
5/C1 electrifying mojo 
6/C2 out of control
7/D1 the revolution will be televised 
8/D2 tonstrom

People, listen to the signals: when the club life is reawakening, DJ Hell returns with the album House Music Box (Past, Present, No Future).
In contrast to its predecessor album Zukunftsmusik (2017), with his new work Hell looks back to the glorious early days of House and Techno in Chicago, Detroit and New York City.
Obvious references are the heroes that vibrated the dancefloor from the late 80s, i.e. luminaries like Ron Hardy, Frankie Knuckles and Lil’ Louis from the Chicago house scene, or the legendary radio shows of The Electrifying Mojo from Detroit. Not to be forgotten are, of course, the NYC House of Larry Levan or the Nu Groove records from the early 90s – all of them served as musical godfathers for Hell’s House Music Box.

Back to the roots. In line with this, Hell’s opus number six emerged as a classic album: House Music Box simply comprises eight gripping new bangers from the groove manufacturer that is the super gigolo Hell. The record is not only a concept album about the beginnings of electronic DJ and club music, but also a danceable history lesson. Exemplifying that is already the superb first single: ‘Out of Control’ is a mightily stomping dancefloor monster where a killer bassline and an infectious synth riff meet. A vocal sample rightly demands ‘Don’t stop!’, because the magic that Hell created with his controllers leaves one in pure ecstasy of happiness.

The songs ‘Freakshow’ and ‘House Music’ are a musical bow for the innovative originators of house in the windy city. On ‘Freakshow’, the vocoder vocals ‘Ron Hardy is the true creator of house music’ recall the prematurely deceased DJ who was best known for his eclectic sets and radical edits. Hardy used to deejay in what was the successor of the Warehouse, the legendary ‘Music Box’ club, eponymous for the new album. On ‘House Music’, nomen est omen naturally applies: over the flawless house from the quality brand of Hell, he loops various samples, fragments of sentences such as ‘Acid comes from house music’, ‘Techno comes from house’, ‘Foundation of house music is’, or ‘Chicago house music’. Through their persistent repetition plus grooving beats, a hypnotic effect soon arrives, so that the music – thanks to the magic production of Hell – starts to speak.

On ‘Electrifying Mojo’, on the other hand, Hell honours the visionary and enigmatic Charles Johnson a.k.a. The Electrifying Mojo, whose radio show (airing from 1977 until the mid 80s) had a substantial influence on the development of techno in Detroit. As he frequently played Kraftwerk, for instance, the publicly shy Electrifying Mojo emerged as a key facilitator of future electronic music in the spirit of the Detroit-Dusseldorf axis.

Almost self-evidently, Kraftwerk - the grey eminence of German electronic music – shaped the background of Hell’s new record too, via the usage of vocoder vocals as a rhythmic element or the bass frequencies as the carrying foundation for each track. Clearly recognizable is the influence of Kraftwerk’s 1986 work Electric Café (now: Techno Pop) on the groovy track ‘Tonstrom’. Fans of the ‘industrial folk music’ will hardly be surprised, as this was Kraftwerk’s working title for the record. Along with sound poetic vocals, Hell tickles a cool funk from the warm machine sounds over nimble bass lines, as on House Music Box he uses – not only for this track – the same analogue synths from the seventies as Kraftwerk once did.

The oeuvre of DJ Hell is famously characterised by his artistic desire to have a different approach to each album, while at the same time constants provide inner cohesiveness and cross references. One example would be the theme of automobiles, as an influence of Kraftwerk’s ‘Autobahn’: just think of songs like ‘Hellracer’ or ‘Car Car Car’. The car motive is again present on House Music Box, with the ambitious track ‘GPS’. Conceptually speaking it is a highlight of the record: over sparse Roland drum machine beats, we can hear the female computer voice of a navigation device devising the fastest route to ‘destination Berlin nightlife’. This almost has a double meaning, as once inside the club, the music will guide the dancers.

No DJ Hell album, without cover versions. Or, should we better call his idiosyncratic electronic editions of established hits new originals – referring to a term that Laibach coined. This definitely holds true for ‘The Revolution Will Not Be Televised’: his update of Gil Scott Heron’s soul classic turned into a veritable 4-on-the-floor version. The slogan, which originally came from the Black Power movement, carved out a remarkable career, not only thanks to several new versions, but equally alienated as an advertising slogan for bar chains. The fact that Hell takes up this track in the days of YouTube, Instagram and Facebook illustrates us today that the idea of a political revolution is long gone. For that reason, all he keeps from the wordy original is its headline while the impulsive beats prove all more, that at least the revolution of the dancefloor is nowhere near over.

Past, Present, No Future – even if Hell’s deep bow to the trailblazers and pioneers of electronic club music was already completed when the corona pandemic broke out, the subtitle of House Music Box proved apt even so in the light of the circumstance that especially the club scene is seriously affected from the coercive measures of the crisis. It was therefore quite prophetic that on ‘Jimi Hendrix’ you can hear pieces of the last interview that the guitarist gave shortly before his controversial death. „I can’t build anything right now, you know, because of the things that are happing right now. I just have to lay back and think about it all.” House Music Box is, in many ways, the right record at the right time. Because as DJ Hell speaks about his album: ‘House Music for me has always been a spiritual experience, a higher, different form of communication, so to speak’. So, let’s listen carefully what he reports about his musical excursions in the Past, Present and Future of House.
More

CD Digi Sleeve
Coverart and Contents of both by Jonathan Meese

1/A1 jimi hendrix 
2/A2 hausmusik
3/B1 g.p.s
4/B2 freakshow
5/C1 electrifying mojo 
6/C2 out of control
7/D1 the revolution will be televised 
8/D2 tonstrom

People, listen to the signals: when the club life is reawakening, DJ Hell returns with the album House Music Box (Past, Present, No Future).
In contrast to its predecessor album Zukunftsmusik (2017), with his new work Hell looks back to the glorious early days of House and Techno in Chicago, Detroit and New York City.
Obvious references are the heroes that vibrated the dancefloor from the late 80s, i.e. luminaries like Ron Hardy, Frankie Knuckles and Lil’ Louis from the Chicago house scene, or the legendary radio shows of The Electrifying Mojo from Detroit. Not to be forgotten are, of course, the NYC House of Larry Levan or the Nu Groove records from the early 90s – all of them served as musical godfathers for Hell’s House Music Box.

Back to the roots. In line with this, Hell’s opus number six emerged as a classic album: House Music Box simply comprises eight gripping new bangers from the groove manufacturer that is the super gigolo Hell. The record is not only a concept album about the beginnings of electronic DJ and club music, but also a danceable history lesson. Exemplifying that is already the superb first single: ‘Out of Control’ is a mightily stomping dancefloor monster where a killer bassline and an infectious synth riff meet. A vocal sample rightly demands ‘Don’t stop!’, because the magic that Hell created with his controllers leaves one in pure ecstasy of happiness.

The songs ‘Freakshow’ and ‘House Music’ are a musical bow for the innovative originators of house in the windy city. On ‘Freakshow’, the vocoder vocals ‘Ron Hardy is the true creator of house music’ recall the prematurely deceased DJ who was best known for his eclectic sets and radical edits. Hardy used to deejay in what was the successor of the Warehouse, the legendary ‘Music Box’ club, eponymous for the new album. On ‘House Music’, nomen est omen naturally applies: over the flawless house from the quality brand of Hell, he loops various samples, fragments of sentences such as ‘Acid comes from house music’, ‘Techno comes from house’, ‘Foundation of house music is’, or ‘Chicago house music’. Through their persistent repetition plus grooving beats, a hypnotic effect soon arrives, so that the music – thanks to the magic production of Hell – starts to speak.

On ‘Electrifying Mojo’, on the other hand, Hell honours the visionary and enigmatic Charles Johnson a.k.a. The Electrifying Mojo, whose radio show (airing from 1977 until the mid 80s) had a substantial influence on the development of techno in Detroit. As he frequently played Kraftwerk, for instance, the publicly shy Electrifying Mojo emerged as a key facilitator of future electronic music in the spirit of the Detroit-Dusseldorf axis.

Almost self-evidently, Kraftwerk - the grey eminence of German electronic music – shaped the background of Hell’s new record too, via the usage of vocoder vocals as a rhythmic element or the bass frequencies as the carrying foundation for each track. Clearly recognizable is the influence of Kraftwerk’s 1986 work Electric Café (now: Techno Pop) on the groovy track ‘Tonstrom’. Fans of the ‘industrial folk music’ will hardly be surprised, as this was Kraftwerk’s working title for the record. Along with sound poetic vocals, Hell tickles a cool funk from the warm machine sounds over nimble bass lines, as on House Music Box he uses – not only for this track – the same analogue synths from the seventies as Kraftwerk once did.

The oeuvre of DJ Hell is famously characterised by his artistic desire to have a different approach to each album, while at the same time constants provide inner cohesiveness and cross references. One example would be the theme of automobiles, as an influence of Kraftwerk’s ‘Autobahn’: just think of songs like ‘Hellracer’ or ‘Car Car Car’. The car motive is again present on House Music Box, with the ambitious track ‘GPS’. Conceptually speaking it is a highlight of the record: over sparse Roland drum machine beats, we can hear the female computer voice of a navigation device devising the fastest route to ‘destination Berlin nightlife’. This almost has a double meaning, as once inside the club, the music will guide the dancers.

No DJ Hell album, without cover versions. Or, should we better call his idiosyncratic electronic editions of established hits new originals – referring to a term that Laibach coined. This definitely holds true for ‘The Revolution Will Not Be Televised’: his update of Gil Scott Heron’s soul classic turned into a veritable 4-on-the-floor version. The slogan, which originally came from the Black Power movement, carved out a remarkable career, not only thanks to several new versions, but equally alienated as an advertising slogan for bar chains. The fact that Hell takes up this track in the days of YouTube, Instagram and Facebook illustrates us today that the idea of a political revolution is long gone. For that reason, all he keeps from the wordy original is its headline while the impulsive beats prove all more, that at least the revolution of the dancefloor is nowhere near over.

Past, Present, No Future – even if Hell’s deep bow to the trailblazers and pioneers of electronic club music was already completed when the corona pandemic broke out, the subtitle of House Music Box proved apt even so in the light of the circumstance that especially the club scene is seriously affected from the coercive measures of the crisis. It was therefore quite prophetic that on ‘Jimi Hendrix’ you can hear pieces of the last interview that the guitarist gave shortly before his controversial death. „I can’t build anything right now, you know, because of the things that are happing right now. I just have to lay back and think about it all.” House Music Box is, in many ways, the right record at the right time. Because as DJ Hell speaks about his album: ‘House Music for me has always been a spiritual experience, a higher, different form of communication, so to speak’. So, let’s listen carefully what he reports about his musical excursions in the Past, Present and Future of House.
More

Oxia's classic 'Domino' gets reworked for it's ten year anniversary - in 2 vinyl parts.

A decade after initially seeing the light, Oxia's now classic 'Domino' get's reworked to celebrate it's anniversary. The new release features a new cut by Oxia himself as well as several remixes by none other than Frankey & Sandrino, Robag Wruhme and Matador. The EP will be released through Agoria's newly found record label Sapiens on February 24th.

Ten years ago the track made waves in the international dance music circuit, striking up chords with techno, trance and house DJs alike to quickly become an all-time classic. Having never expected the track to reach the status that it his, it's a very dear project to Oxia and he needed quite some persuading to give in and let Agoria and his team create something that was worthy of the original. The set of tracks are the first officially commissioned remixes by Oxia ever.

"Finding remixers took some time, the amazing Frankey & Sandrino who's track 'Acamar' is my absolute favourite of 2015, Matador that just launched his Rukus label as well is the multi-talented ex label mate at Kompakt Robag Wruhme. They are all incredibly gifted and fortunately patient enough to wait for this EP" - OXIA

Tracklisting Vinyl 1

A1. Domino (Original rework )
A2. Domino ( Robag's Lasika Cafa Nb)
B1. 4. Domino (Matador Remix)
More

EP

Vinyl Tracklist:

A1. Old Gem
A2. Emergency Area
A3. Green Rhythms
B1. Edipo
B2. Mono Groove
B3. Handsaw

Two years after the release of the acclaimed 'Emergency Break EP', _asstnt & Roll Dann return with their second studio collaboration on Pfirter's label.
The Spanish duo is back with 'Old Gem', a 6-track vinyl release showcasing their emerging talent and signature sound; powerful basslines and driving synths keep the pace high, perfectly distorted stabs create the rhythm, and haunting pads combined with sharp percussive elements generate the needed tension for a dark atmosphere. Meanwhile, a constant, steady groove remains pushing forward throughout the whole record.
This is a much anticipated physical record on our platform and is here for all wax lovers.

This is MindTrip!

written and produced by _asstnt & roll dann
mastered by mattias fridell
distributed by wordandsound.net
cover image of trifid nebula by pfirter

- Trifid Nebula is both a reflection and emission nebula located in the constellation sagitarius. Two different colors can be seen: bluish, due to light from nearby stars reflected by the dust in the nebula; and reddish, caused by the emission produced by the hydrogen from the 0-type star HD164492A. -

More

Format: Vinyl 12” (180 gr., Limited Full Cover)

Track list:

A1 – Won’t u take me
A2 – Piano heaven
B1 – Masterplan
B2 – Piano heaven (St. David remix)

Release Info:

Cinthie joins the Heist fam with an EP full of lush, epic house music with 3 originals and a St. David remix.

Cinthie is the kind of artist who seems to be everywhere all at once. In the past years, we’ve seen her compile a lush DJ Kicks compilation, release numerous EP’s on labels such as Aus music, run one of Berlin’s finest record stores (Elevate Records), tour the world fiercely, and create an all-new live show. Her EP for Heist has been in the works for a long, long time and it’s an absolute pleasure to finally present the ‘Music for Discotheques’ EP. Spoiler alert: It’s a no holds-back, ‘all killers, no fillers’ record. Just the way we like it.

In classic Cinthie fashion, this EP has the Berlin-based artist explore various sides of house music, starting with the vocal cut ‘Won’t u take me’. Lush pads, shuffling snares and a dreamy female vocal work together to bring a warm and classy house track with a clear nod to 90’s US house, but with its feet firmly rooted in the present.

Piano heaven takes you on an Italo-meets-deephouse excursion straight into…Drum roll…: Piano heaven. A driving 909 groove and a deceptively simple bass form the foundation of the track, but it’s the keys (and strings) that bring this track to its full peak-time potential. The energy in this track is of the ‘hands-in-the-air / screaming-out-loud’ type and it has already become one of the biggest tracks in Cinthie’s live-show.

On the flip, Cinthie explores the pacier electronic side of the dance spectrum, with the footwork inspired jam ‘Masterplan’. Think classic 808’s, loopy synths and a cheeky spoken word piece that lifts the song to a level where it’s extremely danceable and quite simply put; really fun.

The final track of the EP is the expertly crafted remix by Italian house maestro St. David; an artist Cinthie has always been a big fan of. He’s made a dazzling rework of ‘Piano Heaven’: A deep and driving deephouse version that’s layered in sweeps, fx and bleeps for an altogether mesmerizing effect.

We’re thrilled that we can share Cinthie’s music on the label and have her join the family after having played so many shows together and having spoken about doing something together for such a long time. As always, play it loud and dance, dance, dance!

Yours Sincerely,
Maarten & Lars More

– original release on CREATIVE LABEL - CREA 001

SPECIAL EDITION 12” single MARBLED YELLOW vinyl /400 copies
180 gr.

TRACKLIST:
A01 – SUEÑO LATINO (Derrick May Illusion First Mix) 11:18
B01 – SUEÑO LATINO (Derrick May Emotion Second Mix) 4:31
B02 – SUEÑO LATINO (Derrick May Final Third Mix) 5:00

VITAL SALES POINTS:
"CCR - Club Culture Rarities" the record label exclusively dedicated to re-prints of cult and rare 12” taken form Expanded Music’s labels.

The 11th release on "CCR - Club Culture Rarities" SUEÑO LATINO Derrick May Remix originally released on Creative Label 1992
Built around Manuel Göttsching’s astral classic E2-E4, Sueño Latino is, with no doubts, one of the most iconic records of the late 80's electronic music. Several remixes have followed the 1989 original release, but above all stands up Derrick May’s “Illusion First Mix” that adds his typical tribal motifs to the euphoric carpet of stars, tropical birds and cowbells. This reissue of Detroit genius’ version of Sueño Latino gives wings to our imagination making us fly on the most joyful nights of Ibiza.



Ask for it and stay tuned. More

Repress WG standard sleeve

Tracklist

A) WhoMadeWho – Montserrat (Artbat Edit)
B) WhoMadeWho – Closer feat. WhoMadeWho

Coming in hot with the first of three EP’s from WhoMadeWho’s Watergate 26 is two of the standout tracks from the mix. Both tracks come from WhoMadeWho and Artbat, yet with a unique twist each one sees the collaborators exchange creative roles.

Kicking things off Artbat’s edit of WhoMadeWho’s ‘Monsterrat’ is as deep and hypnotic as it is soulful and energetic as traces of Rock harmonize with low slung House and shimmers of Disco resulting in an eternal dance floor weapon.

Flipping sides WhoMadeWho features on Artbat’s ‘Closer’ where we witness the two outfits concoct a dramatic, emotional ride into celestial spaces where sweltering vocals balance delicately on massive bursts of low end and dreamy progressions creating an incredibly tense yet captivating outcome. Indulge in these two timeless cuts until we bring you more soon from the stellar WhoMadeWho Watergate 26. Enjoy!
More

2023 repress

Format: LP

Tracklist

A1. Motorway Acid
A2. Microdose Mondays
A3. London Stock

B1. Meanwhile… In The Smoking Area
B2. Thursday
B3. Retracted
B4. Praha

Release Info:
Two visionary explorers of the acid and dub intersection team up for a seven track LP In The Afterworld on Acid Test.

Om Unit and TM404 have both been researching production and compositional elements in the crosshairs of dub and acid for the last few years - Om Unit most notably with his Acid Dub Studies 1 & 2, and TM404 with his Acidub album in particular.

Om Unit has been a longtime fan of TM404’s use of the TB-303 and the deconstructed space he brings to the house and techno template. Meanwhile Om Unit’s own leaning towards breaks and reggae instrumentation has offered a different approach to the acid sound they both love so much. So an LP with Acid Test seemed the perfect opportunity to combine those approaches and see what kind of mutations could be discovered. The result is a primordial soup that is in parts acid, dub, breaks and ambient, full of spaced-out synths and psychedelic bass, where the pair enjoyed building tracks with a feel for where the music wanted to go, irrespective of stylistic constraints.

Rolling opener Motorway Acid sets the pace high and strong, conjuring both wide open spaces and fast-paced travel at the same time, with weightless pads, stroboscopic breaks and a mighty 303 riff that can teleport you to the middle of a foggy dancefloor. Microdose Mondays on the other hand, slows the tempo down and veers into cosmic territory, with perfectly dubbed drum rolls and burbling squelch. But it’s London Stock that kicks the album into hyperspace, finding its futuristic steppers groove somewhere in the answer to the hypothetical question ‘what if Shaka had produced Stingray?’

Speaking of underwater electronics, Meanwhile In The Smoking Area delves deep into submarine territory, delivering the kind of bass weight and sonar acid signals you’d need a diver’s suit for. It’s a vibe that’s continued on the tracks Thursday and Refracted, and speaks to the record's title - otherworldly, dreamy bass meditations that aren’t of this realm. The album closes out with Praha, a pacey yet ambient vista of warm wide synths, layers of 303, and dub echoes that sound like the machines are slowly coming to life.

It’s in this altered state that the album resides, somewhere between worlds and styles, emerging out of the space around the TB-303 that Om Unit and TM404 have created, with their open-minded approach to the music and to this collaboration. Free the 303!

More

Tracklist:

A1. Essentia
A2. Essentia – Sunrise Mix
B1. Winnie’s Karaoke
B2. Winnie’s Karaoke – Sundown Mix

Release Info:
Essentia is not only the latin word for – you guessed that right – essential, but also the name of Krystal Klear’s return to Running Back. While trance might be a state of mind (according to DJ Dag), it’s also a tone theory with a very specific tool kit. Here you get the version that makes sense in the aural universe of a producer that got raised on a diet of hip hop, boogie and the foundation tunes in house music. Moderate in tempo, the result is still euphoric to say the least: melted brains, stimulated spinal cords and rave rampage included. Essentia balances the euphoric rush of its topical genre perfectly with the happy-sad moments after the rave. If that is not musical or emotional enough for your taste, you will find content in the Sunrise version. Excessive use of the well-beloved choir, breakbeats and - downs make it equally irresistible for sun-ups and love-ups.

Flip the coin for Winnies Karaoke. Stemming from the same source and session as Essentia. Named after the interactive entertainment bar in Chinatown NYC and made sometime in the early morning hours, its the quintessential Krystal Klear. Sawtooth boogie, if you will. It’s counterpoint is the Sundown mix. Techno prog for the tilted generation.
Sometimes, in the permanent search of happiness, the world of tomorrow needs the sound of yesterday made with the means and minds of today. Essential bliss.








More

GENRE/S: House / Techno

TRACKLISTS:

A1. The Yuzer (DJ Plead Remix)
A2. SpaceSamba (Electronic Live Mix)
A3. The Yuzer (Deep Dub Mix)
B1. SpaceSamba (Huerta Mix)
B2. The Yuzer (Aubreys Solid Groove Mix)

SHORT INFO:

PSSSH 003x enlists a diverse range of producers to reimagine the labels third offering. DJ Plead, Huerta and Aubrey all turn in stellar remixes along with 2 new remixes from Dauwd himself. DJ Plead kicks things off with his signature bass heavy sound on his version of The Yuzer, setting a high bar for what’s to come. Accompanying him on the A-side are a couple of cuts from label founder Dauwd. The first, “Electronic Live Mix” of SpaceSamba is inspired by Dauwd’s live performance at Mutek 2022 while his Deep Dub Mix of The Yuzer could be some of his best work to date on the imprint. On the flip Huerta houses up SpaceSamba which an excellent dance floor ready remix and Aubrey rounds things off with a solid groove interpretation of The Yuzer.








More

Tracklist: 1. (A1) Fear Of An Extra Planet (Black Out) 2. (B1) Hail the Whale
Info:
Finally, the long awaited third part of the EXTRAWELT trilogy on Cocoon Recordings is on the way, and with this advance 12" release of "Fear Of An Extra Planet (Blackout)" and "Hail The Whale" we are given an incredibly strong first impression of EXTRAWELT's third Album. ??"Fear Of An Extra Planet (Blackout)" in particular, has the potential to become a monumental club hit. The title track from the new EXTRAWELT album is, strictly speaking, more than just a maxi-version, it's almost a separate EXTRAWELT remix of the original, fully optimized for the clubs. Arne Schaffhausen and Wayan Raabe have let loose a real bass and drum monster on us. From the very first second, the doubled-up kick bursts from the bassbins to signal the journey into this new EXTRAWELT adventure is underway. The acid-heavy bassline completes the pressure-packed arrangement until the track suddenly stops dead. Sometimes it's just so simple and effective to completely hit the brakes before re-energizing and building up to full speed again. The 12" version of "Fear Of An Extra Planet (Blackout) "is a powerful techno bomb and for us - one of the highlights of the year!? ?The exclusive, non-album cut "Hail the Whale", starts off a little more subdued. However, the cool old-skool cowbell intro with light Chicago house touches soon develops an energy through a driving electro bassline that shakes us from the initial calm. Although "Hail the Whale" doesn't appear on the album, it perfectly represents the science fiction sound aesthetics on EXTRAWELT's new LP. Sci-fi FX, distorted vocals and dramatic synth lines envelop us in an extremely intense soundtrack atmosphere. From warp speed space travel to misty wastelands on strange planets and breathtaking pursuit scenes, "Hail the Whale" conjures up all manner of images as it hammers from the speakers. To be honest, the notion of "grand cinema" has already been used too often but in this case it just fits! We are primed and we are ready for the new EXTRAWELT!


More