1
Recent Arts - Just Be There (TRACK LENGTH 04:17 min)
2
Recent Arts - Automat (TRACK LENGTH 06:10 min)
3
Recent Arts - The Game Of Live (TRACK LENGTH 02:30 min)
4
Recent Arts - Atonal (TRACK LENGTH 01:52 min)
5
Recent Arts - Pull The Emergency Break (TRACK LENGTH 05:32 min)
6
Recent Arts - I've Got A Better You (TRACK LENGTH 03:21 min)
7
Recent Arts - Digital Dictatorship (TRACK LENGTH 04:39 min)
8
Recent Arts - Oneness (TRACK LENGTH 05:40 min)
9
Recent Arts - Invisible Waves (TRACK LENGTH 06:52 min)
Tracklisting:
A1: Just Be There (TRACK LENGTH 04:17 min)
A2: Automat (TRACK LENGTH 06:10 min)
A3: The Game Of Live (TRACK LENGTH 02:30 min)
A4: Atonal (TRACK LENGTH 01:52 min)
A5: Pull The Emergency Break (TRACK LENGTH 05:32 min)
B1: I've Got A Better You (TRACK LENGTH 03:21 min)
B2: Digital Dictatorship (TRACK LENGTH 04:39 min)
B3: Oneness (TRACK LENGTH 05:40 min)
B4: Invisible Waves (TRACK LENGTH 06:52 min)
Release Info:
'Hypertext' is the third album by Recent Arts, the A/V duo formed by media artist Valentina Berthelon and multi-disciplinary artist Tobias Freund. Out next February via Japan's Reiten, its 9 tracks mirror Recent Arts new, forthcoming A/V show, following their previous debuts also at Atonal and Berghain's Säule of the recent years.
'Hypertext' video projections and experimental electronic music synergise ideas of non-linear data and information processing, drawing parallels to computational thinking with the way our human brains biologically process information. Visuals are the catalysts for the music, inspired by the overwhelming amount of information and the speed at which we consume different media, featuring a cacophony of hundreds of different media, poetry, images of surveillance and clips of Artificial Intelligence and Machine Learning.
For the visuals, Valentina uses jarring and intense visual juxtaposition to create moments of both connection and displacement. References mix and intermingle, creating new meanings. Symbols become charged, inviting the audience deeper into the vortex. Computers similarly digest information, but unlike the human brain, their ability to generate information is not exceeded by their capacity to understand.
For the sound, Tobias and Valentina made together droning, moody soundscapes, almost as though the internal voice of our computers world was captured and recorded. Inspired by the visual aesthetic of hyperlinks collaged and non-linear nature, the album reflects this in the ambience, where samples float in and out of contact with the listener, catching and holding attention before floating away awash by more elements and compositions. There is a definite blurring of the digital and the biological, voices sound distant and robotic, but droning soundscapes feel natural and textured with an organic tone.
In the first track 'Just Be There' spoken word samples mix with ethereal chiming, reminiscent of the start-up modems from Web 1.0. The A5 'Pull The Emergency Breaks' similarly mixes poetry with uncanny atmospheres popping in and out until it finally climaxes in a collage of sounds. On the B- side 'Invisible Waves' finishes off the record with a volatile dervish of digital strings and deep breathing.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
A1: Just Be There (TRACK LENGTH 04:17 min)
A2: Automat (TRACK LENGTH 06:10 min)
A3: The Game Of Live (TRACK LENGTH 02:30 min)
A4: Atonal (TRACK LENGTH 01:52 min)
A5: Pull The Emergency Break (TRACK LENGTH 05:32 min)
B1: I've Got A Better You (TRACK LENGTH 03:21 min)
B2: Digital Dictatorship (TRACK LENGTH 04:39 min)
B3: Oneness (TRACK LENGTH 05:40 min)
B4: Invisible Waves (TRACK LENGTH 06:52 min)
Release Info:
'Hypertext' is the third album by Recent Arts, the A/V duo formed by media artist Valentina Berthelon and multi-disciplinary artist Tobias Freund. Out next February via Japan's Reiten, its 9 tracks mirror Recent Arts new, forthcoming A/V show, following their previous debuts also at Atonal and Berghain's Säule of the recent years.
'Hypertext' video projections and experimental electronic music synergise ideas of non-linear data and information processing, drawing parallels to computational thinking with the way our human brains biologically process information. Visuals are the catalysts for the music, inspired by the overwhelming amount of information and the speed at which we consume different media, featuring a cacophony of hundreds of different media, poetry, images of surveillance and clips of Artificial Intelligence and Machine Learning.
For the visuals, Valentina uses jarring and intense visual juxtaposition to create moments of both connection and displacement. References mix and intermingle, creating new meanings. Symbols become charged, inviting the audience deeper into the vortex. Computers similarly digest information, but unlike the human brain, their ability to generate information is not exceeded by their capacity to understand.
For the sound, Tobias and Valentina made together droning, moody soundscapes, almost as though the internal voice of our computers world was captured and recorded. Inspired by the visual aesthetic of hyperlinks collaged and non-linear nature, the album reflects this in the ambience, where samples float in and out of contact with the listener, catching and holding attention before floating away awash by more elements and compositions. There is a definite blurring of the digital and the biological, voices sound distant and robotic, but droning soundscapes feel natural and textured with an organic tone.
In the first track 'Just Be There' spoken word samples mix with ethereal chiming, reminiscent of the start-up modems from Web 1.0. The A5 'Pull The Emergency Breaks' similarly mixes poetry with uncanny atmospheres popping in and out until it finally climaxes in a collage of sounds. On the B- side 'Invisible Waves' finishes off the record with a volatile dervish of digital strings and deep breathing.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
More records from REITEN
1
Kosei Fukuda - A1: Hakkou (TRACK LENGTH 05:02 min)
2
Kosei Fukuda - A2: Jikou (TRACK LENGTH 04:13 min)
3
Kosei Fukuda - A3: Kougen (TRACK LENGTH 04:35 min)
4
Kosei Fukuda - B1: Ekou (TRACK LENGTH 04:48 min)
5
Kosei Fukuda - B2: Kongen (TRACK LENGTH 02:19 min)
6
Kosei Fukuda - B3: Konton (TRACK LENGTH 09:40 min)
7
Kosei Fukuda - C1: Hougen (TRACK LENGTH 02:39 min)
8
Kosei Fukuda - C2: Reigen (TRACK LENGTH 09:29 min)
9
Kosei Fukuda - C3: Yugen (TRACK LENGTH 02:13 min)
10
Kosei Fukuda - D1: Shouryou (TRACK LENGTH 04:10 min)
11
Kosei Fukuda - D2: Youen (TRACK LENGTH 09:03 min)
12
Kosei Fukuda - D3: Ruten (TRACK LENGTH 02:01 min)
'Ruten +' is the second part of two 2LP albums. The first part named 'Ruten -' will be released in January.
Tracklisting:
A1: Hakkou (TRACK LENGTH 05:02 min)
A2: Jikou (TRACK LENGTH 04:13 min)
A3: Kougen (TRACK LENGTH 04:35 min)
B1: Ekou (TRACK LENGTH 04:48 min)
B2: Kongen (TRACK LENGTH 02:19 min)
B3: Konton (TRACK LENGTH 09:40 min)
C1: Hougen (TRACK LENGTH 02:39 min)
C2: Reigen (TRACK LENGTH 09:29 min)
C3: Yugen (TRACK LENGTH 02:13 min)
D1: Shouryou (TRACK LENGTH 04:10 min)
D2: Youen (TRACK LENGTH 09:03 min)
D3: Ruten (TRACK LENGTH 02:01 min)
Infotext:
After two series of conceptual EPs and the intricate experimental “Enso” Festival compilation, Kosei Fukuda returns with a full length solo project – the debut LP. This marks his thirteenth release on the Reiten label – a platform he created to showcase his techno music and the more general, experimental aesthetic agenda of which the club music is but one facet. As a producer and sound artist, Fukuda has shared his time between Tokyo and Berlin. Delving into the music scene of the latter in the late 2010s, he attracted attention of Berghain resident Tobias Freund who mixed all Reiten releases from the third one on in his Non Standard Studios and contributed a remix on the fifth. Soon another remix package followed, with the works by Uchi and Claudio reinterpreting the single “Sky Clair” which in turn paved the way for four subsequent techno twelves and an accomplished ambient EP. Released in a quick succession, they jointly formed a minimalistic narrative arc punctuated by suggestive titles and integrated by dark atmospheres. That series was a proof of Fukuda’s penchant for longer, conceptually inclined works which culminated in early 2020 in the two-vinyl collection of electro-acoustic improvisations under the philosophical aegis of Enso featuring such acts as Recent Arts, Renick Bell or Rabih Beaini.
It is only logical then that having cut twelve records of such scope, the artist’s energy has now been channeled toward making one coherent authorial statement capable of bringing all the strands of his musical and theoretical outlook together, while also distilling a new vision that transcends the confines of the dancefloor. It comes in the form of the generous double album entitled ‘Ruten’ – a Japanese concept whose closest Western counterpart is the ancient Greek notion of ‘panta rhei’. Referencing Heraclitus’ famous adage that ‘everything flows’ is not just the philosophical inspiration behind the album but also the succinct aesthetic manifesto of sorts. Music is a perfect medium here because, like all events, it unfolds in time. And it’s a process whose meaning can only be perceived in its entirety. In this sense the full length release perfectly facilitates the task of expressing this insight and reinterpreting it for a new generation of listeners.
In principle, the two albums called Ruten – and Ruten + are meant to represent the principle of Ying & Yang, the two elemental forces and the eternal cycle of energy. As a whole, they signify a journey from the nascent being to the eventual dissolution of everything into nothing. Yet there’s still a deeper message at play: the omnipresence of patterns. Even the incessant flow of changes is patterned. The philosphers ask what it tells us about reality. The artists offer answers, each coded in the respective artistic language. In this work Fukuda hints at an idea that a pattern is both an abstract structural quality and a concrete aesthetic value. The music contained here is a complex sonic story about the interlocking meanings of pattern and flow, and it is a meditative exploration of the human experience of this entwinement. The first volume starts appropriately with the unassuming intro “dawn” and proceeds from the investigative look at the evanescent yet tangible droplets of “mist” and on to the contemplative gaze at the most distant, unreachable constellation of “nebula”. Regardless of metaphorical intent though, the music moves within one universe of downtempo, ambient and drone, combining the palpable beats (rhythmic pattern) with the atmospheric backgrounds (harmonic flow).
As is the case with all Reiten label releases, the carefully designed sonic textures and moods take precedence over traditional melodic lines. But make no mistake – this is not a self-indulgent ‘free’ experimentalism. Rather, it’s a progression of loose but recognizable sonic shapes or figures, from small scale to large scale, whereby each track appears to be a symbolic closeup study of one. If this music feels like it has a veritable cinematographic quality to it, then it could be described as a soundtrack to slow-motion razor-sharp images of natural flows: picture, for instance, an intermittent light summer rain (“samidare”) or the majestic stretch of the Milky Way against the vast, pitch black backdrop (“tenkan”).
The second volume offers a different take on such explorations, moving towards more nebulous and more fuzzy modes of musical imagination. It is here where Fukuda’s music begins to evince ineffable qualities, going beyond words that could definitively grasp its content. As such it seems to be asking: are patterns really there, or are we projecting them onto the world? This change of the composition style signifies a change of intellectual perspective, the second complementing the first. Drone-like sounds of the opening tracks appear alien initially, but on closer inspection they are reminiscent of this-wordly ambient sounds – just amplified many times over, stretched to a border of recognition, and rearranged for a thought-provoking auditory experience. They are impressionist vignettes where chromatic properties count for much more than any beat or harmonic structure.
As you delve deeper into the record, the tracks are more like imaginary, fully abstract worlds, departing from any recognizable natural inspirations and expanding into the wholly ARTificial eerie creation. If Volume One played with fragments and vestiges of melodic elements, Volume Two appears to aim at submerging the listener into dissipative sonic structures: there are few traditional musical figures to speak of – instead, a series of electronic sheats of sound reign, and the shapes have been largely turned into the dust of sonic particles, decomposed and scaterred as exemplified by “kongen”, “konton” and “hougen”. Beats return only occasionally, for instance on “reigen”, and they perpetuate the abstactness of music rather than dispel it.
As a rule, here most individual tracks conjur up sheer electro-acoustic spaces that can accommodate various kinds of interpretations and suggest a whole range of emotions at once: from uncomfortable menace to contemplative repose to indifference of a post-human synthetic world. By the time you reach the last vinyl side which starts with “shouryou”, any crisp textures or rhythmic throbs and drones seem gone forever, as if to imply that the cosmic flow always proceeds from the primordial chaos on to the emergence of graspable bits and then again to the elusive cloud-like entities and the eventual dissolution. Yet the last two tracks – “youen” and “ruten” – offer somewhat different and unanticipated glimpses into more classically defined ambient soundscapes. While the former of the two is an expansive mournful one, the latter acts as the concise coda based on sparse yet clear-cut chord structure. It is therefore the entirety of this double album, not just its individual elements and segments, that reveal the full intention of the artist. It demands sustained attention but it also rewards it in more than one way.
Dominik Bartmanski
Berlin, October 2020
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Tracklisting:
A1: Hakkou (TRACK LENGTH 05:02 min)
A2: Jikou (TRACK LENGTH 04:13 min)
A3: Kougen (TRACK LENGTH 04:35 min)
B1: Ekou (TRACK LENGTH 04:48 min)
B2: Kongen (TRACK LENGTH 02:19 min)
B3: Konton (TRACK LENGTH 09:40 min)
C1: Hougen (TRACK LENGTH 02:39 min)
C2: Reigen (TRACK LENGTH 09:29 min)
C3: Yugen (TRACK LENGTH 02:13 min)
D1: Shouryou (TRACK LENGTH 04:10 min)
D2: Youen (TRACK LENGTH 09:03 min)
D3: Ruten (TRACK LENGTH 02:01 min)
Infotext:
After two series of conceptual EPs and the intricate experimental “Enso” Festival compilation, Kosei Fukuda returns with a full length solo project – the debut LP. This marks his thirteenth release on the Reiten label – a platform he created to showcase his techno music and the more general, experimental aesthetic agenda of which the club music is but one facet. As a producer and sound artist, Fukuda has shared his time between Tokyo and Berlin. Delving into the music scene of the latter in the late 2010s, he attracted attention of Berghain resident Tobias Freund who mixed all Reiten releases from the third one on in his Non Standard Studios and contributed a remix on the fifth. Soon another remix package followed, with the works by Uchi and Claudio reinterpreting the single “Sky Clair” which in turn paved the way for four subsequent techno twelves and an accomplished ambient EP. Released in a quick succession, they jointly formed a minimalistic narrative arc punctuated by suggestive titles and integrated by dark atmospheres. That series was a proof of Fukuda’s penchant for longer, conceptually inclined works which culminated in early 2020 in the two-vinyl collection of electro-acoustic improvisations under the philosophical aegis of Enso featuring such acts as Recent Arts, Renick Bell or Rabih Beaini.
It is only logical then that having cut twelve records of such scope, the artist’s energy has now been channeled toward making one coherent authorial statement capable of bringing all the strands of his musical and theoretical outlook together, while also distilling a new vision that transcends the confines of the dancefloor. It comes in the form of the generous double album entitled ‘Ruten’ – a Japanese concept whose closest Western counterpart is the ancient Greek notion of ‘panta rhei’. Referencing Heraclitus’ famous adage that ‘everything flows’ is not just the philosophical inspiration behind the album but also the succinct aesthetic manifesto of sorts. Music is a perfect medium here because, like all events, it unfolds in time. And it’s a process whose meaning can only be perceived in its entirety. In this sense the full length release perfectly facilitates the task of expressing this insight and reinterpreting it for a new generation of listeners.
In principle, the two albums called Ruten – and Ruten + are meant to represent the principle of Ying & Yang, the two elemental forces and the eternal cycle of energy. As a whole, they signify a journey from the nascent being to the eventual dissolution of everything into nothing. Yet there’s still a deeper message at play: the omnipresence of patterns. Even the incessant flow of changes is patterned. The philosphers ask what it tells us about reality. The artists offer answers, each coded in the respective artistic language. In this work Fukuda hints at an idea that a pattern is both an abstract structural quality and a concrete aesthetic value. The music contained here is a complex sonic story about the interlocking meanings of pattern and flow, and it is a meditative exploration of the human experience of this entwinement. The first volume starts appropriately with the unassuming intro “dawn” and proceeds from the investigative look at the evanescent yet tangible droplets of “mist” and on to the contemplative gaze at the most distant, unreachable constellation of “nebula”. Regardless of metaphorical intent though, the music moves within one universe of downtempo, ambient and drone, combining the palpable beats (rhythmic pattern) with the atmospheric backgrounds (harmonic flow).
As is the case with all Reiten label releases, the carefully designed sonic textures and moods take precedence over traditional melodic lines. But make no mistake – this is not a self-indulgent ‘free’ experimentalism. Rather, it’s a progression of loose but recognizable sonic shapes or figures, from small scale to large scale, whereby each track appears to be a symbolic closeup study of one. If this music feels like it has a veritable cinematographic quality to it, then it could be described as a soundtrack to slow-motion razor-sharp images of natural flows: picture, for instance, an intermittent light summer rain (“samidare”) or the majestic stretch of the Milky Way against the vast, pitch black backdrop (“tenkan”).
The second volume offers a different take on such explorations, moving towards more nebulous and more fuzzy modes of musical imagination. It is here where Fukuda’s music begins to evince ineffable qualities, going beyond words that could definitively grasp its content. As such it seems to be asking: are patterns really there, or are we projecting them onto the world? This change of the composition style signifies a change of intellectual perspective, the second complementing the first. Drone-like sounds of the opening tracks appear alien initially, but on closer inspection they are reminiscent of this-wordly ambient sounds – just amplified many times over, stretched to a border of recognition, and rearranged for a thought-provoking auditory experience. They are impressionist vignettes where chromatic properties count for much more than any beat or harmonic structure.
As you delve deeper into the record, the tracks are more like imaginary, fully abstract worlds, departing from any recognizable natural inspirations and expanding into the wholly ARTificial eerie creation. If Volume One played with fragments and vestiges of melodic elements, Volume Two appears to aim at submerging the listener into dissipative sonic structures: there are few traditional musical figures to speak of – instead, a series of electronic sheats of sound reign, and the shapes have been largely turned into the dust of sonic particles, decomposed and scaterred as exemplified by “kongen”, “konton” and “hougen”. Beats return only occasionally, for instance on “reigen”, and they perpetuate the abstactness of music rather than dispel it.
As a rule, here most individual tracks conjur up sheer electro-acoustic spaces that can accommodate various kinds of interpretations and suggest a whole range of emotions at once: from uncomfortable menace to contemplative repose to indifference of a post-human synthetic world. By the time you reach the last vinyl side which starts with “shouryou”, any crisp textures or rhythmic throbs and drones seem gone forever, as if to imply that the cosmic flow always proceeds from the primordial chaos on to the emergence of graspable bits and then again to the elusive cloud-like entities and the eventual dissolution. Yet the last two tracks – “youen” and “ruten” – offer somewhat different and unanticipated glimpses into more classically defined ambient soundscapes. While the former of the two is an expansive mournful one, the latter acts as the concise coda based on sparse yet clear-cut chord structure. It is therefore the entirety of this double album, not just its individual elements and segments, that reveal the full intention of the artist. It demands sustained attention but it also rewards it in more than one way.
Dominik Bartmanski
Berlin, October 2020
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
1
Kosei Fukuda - A1: Akatsuki (TRACK LENGTH 01:44 min)
2
Kosei Fukuda - A2: Kiri (TRACK LENGTH 09:26 min)
3
Kosei Fukuda - A3: Samidare (TRACK LENGTH 04:24 min)
4
Kosei Fukuda - B1: Sekka (TRACK LENGTH 06:06 min)
5
Kosei Fukuda - B2: Rinshi (TRACK LENGTH 05:07 min)
6
Kosei Fukuda - B3: Muyuu Fuyuu (TRACK LENGTH 03:22 min)
7
Kosei Fukuda - C1: Toki no Ma (TRACK LENGTH 05:41 min)
8
Kosei Fukuda - C2: Airen (TRACK LENGTH 05:27 min)
9
Kosei Fukuda - C3: Teikan (TRACK LENGTH 04:06 min)
10
Kosei Fukuda - D1: Inka (TRACK LENGTH 02:56 min)
11
Kosei Fukuda - D2: Tenkan (TRACK LENGTH 06:24 min)
12
Kosei Fukuda - D3: Seiun (TRACK LENGTH 04:29 min)
'Ruten -' is the first part of two 2LP albums. The second part named 'Ruten +' will follow in February.
Tracklisting:
A1: Akatsuki (TRACK LENGTH 01:44 min)
A2: Kiri (TRACK LENGTH 09:26 min)
A3: Samidare (TRACK LENGTH 04:24 min)
B1: Sekka (TRACK LENGTH 06:06 min)
B2: Rinshi (TRACK LENGTH 05:07 min)
B3: Muyuu Fuyuu (TRACK LENGTH 03:22 min)
C1: Toki no Ma (TRACK LENGTH 05:41 min)
C2: Airen (TRACK LENGTH 05:27 min)
C3: Teikan (TRACK LENGTH 04:06 min)
D1: Inka (TRACK LENGTH 02:56 min)
D2: Tenkan (TRACK LENGTH 06:24 min)
D3: Seiun (TRACK LENGTH 04:29 min)
Infotext:
After two series of conceptual EPs and the intricate experimental “Enso” Festival compilation, Kosei Fukuda returns with a full length solo project – the debut LP. This marks his thirteenth release on the Reiten label – a platform he created to showcase his techno music and the more general, experimental aesthetic agenda of which the club music is but one facet. As a producer and sound artist, Fukuda has shared his time between Tokyo and Berlin. Delving into the music scene of the latter in the late 2010s, he attracted attention of Berghain resident Tobias Freund who mixed all Reiten releases from the third one on in his Non Standard Studios and contributed a remix on the fifth. Soon another remix package followed, with the works by Uchi and Claudio reinterpreting the single “Sky Clair” which in turn paved the way for four subsequent techno twelves and an accomplished ambient EP. Released in a quick succession, they jointly formed a minimalistic narrative arc punctuated by suggestive titles and integrated by dark atmospheres. That series was a proof of Fukuda’s penchant for longer, conceptually inclined works which culminated in early 2020 in the two-vinyl collection of electro-acoustic improvisations under the philosophical aegis of Enso featuring such acts as Recent Arts, Renick Bell or Rabih Beaini.
It is only logical then that having cut twelve records of such scope, the artist’s energy has now been channeled toward making one coherent authorial statement capable of bringing all the strands of his musical and theoretical outlook together, while also distilling a new vision that transcends the confines of the dancefloor. It comes in the form of the generous double album entitled ‘Ruten’ – a Japanese concept whose closest Western counterpart is the ancient Greek notion of ‘panta rhei’. Referencing Heraclitus’ famous adage that ‘everything flows’ is not just the philosophical inspiration behind the album but also the succinct aesthetic manifesto of sorts. Music is a perfect medium here because, like all events, it unfolds in time. And it’s a process whose meaning can only be perceived in its entirety. In this sense the full length release perfectly facilitates the task of expressing this insight and reinterpreting it for a new generation of listeners.
In principle, the two albums called Ruten – and Ruten + are meant to represent the principle of Ying & Yang, the two elemental forces and the eternal cycle of energy. As a whole, they signify a journey from the nascent being to the eventual dissolution of everything into nothing. Yet there’s still a deeper message at play: the omnipresence of patterns. Even the incessant flow of changes is patterned. The philosphers ask what it tells us about reality. The artists offer answers, each coded in the respective artistic language. In this work Fukuda hints at an idea that a pattern is both an abstract structural quality and a concrete aesthetic value. The music contained here is a complex sonic story about the interlocking meanings of pattern and flow, and it is a meditative exploration of the human experience of this entwinement. The first volume starts appropriately with the unassuming intro “dawn” and proceeds from the investigative look at the evanescent yet tangible droplets of “mist” and on to the contemplative gaze at the most distant, unreachable constellation of “nebula”. Regardless of metaphorical intent though, the music moves within one universe of downtempo, ambient and drone, combining the palpable beats (rhythmic pattern) with the atmospheric backgrounds (harmonic flow).
As is the case with all Reiten label releases, the carefully designed sonic textures and moods take precedence over traditional melodic lines. But make no mistake – this is not a self-indulgent ‘free’ experimentalism. Rather, it’s a progression of loose but recognizable sonic shapes or figures, from small scale to large scale, whereby each track appears to be a symbolic closeup study of one. If this music feels like it has a veritable cinematographic quality to it, then it could be described as a soundtrack to slow-motion razor-sharp images of natural flows: picture, for instance, an intermittent light summer rain (“samidare”) or the majestic stretch of the Milky Way against the vast, pitch black backdrop (“tenkan”).
The second volume offers a different take on such explorations, moving towards more nebulous and more fuzzy modes of musical imagination. It is here where Fukuda’s music begins to evince ineffable qualities, going beyond words that could definitively grasp its content. As such it seems to be asking: are patterns really there, or are we projecting them onto the world? This change of the composition style signifies a change of intellectual perspective, the second complementing the first. Drone-like sounds of the opening tracks appear alien initially, but on closer inspection they are reminiscent of this-wordly ambient sounds – just amplified many times over, stretched to a border of recognition, and rearranged for a thought-provoking auditory experience. They are impressionist vignettes where chromatic properties count for much more than any beat or harmonic structure.
As you delve deeper into the record, the tracks are more like imaginary, fully abstract worlds, departing from any recognizable natural inspirations and expanding into the wholly ARTificial eerie creation. If Volume One played with fragments and vestiges of melodic elements, Volume Two appears to aim at submerging the listener into dissipative sonic structures: there are few traditional musical figures to speak of – instead, a series of electronic sheats of sound reign, and the shapes have been largely turned into the dust of sonic particles, decomposed and scaterred as exemplified by “kongen”, “konton” and “hougen”. Beats return only occasionally, for instance on “reigen”, and they perpetuate the abstactness of music rather than dispel it.
As a rule, here most individual tracks conjur up sheer electro-acoustic spaces that can accommodate various kinds of interpretations and suggest a whole range of emotions at once: from uncomfortable menace to contemplative repose to indifference of a post-human synthetic world. By the time you reach the last vinyl side which starts with “shouryou”, any crisp textures or rhythmic throbs and drones seem gone forever, as if to imply that the cosmic flow always proceeds from the primordial chaos on to the emergence of graspable bits and then again to the elusive cloud-like entities and the eventual dissolution. Yet the last two tracks – “youen” and “ruten” – offer somewhat different and unanticipated glimpses into more classically defined ambient soundscapes. While the former of the two is an expansive mournful one, the latter acts as the concise coda based on sparse yet clear-cut chord structure. It is therefore the entirety of this double album, not just its individual elements and segments, that reveal the full intention of the artist. It demands sustained attention but it also rewards it in more than one way.
Dominik Bartmanski
Berlin, October 2020
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Tracklisting:
A1: Akatsuki (TRACK LENGTH 01:44 min)
A2: Kiri (TRACK LENGTH 09:26 min)
A3: Samidare (TRACK LENGTH 04:24 min)
B1: Sekka (TRACK LENGTH 06:06 min)
B2: Rinshi (TRACK LENGTH 05:07 min)
B3: Muyuu Fuyuu (TRACK LENGTH 03:22 min)
C1: Toki no Ma (TRACK LENGTH 05:41 min)
C2: Airen (TRACK LENGTH 05:27 min)
C3: Teikan (TRACK LENGTH 04:06 min)
D1: Inka (TRACK LENGTH 02:56 min)
D2: Tenkan (TRACK LENGTH 06:24 min)
D3: Seiun (TRACK LENGTH 04:29 min)
Infotext:
After two series of conceptual EPs and the intricate experimental “Enso” Festival compilation, Kosei Fukuda returns with a full length solo project – the debut LP. This marks his thirteenth release on the Reiten label – a platform he created to showcase his techno music and the more general, experimental aesthetic agenda of which the club music is but one facet. As a producer and sound artist, Fukuda has shared his time between Tokyo and Berlin. Delving into the music scene of the latter in the late 2010s, he attracted attention of Berghain resident Tobias Freund who mixed all Reiten releases from the third one on in his Non Standard Studios and contributed a remix on the fifth. Soon another remix package followed, with the works by Uchi and Claudio reinterpreting the single “Sky Clair” which in turn paved the way for four subsequent techno twelves and an accomplished ambient EP. Released in a quick succession, they jointly formed a minimalistic narrative arc punctuated by suggestive titles and integrated by dark atmospheres. That series was a proof of Fukuda’s penchant for longer, conceptually inclined works which culminated in early 2020 in the two-vinyl collection of electro-acoustic improvisations under the philosophical aegis of Enso featuring such acts as Recent Arts, Renick Bell or Rabih Beaini.
It is only logical then that having cut twelve records of such scope, the artist’s energy has now been channeled toward making one coherent authorial statement capable of bringing all the strands of his musical and theoretical outlook together, while also distilling a new vision that transcends the confines of the dancefloor. It comes in the form of the generous double album entitled ‘Ruten’ – a Japanese concept whose closest Western counterpart is the ancient Greek notion of ‘panta rhei’. Referencing Heraclitus’ famous adage that ‘everything flows’ is not just the philosophical inspiration behind the album but also the succinct aesthetic manifesto of sorts. Music is a perfect medium here because, like all events, it unfolds in time. And it’s a process whose meaning can only be perceived in its entirety. In this sense the full length release perfectly facilitates the task of expressing this insight and reinterpreting it for a new generation of listeners.
In principle, the two albums called Ruten – and Ruten + are meant to represent the principle of Ying & Yang, the two elemental forces and the eternal cycle of energy. As a whole, they signify a journey from the nascent being to the eventual dissolution of everything into nothing. Yet there’s still a deeper message at play: the omnipresence of patterns. Even the incessant flow of changes is patterned. The philosphers ask what it tells us about reality. The artists offer answers, each coded in the respective artistic language. In this work Fukuda hints at an idea that a pattern is both an abstract structural quality and a concrete aesthetic value. The music contained here is a complex sonic story about the interlocking meanings of pattern and flow, and it is a meditative exploration of the human experience of this entwinement. The first volume starts appropriately with the unassuming intro “dawn” and proceeds from the investigative look at the evanescent yet tangible droplets of “mist” and on to the contemplative gaze at the most distant, unreachable constellation of “nebula”. Regardless of metaphorical intent though, the music moves within one universe of downtempo, ambient and drone, combining the palpable beats (rhythmic pattern) with the atmospheric backgrounds (harmonic flow).
As is the case with all Reiten label releases, the carefully designed sonic textures and moods take precedence over traditional melodic lines. But make no mistake – this is not a self-indulgent ‘free’ experimentalism. Rather, it’s a progression of loose but recognizable sonic shapes or figures, from small scale to large scale, whereby each track appears to be a symbolic closeup study of one. If this music feels like it has a veritable cinematographic quality to it, then it could be described as a soundtrack to slow-motion razor-sharp images of natural flows: picture, for instance, an intermittent light summer rain (“samidare”) or the majestic stretch of the Milky Way against the vast, pitch black backdrop (“tenkan”).
The second volume offers a different take on such explorations, moving towards more nebulous and more fuzzy modes of musical imagination. It is here where Fukuda’s music begins to evince ineffable qualities, going beyond words that could definitively grasp its content. As such it seems to be asking: are patterns really there, or are we projecting them onto the world? This change of the composition style signifies a change of intellectual perspective, the second complementing the first. Drone-like sounds of the opening tracks appear alien initially, but on closer inspection they are reminiscent of this-wordly ambient sounds – just amplified many times over, stretched to a border of recognition, and rearranged for a thought-provoking auditory experience. They are impressionist vignettes where chromatic properties count for much more than any beat or harmonic structure.
As you delve deeper into the record, the tracks are more like imaginary, fully abstract worlds, departing from any recognizable natural inspirations and expanding into the wholly ARTificial eerie creation. If Volume One played with fragments and vestiges of melodic elements, Volume Two appears to aim at submerging the listener into dissipative sonic structures: there are few traditional musical figures to speak of – instead, a series of electronic sheats of sound reign, and the shapes have been largely turned into the dust of sonic particles, decomposed and scaterred as exemplified by “kongen”, “konton” and “hougen”. Beats return only occasionally, for instance on “reigen”, and they perpetuate the abstactness of music rather than dispel it.
As a rule, here most individual tracks conjur up sheer electro-acoustic spaces that can accommodate various kinds of interpretations and suggest a whole range of emotions at once: from uncomfortable menace to contemplative repose to indifference of a post-human synthetic world. By the time you reach the last vinyl side which starts with “shouryou”, any crisp textures or rhythmic throbs and drones seem gone forever, as if to imply that the cosmic flow always proceeds from the primordial chaos on to the emergence of graspable bits and then again to the elusive cloud-like entities and the eventual dissolution. Yet the last two tracks – “youen” and “ruten” – offer somewhat different and unanticipated glimpses into more classically defined ambient soundscapes. While the former of the two is an expansive mournful one, the latter acts as the concise coda based on sparse yet clear-cut chord structure. It is therefore the entirety of this double album, not just its individual elements and segments, that reveal the full intention of the artist. It demands sustained attention but it also rewards it in more than one way.
Dominik Bartmanski
Berlin, October 2020
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
1
V/A - REITEN presents ENSo 2020 (2LP, GF - A1. Kosei Fukuda - ?? - ENSo (4:18)
2
V/A - REITEN presents ENSo 2020 (2LP, GF - A2. Uchi - Zro (6:42)
3
V/A - REITEN presents ENSo 2020 (2LP, GF - A3. YPY - Circulation (6:44)
4
V/A - REITEN presents ENSo 2020 (2LP, GF - B1. Recent Arts - My Default Emotion (5:43)
5
V/A - REITEN presents ENSo 2020 (2LP, GF - B2. Renick Bell - Organize And Unite (4:09)
6
V/A - REITEN presents ENSo 2020 (2LP, GF - B3. MA + Kosei Fukuda - ????(????)- ENSo no MA (FURUTSUKI) (1:30)
7
V/A - REITEN presents ENSo 2020 (2LP, GF - B4. YvesDeMey - The Chosen Home (6:11)
8
V/A - REITEN presents ENSo 2020 (2LP, GF - C1. Tobias. - He Turned Into Him (5:52)
9
V/A - REITEN presents ENSo 2020 (2LP, GF - C2. Katsunori Sawa - The Stonewall (5:21)
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V/A - REITEN presents ENSo 2020 (2LP, GF - C3. Yuji Kondo - Zenith (6:09)
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V/A - REITEN presents ENSo 2020 (2LP, GF - D1. Rabih Beaini - Circle (8:03)
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V/A - REITEN presents ENSo 2020 (2LP, GF - D2. ENA - 42.1 (4:36)
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V/A - REITEN presents ENSo 2020 (2LP, GF - D3. Lemna - Moments In Eternal Recurrence (5:00)
500 copies limited.
Special remarks : 2LP Gatefold 2LP Vinyl
Genre: Avant-Garde, Experimental, Electro Acoustic, IDM, Techno, Ambient, Drone
Tracklisting:
A1. Kosei Fukuda - ?? - ENSo (4:18)
A2. Uchi - Zro (6:42)
A3. YPY - Circulation (6:44)
B1. Recent Arts - My Default Emotion (5:43)
B2. Renick Bell - Organize And Unite (4:09)
B3. MA + Kosei Fukuda - ????(????)- ENSo no MA (FURUTSUKI) (1:30)
B4. YvesDeMey - The Chosen Home (6:11)
C1. Tobias. - He Turned Into Him (5:52)
C2. Katsunori Sawa - The Stonewall (5:21)
C3. Yuji Kondo - Zenith (6:09)
D1. Rabih Beaini - Circle (8:03)
D2. ENA - 42.1 (4:36)
D3. Lemna - Moments In Eternal Recurrence (5:00)
Short Info:
Japanese sound artist and producer Kosei Fukuda’s presents a collaborated vision of the first edition of ENSo¯, a two-day audio-visual event collated around the REITEN label. The ENSo¯ Festival invites its artists and audiences alike to appreciate the merging of the improvisational, with the contemplation of rhythmic cycles, based around the conception of enso¯ – ?? – meaning a hand-drawn circle created by one uninterrupted stroke. Now, with an elongated stretch of time in front of us before the next edition of the festival, the compilation stands to provide a sustained glimpse into the world imagined by Fukuda. Blending spontaneity and gravity alike, the record features an array of idiosyncratic artists set to play ENSo¯, all purveyors of their own shaped sound-worlds.
For the A-side, we have Fukada’s own contribution ‘?? – ENSo¯’; a slice of ambient techno dotted somewhere within a faraway galaxy. Venezuelan noise artist UCHI crafts a fourth-world hymn with tribal percussion on the expansive ‘ZRO’, and Osaka based experimentalist YPY aka Korshiro Hino shapes an elusive polyrhythmic ambience on ‘Circulation’. The B-side presents a colossal improvisational track ‘My Default Emotion’ from Berlin based duo Recent Arts. Formed of Chilean artist Valentina Berthelon and German musician Tobias Freund, the duo are masters in audio-visual experimental performances that both surprise and challenge an audience. Renowned artist, programmer and teacher Renick Bell is noted as a pioneer for live coded performance, conducting mutated rhythms that cut across the landscape of electronic sound. His addition to the compilation is a luminescent IDM piece, titled ‘Organize and Unite’. A polished ambient club track from Fukada and MA titled ‘????(????)’ provides a state of organized tranquility, whilst the track ‘The Chosen Home’ from Belgium artist YvesDeMay, whose move from breakbeat to experimental producer has produced gratifying results for all, is a welcome slice of pensive dub- techno.
The C-side brings us a textured and haunting techno track ‘He Turned Into Him’ with revered German artist Tobias, veteran mainstay with an expert hand in shimmering sound design; Kyoto based 10 Label heads Katsunori Sawa and Yuji Kondo brings sample-heavy rushes of sound, the former with ‘The Stonewall’ and the latter with ‘Zenith’, both multi-faceted in their reference points. The D-Side presents the grainy and expansive ‘Circle’ from Lebanese producer Rabih Beaini, who expertly combines club tropes and avant-gardism in his DJing and music. Hypnotic skeletal beats circulate on the pulsating ‘42.1’ by Tokyo artist ENA. Japanese composer Lemna, the alias of Maiko Okimoto rounds it off with a dreamy noise ambience on ‘Moments In Eternal Recurrence’. Released on vinyl July 24th, the compilation stands as a traversable artefact of the festival, rich in spontaneous beauty.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Special remarks : 2LP Gatefold 2LP Vinyl
Genre: Avant-Garde, Experimental, Electro Acoustic, IDM, Techno, Ambient, Drone
Tracklisting:
A1. Kosei Fukuda - ?? - ENSo (4:18)
A2. Uchi - Zro (6:42)
A3. YPY - Circulation (6:44)
B1. Recent Arts - My Default Emotion (5:43)
B2. Renick Bell - Organize And Unite (4:09)
B3. MA + Kosei Fukuda - ????(????)- ENSo no MA (FURUTSUKI) (1:30)
B4. YvesDeMey - The Chosen Home (6:11)
C1. Tobias. - He Turned Into Him (5:52)
C2. Katsunori Sawa - The Stonewall (5:21)
C3. Yuji Kondo - Zenith (6:09)
D1. Rabih Beaini - Circle (8:03)
D2. ENA - 42.1 (4:36)
D3. Lemna - Moments In Eternal Recurrence (5:00)
Short Info:
Japanese sound artist and producer Kosei Fukuda’s presents a collaborated vision of the first edition of ENSo¯, a two-day audio-visual event collated around the REITEN label. The ENSo¯ Festival invites its artists and audiences alike to appreciate the merging of the improvisational, with the contemplation of rhythmic cycles, based around the conception of enso¯ – ?? – meaning a hand-drawn circle created by one uninterrupted stroke. Now, with an elongated stretch of time in front of us before the next edition of the festival, the compilation stands to provide a sustained glimpse into the world imagined by Fukuda. Blending spontaneity and gravity alike, the record features an array of idiosyncratic artists set to play ENSo¯, all purveyors of their own shaped sound-worlds.
For the A-side, we have Fukada’s own contribution ‘?? – ENSo¯’; a slice of ambient techno dotted somewhere within a faraway galaxy. Venezuelan noise artist UCHI crafts a fourth-world hymn with tribal percussion on the expansive ‘ZRO’, and Osaka based experimentalist YPY aka Korshiro Hino shapes an elusive polyrhythmic ambience on ‘Circulation’. The B-side presents a colossal improvisational track ‘My Default Emotion’ from Berlin based duo Recent Arts. Formed of Chilean artist Valentina Berthelon and German musician Tobias Freund, the duo are masters in audio-visual experimental performances that both surprise and challenge an audience. Renowned artist, programmer and teacher Renick Bell is noted as a pioneer for live coded performance, conducting mutated rhythms that cut across the landscape of electronic sound. His addition to the compilation is a luminescent IDM piece, titled ‘Organize and Unite’. A polished ambient club track from Fukada and MA titled ‘????(????)’ provides a state of organized tranquility, whilst the track ‘The Chosen Home’ from Belgium artist YvesDeMay, whose move from breakbeat to experimental producer has produced gratifying results for all, is a welcome slice of pensive dub- techno.
The C-side brings us a textured and haunting techno track ‘He Turned Into Him’ with revered German artist Tobias, veteran mainstay with an expert hand in shimmering sound design; Kyoto based 10 Label heads Katsunori Sawa and Yuji Kondo brings sample-heavy rushes of sound, the former with ‘The Stonewall’ and the latter with ‘Zenith’, both multi-faceted in their reference points. The D-Side presents the grainy and expansive ‘Circle’ from Lebanese producer Rabih Beaini, who expertly combines club tropes and avant-gardism in his DJing and music. Hypnotic skeletal beats circulate on the pulsating ‘42.1’ by Tokyo artist ENA. Japanese composer Lemna, the alias of Maiko Okimoto rounds it off with a dreamy noise ambience on ‘Moments In Eternal Recurrence’. Released on vinyl July 24th, the compilation stands as a traversable artefact of the festival, rich in spontaneous beauty.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
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Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
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Liebigstrasse 2-20
DE - 22113 Hamburg
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Contact: [email protected]More
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
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Contact: [email protected]More
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Liebigstrasse 2-20
DE - 22113 Hamburg
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Contact: [email protected]More
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
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DE - 22113 Hamburg
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Germany
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Signing things off is ‘Adan On Dòt Soley’, a personal dedication to the beautiful country of Gwadloup. A common farewell in the local tongue, it translates poetically as “until another sun”. The track begins with off-kilter spaced-out synths and emerges into a dubby percussive jam featuring the gorgeous keys of Andy Wileman. Field recordings capturing glimpses of birds singing, waves lapping and the sound of gwo ka on the beach close things out, until another sun.”??
Full sleeve artwork printed on reverse board (design by mikesstudio.co.uk)
Mastered and cut by Beau Thomas at Ten Eight Seven Mastering
Pressed and printed by The Vinyl Factory
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
1
Double Geography - A1 Flight 1
2
Double Geography - A2 Flight 7
3
Double Geography - B1 Flight 9
4
Double Geography - B2 Flight 17
File Under: Ambient Trip / Contemplative Synth
Tracklisting:
A1 Flight 1
A2 Flight 7
B1 Flight 9
B2 Flight 17
Release Info:
Let's face it, no one really knows where they're going, so the best we can do is enjoy the ride -
a sentiment captured perfectly by the high altitude ambient of 'Flights',
Double Geography's new release on the Growing Bin.
Embracing the unpredictable, Duncan Thornley married melodic fragments with semi-generative computer process and random filter interactions, an aleatory approach to music therapy during the existential funk of the first Lockdown. The unhurried melodies, weightless within plumes of reverb and delay, conjure the feeling of long distance air travel with All Nippon - that pensive delirium stimulated by varying air pressure, broken sleep and the most welcome pause in your everyday life. Remote snippets of news reports, street noise and conversation, plundered from cassette dictaphone and a Spanish language tape the artist found in the loft sit low in the mix, the barely audible sound of the pilot and passenger, extras in your everyday experience.
Contemplative and comforting, 'Flights' is a gentle reminder to be present, delivered with a rare beauty.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Tracklisting:
A1 Flight 1
A2 Flight 7
B1 Flight 9
B2 Flight 17
Release Info:
Let's face it, no one really knows where they're going, so the best we can do is enjoy the ride -
a sentiment captured perfectly by the high altitude ambient of 'Flights',
Double Geography's new release on the Growing Bin.
Embracing the unpredictable, Duncan Thornley married melodic fragments with semi-generative computer process and random filter interactions, an aleatory approach to music therapy during the existential funk of the first Lockdown. The unhurried melodies, weightless within plumes of reverb and delay, conjure the feeling of long distance air travel with All Nippon - that pensive delirium stimulated by varying air pressure, broken sleep and the most welcome pause in your everyday life. Remote snippets of news reports, street noise and conversation, plundered from cassette dictaphone and a Spanish language tape the artist found in the loft sit low in the mix, the barely audible sound of the pilot and passenger, extras in your everyday experience.
Contemplative and comforting, 'Flights' is a gentle reminder to be present, delivered with a rare beauty.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
1
Grauzone - Raum
2
Grauzone - Raum (Naum Gabo Rework)
3
Grauzone - Raum (Ata's Extended Edit)
4
Grauzone - Raum (Naum Gabo Rework - Radio Edit)
Maxi vinyl: 12" cut at 45rpm, 350gsm inside out sleeve with artwork by Stephan Eicher, handmade Xerox sticker
WRWTFWW Records is beyond thrilled to announce the first ever vinyl maxi-single release for "Raum", Grauzone's best-kept secret and underground mega-gem from 1980. The four-track affair includes the full title track sourced from the original reels, as well as a club-ready rework by Naum Gabo (Jonnie Wilkes of Optimo and James Savage) with help from Dennis Young of Liquid Liquid, and an extended edit by legendary Frankfurt DJ Ata (Robert-Johnson club, Playhouse/Klang/Ongaku labels). The 12 inch vinyl is cut at 45rpm and comes with a never-seen cover art by band member Stephan Eicher and a handmade Xerox hype sticker.
Tracklisting
A1. Raum
A2. Raum (Naum Gabo Rework)
B1. Raum (Ata's Extended Edit)
B2. Raum (Naum Gabo Rework - Radio Edit)
Info:
WRWTFWW Records is beyond thrilled to announce the first ever vinyl maxi-single release for "Raum", Grauzone's best-kept secret and underground mega-gem from 1980. The four-track affair includes the full title track sourced from the original reels, as well as a club-ready rework by Naum Gabo (Jonnie Wilkes of Optimo and James Savage) with help from Dennis Young of Liquid Liquid, and an extended edit by legendary Frankfurt DJ Ata (Robert-Johnson club, Playhouse/Klang/Ongaku labels). The 12 inch vinyl is cut at 45rpm and comes with a never-seen cover art by band member Stephan Eicher and a handmade Xerox hype sticker.
Initally released almost 40 years ago on the beloved compilation Swiss Wave - The Album (Off Course Records) alongside the band's massive hit "Eisbär", "Raum" is the biggest Grauzone track people have yet to discover. An über-infectious New York style bassline played by Christian "GT" Trüssel and frantic drumming by Marco Repetto blend with Martin Eicher's hauntingly hopeless lyrics and Claudine Chirac's saxophone escapades to personify post-punk heaven and all its wonderful anomalies. It's disco with an edge, pop filled with fear, it's The Cure infused with proto-techno and Swiss art chic. Or maybe, it's simply one hell of a song that will make you dance and shout. It's good!
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
WRWTFWW Records is beyond thrilled to announce the first ever vinyl maxi-single release for "Raum", Grauzone's best-kept secret and underground mega-gem from 1980. The four-track affair includes the full title track sourced from the original reels, as well as a club-ready rework by Naum Gabo (Jonnie Wilkes of Optimo and James Savage) with help from Dennis Young of Liquid Liquid, and an extended edit by legendary Frankfurt DJ Ata (Robert-Johnson club, Playhouse/Klang/Ongaku labels). The 12 inch vinyl is cut at 45rpm and comes with a never-seen cover art by band member Stephan Eicher and a handmade Xerox hype sticker.
Tracklisting
A1. Raum
A2. Raum (Naum Gabo Rework)
B1. Raum (Ata's Extended Edit)
B2. Raum (Naum Gabo Rework - Radio Edit)
Info:
WRWTFWW Records is beyond thrilled to announce the first ever vinyl maxi-single release for "Raum", Grauzone's best-kept secret and underground mega-gem from 1980. The four-track affair includes the full title track sourced from the original reels, as well as a club-ready rework by Naum Gabo (Jonnie Wilkes of Optimo and James Savage) with help from Dennis Young of Liquid Liquid, and an extended edit by legendary Frankfurt DJ Ata (Robert-Johnson club, Playhouse/Klang/Ongaku labels). The 12 inch vinyl is cut at 45rpm and comes with a never-seen cover art by band member Stephan Eicher and a handmade Xerox hype sticker.
Initally released almost 40 years ago on the beloved compilation Swiss Wave - The Album (Off Course Records) alongside the band's massive hit "Eisbär", "Raum" is the biggest Grauzone track people have yet to discover. An über-infectious New York style bassline played by Christian "GT" Trüssel and frantic drumming by Marco Repetto blend with Martin Eicher's hauntingly hopeless lyrics and Claudine Chirac's saxophone escapades to personify post-punk heaven and all its wonderful anomalies. It's disco with an edge, pop filled with fear, it's The Cure infused with proto-techno and Swiss art chic. Or maybe, it's simply one hell of a song that will make you dance and shout. It's good!
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
1
VILLALOBOS - EASY LEE
2
VILLALOBOS - THEOGENESE
3
VILLALOBOS - BAHAHA HAHI
4
VILLALOBOS - LA RAJA
5
VILLALOBOS - I TRY TO LIVE (CAN I LIVE)
6
VILLALOBOS - QUIZÅS
7
VILLALOBOS - FUSION THE ENEMIES
8
VILLALOBOS - DEXTER
9
VILLALOBOS - BACH TO BACK
10
VILLALOBOS - Y.G.H.
11
VILLALOBOS - WAIWORINAO
Format: 4x12"LP
Tracklist
A EASY LEE
B THEOGENESE
C1 BAHAHA HAHI
C2 LA RAJA
D I TRY TO LIVE (CAN I LIVE)
E1 QUIZÅS
E2 FUSION THE ENEMIES
F DEXTER
G BACH TO BACK
H1 Y.G.H.
H2 WAIWORINAO
Ricardo Villalobos first album „Alcachofa“ from 2003.
Originally released by Playhouse as a 3x12“ record set, the re-release adds a fourth 12“, the „Alcachofa Tools“.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Tracklist
A EASY LEE
B THEOGENESE
C1 BAHAHA HAHI
C2 LA RAJA
D I TRY TO LIVE (CAN I LIVE)
E1 QUIZÅS
E2 FUSION THE ENEMIES
F DEXTER
G BACH TO BACK
H1 Y.G.H.
H2 WAIWORINAO
Ricardo Villalobos first album „Alcachofa“ from 2003.
Originally released by Playhouse as a 3x12“ record set, the re-release adds a fourth 12“, the „Alcachofa Tools“.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
1
CHRIS KORDA - A1 A THIN LAYER OF OILY ROCK
2
CHRIS KORDA - A2 CHANGING CLIMATE
3
CHRIS KORDA - A3 APOLOGIZE TO THE FUTURE
4
CHRIS KORDA - B1 SINGULARITY
5
CHRIS KORDA - B2 OVERSHOOT
6
CHRIS KORDA - B3 EXIT GAME
Format: LP
Tracklist:
A1 A THIN LAYER OF OILY ROCK
A2 CHANGING CLIMATE
A3 APOLOGIZE TO THE FUTURE
B1 SINGULARITY
B2 OVERSHOOT
B3 EXIT GAME
Release Info:
…»Welcome to another polymeter dance! Feel free to express yourself, subordinate to
any measures and cycles you prefer, there are plenty for everyone and any purpose.
Every track represents a variety of rhythmic possibilities for any part of the body to
communicate with. This allows you to resonate with the universe, but please always
care for the environment!
The dunning voice of today will introduce to you the core issues of tomorrow. As if a
paralyzed mankind would not be able anymore to speak out the inevitable, a posthuman being has taken over. This entity is the master of ceremony who conducts an
array of machines that will take further action to communicate, supported by complex
polymeters. The repetition of measures and cycles of different lengths reflect the
repeatedly pronounced statements of a narrative of awareness.
Where music visionaries once celebrated the transfer of human creation into
machines, Chris Korda’s machines are creators themselves – creators of a safer
dance into the future. The machines speak to you with a sparkling, funky tone to gain
your confidence. Here are the rules of interaction: 1) Humans may not injure these
machines or, through inaction, allow a machine to come to harm. 2) Humans must
obey the orders given by the machines except where such orders would conflict with
the engagement in environmental issues. 3) Machines must protect their own
existence as long as such protection does not conflict with the engagement in
environmental issues.
Take care and enjoy the future!
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Tracklist:
A1 A THIN LAYER OF OILY ROCK
A2 CHANGING CLIMATE
A3 APOLOGIZE TO THE FUTURE
B1 SINGULARITY
B2 OVERSHOOT
B3 EXIT GAME
Release Info:
…»Welcome to another polymeter dance! Feel free to express yourself, subordinate to
any measures and cycles you prefer, there are plenty for everyone and any purpose.
Every track represents a variety of rhythmic possibilities for any part of the body to
communicate with. This allows you to resonate with the universe, but please always
care for the environment!
The dunning voice of today will introduce to you the core issues of tomorrow. As if a
paralyzed mankind would not be able anymore to speak out the inevitable, a posthuman being has taken over. This entity is the master of ceremony who conducts an
array of machines that will take further action to communicate, supported by complex
polymeters. The repetition of measures and cycles of different lengths reflect the
repeatedly pronounced statements of a narrative of awareness.
Where music visionaries once celebrated the transfer of human creation into
machines, Chris Korda’s machines are creators themselves – creators of a safer
dance into the future. The machines speak to you with a sparkling, funky tone to gain
your confidence. Here are the rules of interaction: 1) Humans may not injure these
machines or, through inaction, allow a machine to come to harm. 2) Humans must
obey the orders given by the machines except where such orders would conflict with
the engagement in environmental issues. 3) Machines must protect their own
existence as long as such protection does not conflict with the engagement in
environmental issues.
Take care and enjoy the future!
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
1
Echo Party - Peeeeel
2
Guizzi - Conga Cave
3
Der Opium Queen - Extra Wet
4
Memotone - Only So Young
5
Lo Kindre - Igreja
6
Raf Reza - Dubfoot
Repress coming 4th November.
Ltd 300 / Stickered full-body sleeve by Al White
12th Isle revisit the various artist compilation format first explored with 2019’s ‘Inkosi’ and assemble a veritable mixtape of sorts unfolding across six tracks aimed with the club in mind. Echo Party get things started with a dub heavy, studio alchemy excercise in discipline that appears in an extended mix to the original form on Murray Collier (Dip Friso) & Hannan Jones’s self-released CD-R. Italian newcomer Guizzi features with a thunderous downtempo excursion with tight conga percussion in a DK/RAMZi vein that feels very at home on the label. Der Opium Queen pulls off a propulsive, video game OST style dancefloor hit that brings to mind that Les Aeroplanes project on Jamal Moss’s Mathematics label from way back when whilst on the Side B a freak-folk skit from Memotone sits next to heads-down motorik from Lo Kindre and a bleep-infused dub techno piece by Toronto via Bangladesh real one Raf Reza. More V/A's to come.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Ltd 300 / Stickered full-body sleeve by Al White
12th Isle revisit the various artist compilation format first explored with 2019’s ‘Inkosi’ and assemble a veritable mixtape of sorts unfolding across six tracks aimed with the club in mind. Echo Party get things started with a dub heavy, studio alchemy excercise in discipline that appears in an extended mix to the original form on Murray Collier (Dip Friso) & Hannan Jones’s self-released CD-R. Italian newcomer Guizzi features with a thunderous downtempo excursion with tight conga percussion in a DK/RAMZi vein that feels very at home on the label. Der Opium Queen pulls off a propulsive, video game OST style dancefloor hit that brings to mind that Les Aeroplanes project on Jamal Moss’s Mathematics label from way back when whilst on the Side B a freak-folk skit from Memotone sits next to heads-down motorik from Lo Kindre and a bleep-infused dub techno piece by Toronto via Bangladesh real one Raf Reza. More V/A's to come.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
1
Holy Tongue meets Shackleton - A1. ANCIENT MODEL
2
Holy Tongue meets Shackleton - A2. BLESSED AND BEWILDERED
3
Holy Tongue meets Shackleton - A3. THE FRUIT OF THE FALL
4
Holy Tongue meets Shackleton - B1. THE OTHER SIDE OF THE BRIDGE
5
Holy Tongue meets Shackleton - B2. THE MERCIFUL LAKE
6
Holy Tongue meets Shackleton - B3. GRAVITY WILL FAIL US
The Tumbling Psychic Joy of Now, a ritualistic and expanding collaborative album between Holy Tongue and Shackleton.
Holy Tongue is Al Wootton, Valentina Magaletti and Susumu Mukai and they have collaborated with Shackleton to create free-form, high energy, spiritual dub-dance music.
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Holy Tongue is Al Wootton, Valentina Magaletti and Susumu Mukai and they have collaborated with Shackleton to create free-form, high energy, spiritual dub-dance music.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More