CD,16 page Booklet

- Second album from Wolfgang Tillmans
- Artwork designed and photographed by the artist


2. GENRE/S:
Electronica
Pop
Leftfield

3. TRACKLISTS:

CD
1. Where Does The Tune Hide?
2. Regratitude
3. Cab Ride
4. Primal (Intro)
5. We Are Not Going Back
6. Morning Light
7. ADA403
8. French Lesson
9. Grüne Linien feat. FRAGILE
10. Build From Here
11. Modernist Survival Unit
12. There’s More That Connects Us
13. Not Telling A Friend
14. Language

4. SHORT INFO:
Wolfgang Tillmans’ latest album, Build from Here, is driven by a desire to explore and to expose. It navigates joy
and heartbreak amid ruin and rebuilding, embodying hopeful defiance in uncertain futures. The songs vary in
style, from propulsive and catchy to contemplative, featuring lush instrumentals transitioning into danceable
beats. Tillmans’ voice, whether growling and confrontational or tender and stripped down, maintains its
prominence throughout, serving as the album's core.

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

LP - BioVinyl - Gatefold - Printed Innersleeves

- Second album from Wolfgang Tillmans
- Cover and inner sleeve designed and photographed by the artist


2. GENRE/S:
Electronica
Pop
Leftfield

3. TRACKLISTS:

LP

Side 1
1. Where Does The Tune Hide?
2. Regratitude
3. Cab Ride
4. Primal (Intro)
5. We Are Not Going Back
6. Morning Light
7. ADA403
8. French Lesson

Side 2
1. Grüne Linien feat. FRAGILE
2. Build From Here
3. Modernist Survival Unit
4. There’s More That Connects Us
5. Not Telling A Friend
6. Language

4. SHORT INFO:
Wolfgang Tillmans’ latest album, Build from Here, is driven by a desire to explore and to expose. It navigates joy
and heartbreak amid ruin and rebuilding, embodying hopeful defiance in uncertain futures. The songs vary in
style, from propulsive and catchy to contemplative, featuring lush instrumentals transitioning into danceable
beats. Tillmans’ voice, whether growling and confrontational or tender and stripped down, maintains its
prominence throughout, serving as the album's core.

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

LP - 2023 Repress Edition in BioVinyl
- Debut album by Wolfgang Tillmans. Artwork designed by the artist.

GENRE:

Electronic
Pop
Abstract



TRACKLISTS:

CD / Vinyl
Celloloop / More That Connects Us
Rain Gutter
Fourth Floor
Nairobi Traffic Light
Possibility / Kardio Loop (a)
Stonerella
Don't Kill It By Naming It
Insanely Alive
El Condor Pasa
Kardio Loop (b)
Can't Escape into Space
Kardio Loop (c)
Celloloop / Stronger Than This
Im Treppenhaus (a)
Late For The Webinar
Kardio Loop (d)
Kantine
Ocean Walk
Give Me A Shadow



SHORT INFO:

Moon in Earthlight describes the phenomenon one can see in the first few days after a New Moon, when the slim crescent of the moon is completed into a full circle by a faint light that is not lit by sunlight but by the light reflected from Earth. It is also the apt title for the first album from an artist whose first love was astronomy. After 6 EPs over the course of 5 years, Wolfgang Tillmans now releases his first album, Moon in Earthlight, a singularly plural 53-minute piece comprised of 19 tracks.
Opening with more that connects us than divides us, 'Celloloop / More That Connects Us', a looped cello sets out a discursive path for a bright keyed melody to flirt with while the sounds of the organ and synthesizer build their supporting roles, all along a bouncing four-to-the-floor beat punctuated with bright electronic chimes and the rhythmic tempo of a shaker. The invitation is hard to resist as a yearning voice opens up to let us know he's left his "place in security." And, "you're shining … All the way down to this glittering place … you're shining." Where voices and laughter are then overheard in the background of another field recording sounding water dripping from a 'Rain Gutter' later caught by the soft, warm rhythmic bounce between two synth notes on 'Fourth Floor' where chime-like and percussive timbres resonate from the metal tine keys of the kalimba creating a meditative acuity, which Tillmans peppers with arpeggiated synth riffs.
A composition of multiplicities, Tillmans' album debut is a collage of sounds, field recordings, words, studio jam sessions and live recordings, voice, soundscapes, and instrumentation scored with audible space to breathe along the way. Keeping pace, the first 'Kardio Loop' is a vocal callisthenics contemplating 'the possibility of a happy life' and/or the propositional properties of its semantic constructions backed by the recording of a heartbeat from a cardiogram. This movement is gradually accompanied by a set of orchestral synth pads that build to a crescendo before the soft, twirling melody of 'Stonerella' carries us along a carousel-like melodic, pop, instrumental timed in the percussive clapping of pebbles.
Not knowing where one leaves off and the other begins is part of this album's enigma, as we move in and out of these aural spaces choreographed with the slightest, open hand, where we can float through 'Don't Kill It by Naming It' before dancing along 'Insanely Alive' all the while contemplating the inherent, fragile complexities of language and being.
This enigma also stems from the raw vulnerability of Tillmans' voice. Whether lyrically playful or introspective, it is always giving: intimately unfolding as in the surprising take on Simon & Garfunkel's 'El Condor Pasa' or shapeshifting in 'Can't Escape into Space' or fully naked as raw material expression in 'Kantine' and 'Ocean Walk'.
Whether it's Tillmans voice or voices overheard, a field recording or a pop synth melody, these sounds defy track listings, audibly held together as one of many in an aural space that becomes a reflective cycle that develops over the course of the album. The accumulative effect of which (reminiscent of the artist's installations), drives the singularity of each of the album's elements into a complete, unconsolidated whole. Like a phenomenon that marks time, Moon in Earthlight is the shadow and the reflection, fifty-three minutes in time.


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

CD - Debut album by Wolfgang Tillmans. CD and Vinyl designed by the artist.

GENRE:

Electronic
Pop
Abstract



TRACKLISTS:

CD / Vinyl
Celloloop / More That Connects Us
Rain Gutter
Fourth Floor
Nairobi Traffic Light
Possibility / Kardio Loop (a)
Stonerella
Don't Kill It By Naming It
Insanely Alive
El Condor Pasa
Kardio Loop (b)
Can't Escape into Space
Kardio Loop (c)
Celloloop / Stronger Than This
Im Treppenhaus (a)
Late For The Webinar
Kardio Loop (d)
Kantine
Ocean Walk
Give Me A Shadow



SHORT INFO:

Moon in Earthlight describes the phenomenon one can see in the first few days after a New Moon, when the slim crescent of the moon is completed into a full circle by a faint light that is not lit by sunlight but by the light reflected from Earth. It is also the apt title for the first album from an artist whose first love was astronomy. After 6 EPs over the course of 5 years, Wolfgang Tillmans now releases his first album, Moon in Earthlight, a singularly plural 53-minute piece comprised of 19 tracks.
Opening with more that connects us than divides us, 'Celloloop / More That Connects Us', a looped cello sets out a discursive path for a bright keyed melody to flirt with while the sounds of the organ and synthesizer build their supporting roles, all along a bouncing four-to-the-floor beat punctuated with bright electronic chimes and the rhythmic tempo of a shaker. The invitation is hard to resist as a yearning voice opens up to let us know he's left his "place in security." And, "you're shining … All the way down to this glittering place … you're shining." Where voices and laughter are then overheard in the background of another field recording sounding water dripping from a 'Rain Gutter' later caught by the soft, warm rhythmic bounce between two synth notes on 'Fourth Floor' where chime-like and percussive timbres resonate from the metal tine keys of the kalimba creating a meditative acuity, which Tillmans peppers with arpeggiated synth riffs.
A composition of multiplicities, Tillmans' album debut is a collage of sounds, field recordings, words, studio jam sessions and live recordings, voice, soundscapes, and instrumentation scored with audible space to breathe along the way. Keeping pace, the first 'Kardio Loop' is a vocal callisthenics contemplating 'the possibility of a happy life' and/or the propositional properties of its semantic constructions backed by the recording of a heartbeat from a cardiogram. This movement is gradually accompanied by a set of orchestral synth pads that build to a crescendo before the soft, twirling melody of 'Stonerella' carries us along a carousel-like melodic, pop, instrumental timed in the percussive clapping of pebbles.
Not knowing where one leaves off and the other begins is part of this album's enigma, as we move in and out of these aural spaces choreographed with the slightest, open hand, where we can float through 'Don't Kill It by Naming It' before dancing along 'Insanely Alive' all the while contemplating the inherent, fragile complexities of language and being.
This enigma also stems from the raw vulnerability of Tillmans' voice. Whether lyrically playful or introspective, it is always giving: intimately unfolding as in the surprising take on Simon & Garfunkel's 'El Condor Pasa' or shapeshifting in 'Can't Escape into Space' or fully naked as raw material expression in 'Kantine' and 'Ocean Walk'.
Whether it's Tillmans voice or voices overheard, a field recording or a pop synth melody, these sounds defy track listings, audibly held together as one of many in an aural space that becomes a reflective cycle that develops over the course of the album. The accumulative effect of which (reminiscent of the artist's installations), drives the singularity of each of the album's elements into a complete, unconsolidated whole. Like a phenomenon that marks time, Moon in Earthlight is the shadow and the reflection, fifty-three minutes in time.


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

12"
First sound collaboration between Wolfgang Tillmans and Honey Dijon

GENRE/S:

Techno / House
Electronic
Pop

3. TRACKLISTS:

12''
Can't Escape into Space (Honey Dijon's Euphoria Mix)
Can't Escape into Space (Original Mix)

4. SHORT INFO:


Both regulars of the club, arts and queer scenes of New York, Berlin and London of the last three decades, it's surprising Wolfgang Tillmans and Honey Dijon only met five years ago. A walk between clubs in Brooklyn resulted in the two having a mutual interest to collaborate. Busy as both are, the wait was long, but well worth it. This week's release of Honey Dijon's Euphoria Mix of 'Can't Escape into Space' sets the tone for what is left of this summer: Our desire to be together, with friends and strangers, close up on dancefloors, festivals and open airs. Honey's and Wolfgang's shared unapologetic spirit comes alive as Dijon transforms Tillmans's original song into an electrifying dance floor banger. As we can already sense a reawakening of our freedom blowing in the air, even if many clubs remain closed, the two musicians' call to come together again is euphoric and inescapable.
The original version of the song was released last winter in the midst of lockdown, accompanied by a video showing an empty nightclub and its mirror balls performing for the camera, filmed in 2017 by Tillmans, in pre-pandemic Fire Island. A new video accompanies Honey Dijon's Euphoria mix with three vignettes of longing and passion.



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DE - 22113 Hamburg
Germany
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'Life Guarding' offers a first glance into an upcoming album by Wolfgang Tillmans. The song finds Tillmans in open waters, lyrically exploring wor(l)ds as they appear like undertows and tie in the listeners by his candid approach to accept whatever the drift throws at him and leaving him exposed at his most vulnerable.

It seems no coincidence that the video Tillmans' shot and directed for the song finds a similar approach to 'liquidity' in visual language. Shifting the lens between micro and macrocosms, collages of body parts, fruit and insects, we find him equally paying attention to the waves of the Atlantic Ocean as well as to the 'same' water in the form of drops, evaporating on a hot kitchen plate.

This current shape of 'Life Guarding', in equal measures upbeat and melancholic, emerged in sessions with Tillmans' long term musical collaborators Tim Knapp and Jay Pluck in early 2019 at Trixx Studios in Berlin, that were further developed and produced by Tim Knapp and Bruno Breitzke.

'Growing' was originally part of Wolfgang Tillmans' sound, light and video installation 'South Tank' at Tate Modern in 2017. This summer finally sees the independent release of this collaboration with the L.A.-based duo Wreck and Reference. The song also features excerpts of Fred Weyrich's lyrics for German singer Alexandra's 1968 hit 'Sehnsucht' (Longing).

'Growing' involved the band placing samples of Tillmans' singing and spoken word over a kick drum-driven techno track made with synthesizers, acoustic drum recordings converted to digital drums, and noisy samples of jangling keys.

'Wreck and Reference' are an experimental music project from California by Felix Skinner and Ignat Frege. Drawing upon the blown-out intensity of black metal and noise rock, they eschew traditional guitar-centric instrumentation to construct songs with digital samples, drums, and voice. To date, the band has released four EPs and four full-length albums, and has contributed to the production of the title track to Tillmans' 2018 EP 'Heute Will Ich Frei Sein'.

Tracklist Vinyl:
A Life Guarding
AA Growing


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Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
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Special remarks: 12'' cover and labels designed by Wolfgang Tillmans. Contains a download code including bonus track: Source (Roman Flügel 909 Mix)

Tracklist (12’’):
A Wolfgang Tillmans - Source (Roman Flügel Remix)
B Wolfgang Tillmans - Source (Original)


Info:
'Source', a new release by Wolfgang Tillmans, comes in an original version and two remixes by legendary German producer Roman Flügel.
The sixteen-minute original version is a vocal piece in which Tillmans explores his abilities to generate vocal sounds to tell a story while refraining from using actual words. Meshing six different sequences into one composition, each sequence investigates different moods and emotions meandering between the guttural, sacral, and absurd. Recorded in a studio session in 2017, the piece focuses on the immediacy of vocal improvisation as much as on its post-production and edit.
Tillmans knows that whatever is achieved through spontaneity can as easily be lost, as he recently told Emily Bicks in a feature for 'The Wire': I am, of course, always planning things ahead, and I am managing an archive of 25 years, and communicating in the now with dozens of contacts, but the fortunate thing that I feel I've retained is an ability to get in touch with this moment of being in the here and now, and seeing, or hearing, or allowing words or melodies to pop into my head in such moments.
The A-side and an additional bonus track are both remixes by German producer Roman Flügel. In a ten-minute remix, the multi-faceted producer stays true to the original's spontaneity and develops changing arrangements wherever Tillmans' vocals are creating momentum. Exploring various directions, Flügel's experience allows him to glide effortlessly through the different sequences. The bonus 909 Mix instead takes a tighter direction with claps and high-hats and builds up around Tillmans' staccato laughter before culminating in beautiful house piano chords.

The title may suggest a specific origin, a 'source' that is to be located, but in Tillmans' understanding it is a transient space abundant of undiscovered possibilities.





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Special remarks: The record sleeve and inner sleeve were designed by Wolfgang Tillmans.

Tracklist (12’’):
A1 Heute Will Ich Frei Sein (feat. Wreck & Reference)
A2 Completely Changed
AA1 On My Own
AA2 Fast Lane - Whatever/Whatever Remix by Justin Strauss & Bryan Mette
AA3 Tired Car Alarm

Info:
A year after his last 12 inch release Here We Are / That's Desire EP and few months after a CD release Hamburg Süd/Nee IYaow eow eow featuring experimental field recordings and vocal improvisations, Wolfgang Tillmans returns with a new extended play on his own label Fragile.

Heute Will Ich Frei Sein sets an energetic tone for the 5 track EP that leads straight on the dancefloor, a space that Tillmans has observed and discussed from various angles throughout his artistic career. While Los Angeles based experimental noise project Wreck and Reference's beats and 808 staccato claps instantly create a hedonistic dance moment, it is Tillmans' lyrics that contrast the simplicity of this message. Tillmans knows that clubs have always been spaces mirroring constant crisis of 'western' societies towards minorities, race and gender. In the light of current political events, it is the singers' nod that informs us about the precarity and necessity of such spaces as no contradiction.

Completely Changed and On My Own, Tillmans and his long-term collaborators Jay Pluck, Kyle Combs and Tim Knapp return to more song based recordings but with a stronger approach on synthesiser soundscapes. On My Own finds Tillmans again singing simple lines over a staggering pop production that can be read as a comment on nightlife as well as the artist emerging into a more mature stage in life. It is this ambiguity that marks Tillmans' writing and constant striving for variation.

Almost last, the extended play features a remix of Fast Lane, originally released on 2016 / 1986 EP - tracing back to Tillmans' first musical steps with collaborator Bernd Lessmann in 1986. The remix by Bryan Mette and New York club legend Justin Strauss slows the original recording down and embeds the original's nervous teenage angst into a bold genre-crossing dance track, a signature of Mette & Strauss' work. "I live in the fast lane but I have no fear" sings Tillmans 18 year old self, knowing that it might never be fully overcome but can be a force that sparks our audacity to do something, stand up and move ourselves.

Tired Car Alarm B, a Tillmans field recording to be enjoyed pure as a ready made, or to be used as a DJ tool.

Whatever/Whatever is the production duo of Justin Strauss and Bryan Mette. Recent releases include remixes for Goldfrapp, Sparks, Franz Ferdinand and an original track on the "Sisters and Brothers - The Gathering" compilation.

Wreck & Reference are an experimental noise project from California, formed in 2011 by Felix Skinner and Ignat Frege. Drawing upon the blown-out intensity of black metal and noise rock, they eschew traditional guitar-centric instrumentation to construct songs with digital samples, drums, and voice.


To date, the band has released three full-length albums and two EPs. Their first work, an EP titled Black Cassette, showcased distorted fragments and synthesizers in angular, heavy songs, with themes of determinism and Cormac McCarthy-esque isolation. Their debut full length Y?o?u?t?h? (2012) and their sophomore release Want (2014), described by Pitchfork as having "radical vision" and "boundless experimentation," represented dramatic expansions of their sonic palette. In 2016 Wreck and Reference released their third LP, Indifferent Rivers Romance End. Considered by many to be their definitive album, Indifferent Rivers saw Wreck and Reference perfect their song craft and push their noisy, sample-based instrumentation to its limits.




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CD includes a 35-minute sound installation audio piece, in DVD case, 48-page booklet. Publication is being released as part of the exhibition: Wolfgang Tillmans: There were 30 years between 1943 and 1973. 30 years from 1973 was the year 2003 at Kunstverein in Hamburg from 23 September to 12 November 2017. Recordings, sleeve and booklet by Wolfgang Tillmans.

Tracklist:
Tracklist:

Hamburg Süd / Nee IYaow eow eow

1 Hamburg Süd part 1
2 MMMMM aah
3 Hamburg Süd part 2
4 HaHaHaHa
5 Hamburg Süd part 3
6 Nee IYaow eow eow
7 Hamburg Süd part 4
8 EEEEEEEhh
9 Hamburg Süd part 5
10 Device Control (intro)
11 Hamburg Süd part 6

Further listening:

12 It's Completely Changed
13 Throw A View
14 Mmmmeehh
15 Hihihi hee
16 Soda Stream
17 Overdub (calm to chaos Jul28)
18 Morning Return
19 Make It Up As You Go Along
20 Device Control


Info:
Wolfgang Tillmans has devised a 35-minute sound installation as part of the exhibition. The installation takes the exhibition's inner-city context as its starting point, and operates in conjunction with numerous photographs (from a variety of Tillmans' work phases) and video works to transform the space into a single cinematic whole.

The Kunstverein in Hamburg is now releasing the 35-minute sound work Hamburg Süd / Nee IYaow eow eow as a CD, accompanied by a 48-page booklet that features exhibition views photographed and designed by Wolfgang Tillmans.

Electronic manipulations of Tillmans' own voice, made to sound alternately choral, guttural and absurd, are mixed with a kind of sung evocation of the four directions of the compass - to which the exhibition hall is almost exactly aligned. To provide this counterpart voice, Tillmans invited the Hamburg-born and internationally renowned singer Billie Ray Martin. The alternating singing styles are embedded within long silent pauses, when visitors can hear noise from the two routes of traffic between which the Kunstverein is located: the cluster of platforms at Hamburg's central railway station, and Klosterwall, one of the city's main thoroughfares.

Through the interplay of screeching railway lines, traffic noise, the reverberation of the immediate environment, word play, and voice explorations, Tillmans uses the sound work to react to aspects specific to the exhibition room at the Kunstverein in Hamburg: you can hear the city, but do not see it.

In Further Listening, the second part of the CD, Tillmans presents further experimental solo pieces, collaborations, and two works that were previously released last year (now available for the first time on CD): Make It Up As You Go Along, Tillmans' first release, and Device Control, which first came to public attention in 2016 when a full-length version of the song appeared as a guest contribution on Endless, a visual album by the US R&B musician Frank Ocean.




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Special remarks: The record sleeve and inner sleeve were designed by Wolfgang Tillmans. Videos directed by Tillmans will be released for Device Control and Make It Up As You Go Along - Salem Remix.
Tracklist :
A1 Device Control A2 Angered Son (live with Kyle Combs) A2 Angered Son (W solo)
AA1 Make It Up As You Go Along SALEM Remix AA2 Make It Up As You Go Along DANIEL WANG & J.E.E.P. Remix AA3 Make It Up As You Go Along DANIEL WANG & J.E.E.P. Dub
Device Control EP, the second release by Wolfgang Tillmans, is a double Aside
12” and digital release,
featuring two new songs and three remixes of his debut Make It Up As You Go Along. One remix is by
legendary US band, Salem, the other two by Berlinbased
American/French producerDJs,
Daniel Wang
& J.E.E.P.
The title track Device Control opens with a stunning kaleidoscope of synths by Kyle Combs (New York)
leading into the bouncing, hypnotic main body of this 134 bpm dance track, which Tillmans worked on
with Tim Knapp at Trixx Studios Berlin. Additional live drums are by Rosie Slater of New York band, New
Myths. The lyrics are made up of fauxsmartphone
adverts about the supposed possibilities of streaming
one’s life. The song was written and recorded in one take with an iPhone voice recorder followed by
various stages of production in Berlin and New York.
Angered Son borrows a single line lyric from a New York Times article about the perpetrator of the
Orlando shooting: ‘His son had recently been angered by seeing two men kissing’. In two different a
cappella versions, the looped and sampled vocals recall songs in the round style.
The AA side is devoted to three outstanding remixes of this summer’s Make It Up As You Go Along. In
what amounts to something of a music world sensation, Tillmans was able to win Salem’s Jack
Donoghue and John Holland as contributors, it being their first released music in five years. In their
signature style, the 2’45” short track is a strong abstraction of the original, leaving just the basic harmony
in place while creating an intense piece of draw and pull.
‘I feel there is the same kind of magic or draw coming from the bayou and where we were staying in
Montegut, Louisiana, so it's nice to think we maybe tapped into that…’ John Holland
Daniel Wang & J.E.E.P. have created a remix and a dub of Make It Up As You Go Along which will
undoubtedly leave its mark on the house dance floor. They added addictive arpeggiators, turned the
bassline over into a warping warm 303 groove, and slowed down the track to 117 bpm. The fast
arpeggiators meanwhile give an uptempo feel to the groove. In addition to the existing vocals they
sampled Tillmans’ vocal line ‘What we do here is a crime in most countries, but it’s not. There is no
victim. Leave us alone’ from his Triangle / Gong / What track. The line references a number of activities
and pleasures we indulge in, on a good night out.
The EP was recorded and mixed this spring/summer in Berlin, New York, and Louisiana, possibly
capturing a sense of time and place of where we are.
The record sleeve and inner sleeve were designed by Wolfgang Tillmans.
Videos directed by Tillmans will be released for Device Control and Make It Up As You Go Along –
Salem Remix.


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Special remarks: Wolfgang Tillmans designed Cover with Innersleeve

Tracklist
A1 Make It Up As You Go Along A2 Triangle / Gong / What
B1 Fascinating This Time B2 Stranger B3 Time Flows All Over

Shortinfo:
How to introduce the first record by Wolfgang Tillmans? Now considered one of the most significant visual artists working today, his very first passion in life lay with music. This record features on its B-side three songs recorded in 1986 in his home town of Remscheid. The A-side features two pieces recorded in 2015/2016. The 29-year gap in between were marked by Tillmans exploring music, pop and club culture from many different angles.
'Make It Up As You Go Along' is a pulsing dance track based on the recordings of a book printing press in a factory in Stuttgart. Morphed through various production stages, the press's syncopations and his Tillmans' serendipitouspenditous vocals merge into an intoxicating track that could become a summer festival early a.m. favourite. 'Triangle / Gong / What' is an experimental offering made up ofwhich combines the sounds of playing a special alloy triangle, a 999 fine gold gong and a vocal, fused through a particular gain manipulation during the recording process.
The 1986 side features three songs which Tillmans wrote and recorded with collaborator Bert Leßmann. A single channel recording from the rehearsal room was all he had from back in the day. With the help of Tim and Klaus Knapp the recordings were filtered and eq'ed and then supported with precise reconstructions of the original instruments. Out of this production process spanning 30 years a unique time capsule emerged, which portraits a small town teenager with some ambition. 'Time Flows All Over' is a haunting reminiscence of the angst and energy of the mid-1980s, infused with surprising contemporary relevance.


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LP - BioVinyl - Gatefold - Printed Innersleeves

- Second album from Wolfgang Tillmans
- Cover and inner sleeve designed and photographed by the artist


2. GENRE/S:
Electronica
Pop
Leftfield

3. TRACKLISTS:

LP

Side 1
1. Where Does The Tune Hide?
2. Regratitude
3. Cab Ride
4. Primal (Intro)
5. We Are Not Going Back
6. Morning Light
7. ADA403
8. French Lesson

Side 2
1. Grüne Linien feat. FRAGILE
2. Build From Here
3. Modernist Survival Unit
4. There’s More That Connects Us
5. Not Telling A Friend
6. Language

4. SHORT INFO:
Wolfgang Tillmans’ latest album, Build from Here, is driven by a desire to explore and to expose. It navigates joy
and heartbreak amid ruin and rebuilding, embodying hopeful defiance in uncertain futures. The songs vary in
style, from propulsive and catchy to contemplative, featuring lush instrumentals transitioning into danceable
beats. Tillmans’ voice, whether growling and confrontational or tender and stripped down, maintains its
prominence throughout, serving as the album's core.

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

CD,16 page Booklet

- Second album from Wolfgang Tillmans
- Artwork designed and photographed by the artist


2. GENRE/S:
Electronica
Pop
Leftfield

3. TRACKLISTS:

CD
1. Where Does The Tune Hide?
2. Regratitude
3. Cab Ride
4. Primal (Intro)
5. We Are Not Going Back
6. Morning Light
7. ADA403
8. French Lesson
9. Grüne Linien feat. FRAGILE
10. Build From Here
11. Modernist Survival Unit
12. There’s More That Connects Us
13. Not Telling A Friend
14. Language

4. SHORT INFO:
Wolfgang Tillmans’ latest album, Build from Here, is driven by a desire to explore and to expose. It navigates joy
and heartbreak amid ruin and rebuilding, embodying hopeful defiance in uncertain futures. The songs vary in
style, from propulsive and catchy to contemplative, featuring lush instrumentals transitioning into danceable
beats. Tillmans’ voice, whether growling and confrontational or tender and stripped down, maintains its
prominence throughout, serving as the album's core.

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LP - 2023 Repress Edition in BioVinyl
- Debut album by Wolfgang Tillmans. Artwork designed by the artist.

GENRE:

Electronic
Pop
Abstract



TRACKLISTS:

CD / Vinyl
Celloloop / More That Connects Us
Rain Gutter
Fourth Floor
Nairobi Traffic Light
Possibility / Kardio Loop (a)
Stonerella
Don't Kill It By Naming It
Insanely Alive
El Condor Pasa
Kardio Loop (b)
Can't Escape into Space
Kardio Loop (c)
Celloloop / Stronger Than This
Im Treppenhaus (a)
Late For The Webinar
Kardio Loop (d)
Kantine
Ocean Walk
Give Me A Shadow



SHORT INFO:

Moon in Earthlight describes the phenomenon one can see in the first few days after a New Moon, when the slim crescent of the moon is completed into a full circle by a faint light that is not lit by sunlight but by the light reflected from Earth. It is also the apt title for the first album from an artist whose first love was astronomy. After 6 EPs over the course of 5 years, Wolfgang Tillmans now releases his first album, Moon in Earthlight, a singularly plural 53-minute piece comprised of 19 tracks.
Opening with more that connects us than divides us, 'Celloloop / More That Connects Us', a looped cello sets out a discursive path for a bright keyed melody to flirt with while the sounds of the organ and synthesizer build their supporting roles, all along a bouncing four-to-the-floor beat punctuated with bright electronic chimes and the rhythmic tempo of a shaker. The invitation is hard to resist as a yearning voice opens up to let us know he's left his "place in security." And, "you're shining … All the way down to this glittering place … you're shining." Where voices and laughter are then overheard in the background of another field recording sounding water dripping from a 'Rain Gutter' later caught by the soft, warm rhythmic bounce between two synth notes on 'Fourth Floor' where chime-like and percussive timbres resonate from the metal tine keys of the kalimba creating a meditative acuity, which Tillmans peppers with arpeggiated synth riffs.
A composition of multiplicities, Tillmans' album debut is a collage of sounds, field recordings, words, studio jam sessions and live recordings, voice, soundscapes, and instrumentation scored with audible space to breathe along the way. Keeping pace, the first 'Kardio Loop' is a vocal callisthenics contemplating 'the possibility of a happy life' and/or the propositional properties of its semantic constructions backed by the recording of a heartbeat from a cardiogram. This movement is gradually accompanied by a set of orchestral synth pads that build to a crescendo before the soft, twirling melody of 'Stonerella' carries us along a carousel-like melodic, pop, instrumental timed in the percussive clapping of pebbles.
Not knowing where one leaves off and the other begins is part of this album's enigma, as we move in and out of these aural spaces choreographed with the slightest, open hand, where we can float through 'Don't Kill It by Naming It' before dancing along 'Insanely Alive' all the while contemplating the inherent, fragile complexities of language and being.
This enigma also stems from the raw vulnerability of Tillmans' voice. Whether lyrically playful or introspective, it is always giving: intimately unfolding as in the surprising take on Simon & Garfunkel's 'El Condor Pasa' or shapeshifting in 'Can't Escape into Space' or fully naked as raw material expression in 'Kantine' and 'Ocean Walk'.
Whether it's Tillmans voice or voices overheard, a field recording or a pop synth melody, these sounds defy track listings, audibly held together as one of many in an aural space that becomes a reflective cycle that develops over the course of the album. The accumulative effect of which (reminiscent of the artist's installations), drives the singularity of each of the album's elements into a complete, unconsolidated whole. Like a phenomenon that marks time, Moon in Earthlight is the shadow and the reflection, fifty-three minutes in time.


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CD - Debut album by Wolfgang Tillmans. CD and Vinyl designed by the artist.

GENRE:

Electronic
Pop
Abstract



TRACKLISTS:

CD / Vinyl
Celloloop / More That Connects Us
Rain Gutter
Fourth Floor
Nairobi Traffic Light
Possibility / Kardio Loop (a)
Stonerella
Don't Kill It By Naming It
Insanely Alive
El Condor Pasa
Kardio Loop (b)
Can't Escape into Space
Kardio Loop (c)
Celloloop / Stronger Than This
Im Treppenhaus (a)
Late For The Webinar
Kardio Loop (d)
Kantine
Ocean Walk
Give Me A Shadow



SHORT INFO:

Moon in Earthlight describes the phenomenon one can see in the first few days after a New Moon, when the slim crescent of the moon is completed into a full circle by a faint light that is not lit by sunlight but by the light reflected from Earth. It is also the apt title for the first album from an artist whose first love was astronomy. After 6 EPs over the course of 5 years, Wolfgang Tillmans now releases his first album, Moon in Earthlight, a singularly plural 53-minute piece comprised of 19 tracks.
Opening with more that connects us than divides us, 'Celloloop / More That Connects Us', a looped cello sets out a discursive path for a bright keyed melody to flirt with while the sounds of the organ and synthesizer build their supporting roles, all along a bouncing four-to-the-floor beat punctuated with bright electronic chimes and the rhythmic tempo of a shaker. The invitation is hard to resist as a yearning voice opens up to let us know he's left his "place in security." And, "you're shining … All the way down to this glittering place … you're shining." Where voices and laughter are then overheard in the background of another field recording sounding water dripping from a 'Rain Gutter' later caught by the soft, warm rhythmic bounce between two synth notes on 'Fourth Floor' where chime-like and percussive timbres resonate from the metal tine keys of the kalimba creating a meditative acuity, which Tillmans peppers with arpeggiated synth riffs.
A composition of multiplicities, Tillmans' album debut is a collage of sounds, field recordings, words, studio jam sessions and live recordings, voice, soundscapes, and instrumentation scored with audible space to breathe along the way. Keeping pace, the first 'Kardio Loop' is a vocal callisthenics contemplating 'the possibility of a happy life' and/or the propositional properties of its semantic constructions backed by the recording of a heartbeat from a cardiogram. This movement is gradually accompanied by a set of orchestral synth pads that build to a crescendo before the soft, twirling melody of 'Stonerella' carries us along a carousel-like melodic, pop, instrumental timed in the percussive clapping of pebbles.
Not knowing where one leaves off and the other begins is part of this album's enigma, as we move in and out of these aural spaces choreographed with the slightest, open hand, where we can float through 'Don't Kill It by Naming It' before dancing along 'Insanely Alive' all the while contemplating the inherent, fragile complexities of language and being.
This enigma also stems from the raw vulnerability of Tillmans' voice. Whether lyrically playful or introspective, it is always giving: intimately unfolding as in the surprising take on Simon & Garfunkel's 'El Condor Pasa' or shapeshifting in 'Can't Escape into Space' or fully naked as raw material expression in 'Kantine' and 'Ocean Walk'.
Whether it's Tillmans voice or voices overheard, a field recording or a pop synth melody, these sounds defy track listings, audibly held together as one of many in an aural space that becomes a reflective cycle that develops over the course of the album. The accumulative effect of which (reminiscent of the artist's installations), drives the singularity of each of the album's elements into a complete, unconsolidated whole. Like a phenomenon that marks time, Moon in Earthlight is the shadow and the reflection, fifty-three minutes in time.


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12"
First sound collaboration between Wolfgang Tillmans and Honey Dijon

GENRE/S:

Techno / House
Electronic
Pop

3. TRACKLISTS:

12''
Can't Escape into Space (Honey Dijon's Euphoria Mix)
Can't Escape into Space (Original Mix)

4. SHORT INFO:


Both regulars of the club, arts and queer scenes of New York, Berlin and London of the last three decades, it's surprising Wolfgang Tillmans and Honey Dijon only met five years ago. A walk between clubs in Brooklyn resulted in the two having a mutual interest to collaborate. Busy as both are, the wait was long, but well worth it. This week's release of Honey Dijon's Euphoria Mix of 'Can't Escape into Space' sets the tone for what is left of this summer: Our desire to be together, with friends and strangers, close up on dancefloors, festivals and open airs. Honey's and Wolfgang's shared unapologetic spirit comes alive as Dijon transforms Tillmans's original song into an electrifying dance floor banger. As we can already sense a reawakening of our freedom blowing in the air, even if many clubs remain closed, the two musicians' call to come together again is euphoric and inescapable.
The original version of the song was released last winter in the midst of lockdown, accompanied by a video showing an empty nightclub and its mirror balls performing for the camera, filmed in 2017 by Tillmans, in pre-pandemic Fire Island. A new video accompanies Honey Dijon's Euphoria mix with three vignettes of longing and passion.



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'Life Guarding' offers a first glance into an upcoming album by Wolfgang Tillmans. The song finds Tillmans in open waters, lyrically exploring wor(l)ds as they appear like undertows and tie in the listeners by his candid approach to accept whatever the drift throws at him and leaving him exposed at his most vulnerable.

It seems no coincidence that the video Tillmans' shot and directed for the song finds a similar approach to 'liquidity' in visual language. Shifting the lens between micro and macrocosms, collages of body parts, fruit and insects, we find him equally paying attention to the waves of the Atlantic Ocean as well as to the 'same' water in the form of drops, evaporating on a hot kitchen plate.

This current shape of 'Life Guarding', in equal measures upbeat and melancholic, emerged in sessions with Tillmans' long term musical collaborators Tim Knapp and Jay Pluck in early 2019 at Trixx Studios in Berlin, that were further developed and produced by Tim Knapp and Bruno Breitzke.

'Growing' was originally part of Wolfgang Tillmans' sound, light and video installation 'South Tank' at Tate Modern in 2017. This summer finally sees the independent release of this collaboration with the L.A.-based duo Wreck and Reference. The song also features excerpts of Fred Weyrich's lyrics for German singer Alexandra's 1968 hit 'Sehnsucht' (Longing).

'Growing' involved the band placing samples of Tillmans' singing and spoken word over a kick drum-driven techno track made with synthesizers, acoustic drum recordings converted to digital drums, and noisy samples of jangling keys.

'Wreck and Reference' are an experimental music project from California by Felix Skinner and Ignat Frege. Drawing upon the blown-out intensity of black metal and noise rock, they eschew traditional guitar-centric instrumentation to construct songs with digital samples, drums, and voice. To date, the band has released four EPs and four full-length albums, and has contributed to the production of the title track to Tillmans' 2018 EP 'Heute Will Ich Frei Sein'.

Tracklist Vinyl:
A Life Guarding
AA Growing


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Special remarks: 12'' cover and labels designed by Wolfgang Tillmans. Contains a download code including bonus track: Source (Roman Flügel 909 Mix)

Tracklist (12’’):
A Wolfgang Tillmans - Source (Roman Flügel Remix)
B Wolfgang Tillmans - Source (Original)


Info:
'Source', a new release by Wolfgang Tillmans, comes in an original version and two remixes by legendary German producer Roman Flügel.
The sixteen-minute original version is a vocal piece in which Tillmans explores his abilities to generate vocal sounds to tell a story while refraining from using actual words. Meshing six different sequences into one composition, each sequence investigates different moods and emotions meandering between the guttural, sacral, and absurd. Recorded in a studio session in 2017, the piece focuses on the immediacy of vocal improvisation as much as on its post-production and edit.
Tillmans knows that whatever is achieved through spontaneity can as easily be lost, as he recently told Emily Bicks in a feature for 'The Wire': I am, of course, always planning things ahead, and I am managing an archive of 25 years, and communicating in the now with dozens of contacts, but the fortunate thing that I feel I've retained is an ability to get in touch with this moment of being in the here and now, and seeing, or hearing, or allowing words or melodies to pop into my head in such moments.
The A-side and an additional bonus track are both remixes by German producer Roman Flügel. In a ten-minute remix, the multi-faceted producer stays true to the original's spontaneity and develops changing arrangements wherever Tillmans' vocals are creating momentum. Exploring various directions, Flügel's experience allows him to glide effortlessly through the different sequences. The bonus 909 Mix instead takes a tighter direction with claps and high-hats and builds up around Tillmans' staccato laughter before culminating in beautiful house piano chords.

The title may suggest a specific origin, a 'source' that is to be located, but in Tillmans' understanding it is a transient space abundant of undiscovered possibilities.





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Special remarks: The record sleeve and inner sleeve were designed by Wolfgang Tillmans.

Tracklist (12’’):
A1 Heute Will Ich Frei Sein (feat. Wreck & Reference)
A2 Completely Changed
AA1 On My Own
AA2 Fast Lane - Whatever/Whatever Remix by Justin Strauss & Bryan Mette
AA3 Tired Car Alarm

Info:
A year after his last 12 inch release Here We Are / That's Desire EP and few months after a CD release Hamburg Süd/Nee IYaow eow eow featuring experimental field recordings and vocal improvisations, Wolfgang Tillmans returns with a new extended play on his own label Fragile.

Heute Will Ich Frei Sein sets an energetic tone for the 5 track EP that leads straight on the dancefloor, a space that Tillmans has observed and discussed from various angles throughout his artistic career. While Los Angeles based experimental noise project Wreck and Reference's beats and 808 staccato claps instantly create a hedonistic dance moment, it is Tillmans' lyrics that contrast the simplicity of this message. Tillmans knows that clubs have always been spaces mirroring constant crisis of 'western' societies towards minorities, race and gender. In the light of current political events, it is the singers' nod that informs us about the precarity and necessity of such spaces as no contradiction.

Completely Changed and On My Own, Tillmans and his long-term collaborators Jay Pluck, Kyle Combs and Tim Knapp return to more song based recordings but with a stronger approach on synthesiser soundscapes. On My Own finds Tillmans again singing simple lines over a staggering pop production that can be read as a comment on nightlife as well as the artist emerging into a more mature stage in life. It is this ambiguity that marks Tillmans' writing and constant striving for variation.

Almost last, the extended play features a remix of Fast Lane, originally released on 2016 / 1986 EP - tracing back to Tillmans' first musical steps with collaborator Bernd Lessmann in 1986. The remix by Bryan Mette and New York club legend Justin Strauss slows the original recording down and embeds the original's nervous teenage angst into a bold genre-crossing dance track, a signature of Mette & Strauss' work. "I live in the fast lane but I have no fear" sings Tillmans 18 year old self, knowing that it might never be fully overcome but can be a force that sparks our audacity to do something, stand up and move ourselves.

Tired Car Alarm B, a Tillmans field recording to be enjoyed pure as a ready made, or to be used as a DJ tool.

Whatever/Whatever is the production duo of Justin Strauss and Bryan Mette. Recent releases include remixes for Goldfrapp, Sparks, Franz Ferdinand and an original track on the "Sisters and Brothers - The Gathering" compilation.

Wreck & Reference are an experimental noise project from California, formed in 2011 by Felix Skinner and Ignat Frege. Drawing upon the blown-out intensity of black metal and noise rock, they eschew traditional guitar-centric instrumentation to construct songs with digital samples, drums, and voice.


To date, the band has released three full-length albums and two EPs. Their first work, an EP titled Black Cassette, showcased distorted fragments and synthesizers in angular, heavy songs, with themes of determinism and Cormac McCarthy-esque isolation. Their debut full length Y?o?u?t?h? (2012) and their sophomore release Want (2014), described by Pitchfork as having "radical vision" and "boundless experimentation," represented dramatic expansions of their sonic palette. In 2016 Wreck and Reference released their third LP, Indifferent Rivers Romance End. Considered by many to be their definitive album, Indifferent Rivers saw Wreck and Reference perfect their song craft and push their noisy, sample-based instrumentation to its limits.




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CD includes a 35-minute sound installation audio piece, in DVD case, 48-page booklet. Publication is being released as part of the exhibition: Wolfgang Tillmans: There were 30 years between 1943 and 1973. 30 years from 1973 was the year 2003 at Kunstverein in Hamburg from 23 September to 12 November 2017. Recordings, sleeve and booklet by Wolfgang Tillmans.

Tracklist:
Tracklist:

Hamburg Süd / Nee IYaow eow eow

1 Hamburg Süd part 1
2 MMMMM aah
3 Hamburg Süd part 2
4 HaHaHaHa
5 Hamburg Süd part 3
6 Nee IYaow eow eow
7 Hamburg Süd part 4
8 EEEEEEEhh
9 Hamburg Süd part 5
10 Device Control (intro)
11 Hamburg Süd part 6

Further listening:

12 It's Completely Changed
13 Throw A View
14 Mmmmeehh
15 Hihihi hee
16 Soda Stream
17 Overdub (calm to chaos Jul28)
18 Morning Return
19 Make It Up As You Go Along
20 Device Control


Info:
Wolfgang Tillmans has devised a 35-minute sound installation as part of the exhibition. The installation takes the exhibition's inner-city context as its starting point, and operates in conjunction with numerous photographs (from a variety of Tillmans' work phases) and video works to transform the space into a single cinematic whole.

The Kunstverein in Hamburg is now releasing the 35-minute sound work Hamburg Süd / Nee IYaow eow eow as a CD, accompanied by a 48-page booklet that features exhibition views photographed and designed by Wolfgang Tillmans.

Electronic manipulations of Tillmans' own voice, made to sound alternately choral, guttural and absurd, are mixed with a kind of sung evocation of the four directions of the compass - to which the exhibition hall is almost exactly aligned. To provide this counterpart voice, Tillmans invited the Hamburg-born and internationally renowned singer Billie Ray Martin. The alternating singing styles are embedded within long silent pauses, when visitors can hear noise from the two routes of traffic between which the Kunstverein is located: the cluster of platforms at Hamburg's central railway station, and Klosterwall, one of the city's main thoroughfares.

Through the interplay of screeching railway lines, traffic noise, the reverberation of the immediate environment, word play, and voice explorations, Tillmans uses the sound work to react to aspects specific to the exhibition room at the Kunstverein in Hamburg: you can hear the city, but do not see it.

In Further Listening, the second part of the CD, Tillmans presents further experimental solo pieces, collaborations, and two works that were previously released last year (now available for the first time on CD): Make It Up As You Go Along, Tillmans' first release, and Device Control, which first came to public attention in 2016 when a full-length version of the song appeared as a guest contribution on Endless, a visual album by the US R&B musician Frank Ocean.




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Special remarks: The record sleeve and inner sleeve were designed by Wolfgang Tillmans.

Tracklist (12’’):
A1 That’s Desire (feat. Ash B.) A2 Fast Lane (1986 recording) A3 Anderes Osterlied AA1 Here We Are AA2 Naive Me AA3 Warm Star (Porto / Bogotá Edit)
Info:
That's Desire/Here We Are EP is a 12'' vinyl and digital release by Fragile, Wolfgang Tillmans' evolving band project that spans from early recordings in 1986 with Bert Leßmann to a full band ensemble made up of a group of musicians in New York in 2016.
The double A-side EP opens with That’s Desire, a collaboration with the New York rapper Ash B. The song evokes associations with DFA, DAF and a queer Talking Heads. In a spontaneous action Ash B. takes over the mic and raps over Tillmans' heartfelt lyrics, originally written in 1985, combined with a funky bass line by Thomas Roach. The experiment results in a driving indie-dance sensation about the pleasure and pain of getting lost in one’s own desire. While Tillmans and Ash B. have their own individual take on their desires, the song’s arrangement and energy unifies them. Fast Lane, recorded in 1986 with Leßmann, captures the young alias of Tillmans – struggling with recurring issues of his time and apprehension of teenage growing pains in a punky attitude. In Anderes Osterlied, Fragile recreates a Protestant church song from the 1970s. Here We Are is a melancholic pop song about moments of stillness and drifting – moments to allow observance of everything around and finding diversion in simple things. More specifically, Naive Me directly reflects on the aftermath of Britain’s EU Referendum - contemplating personal illusion, the failures of ideology, and the hope for a better future. Warm Star, the last song of the EP, is a new wave inspired rock song that Tillmans initially created in collaboration with Juan Pablo Echeverri in Porto in 2016. In the tradition of German New Wave (NDW) songs, lyrically switching between German and English, the song closes the EP with an existential meditation of loss and love. The diverse tracks of the EP reveal that Fragile is a musical process, relating to ideas of the past and our interactions with the future, to explore the current state we’re in.
Fragile is a Wolfgang Tillmans band project in varying constellations including:
1985/86: Bert Leßmann
2016 Porto: Juan Pablo Echeverri, Jorge Costa, Ricardo Martins, Edys Da Silva, Nuno Pereira
2016 New York: Juan Pablo Echeverri, Kyle Combs, Jay Pluck, Tom Roach, Daniel Pearce, Tim Knapp, Ted McGrath





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Special remarks: The record sleeve and inner sleeve were designed by Wolfgang Tillmans. Videos directed by Tillmans will be released for Device Control and Make It Up As You Go Along - Salem Remix.
Tracklist :
A1 Device Control A2 Angered Son (live with Kyle Combs) A2 Angered Son (W solo)
AA1 Make It Up As You Go Along SALEM Remix AA2 Make It Up As You Go Along DANIEL WANG & J.E.E.P. Remix AA3 Make It Up As You Go Along DANIEL WANG & J.E.E.P. Dub
Device Control EP, the second release by Wolfgang Tillmans, is a double Aside
12” and digital release,
featuring two new songs and three remixes of his debut Make It Up As You Go Along. One remix is by
legendary US band, Salem, the other two by Berlinbased
American/French producerDJs,
Daniel Wang
& J.E.E.P.
The title track Device Control opens with a stunning kaleidoscope of synths by Kyle Combs (New York)
leading into the bouncing, hypnotic main body of this 134 bpm dance track, which Tillmans worked on
with Tim Knapp at Trixx Studios Berlin. Additional live drums are by Rosie Slater of New York band, New
Myths. The lyrics are made up of fauxsmartphone
adverts about the supposed possibilities of streaming
one’s life. The song was written and recorded in one take with an iPhone voice recorder followed by
various stages of production in Berlin and New York.
Angered Son borrows a single line lyric from a New York Times article about the perpetrator of the
Orlando shooting: ‘His son had recently been angered by seeing two men kissing’. In two different a
cappella versions, the looped and sampled vocals recall songs in the round style.
The AA side is devoted to three outstanding remixes of this summer’s Make It Up As You Go Along. In
what amounts to something of a music world sensation, Tillmans was able to win Salem’s Jack
Donoghue and John Holland as contributors, it being their first released music in five years. In their
signature style, the 2’45” short track is a strong abstraction of the original, leaving just the basic harmony
in place while creating an intense piece of draw and pull.
‘I feel there is the same kind of magic or draw coming from the bayou and where we were staying in
Montegut, Louisiana, so it's nice to think we maybe tapped into that…’ John Holland
Daniel Wang & J.E.E.P. have created a remix and a dub of Make It Up As You Go Along which will
undoubtedly leave its mark on the house dance floor. They added addictive arpeggiators, turned the
bassline over into a warping warm 303 groove, and slowed down the track to 117 bpm. The fast
arpeggiators meanwhile give an uptempo feel to the groove. In addition to the existing vocals they
sampled Tillmans’ vocal line ‘What we do here is a crime in most countries, but it’s not. There is no
victim. Leave us alone’ from his Triangle / Gong / What track. The line references a number of activities
and pleasures we indulge in, on a good night out.
The EP was recorded and mixed this spring/summer in Berlin, New York, and Louisiana, possibly
capturing a sense of time and place of where we are.
The record sleeve and inner sleeve were designed by Wolfgang Tillmans.
Videos directed by Tillmans will be released for Device Control and Make It Up As You Go Along –
Salem Remix.


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Special remarks: Wolfgang Tillmans designed Cover with Innersleeve

Tracklist
A1 Make It Up As You Go Along A2 Triangle / Gong / What
B1 Fascinating This Time B2 Stranger B3 Time Flows All Over

Shortinfo:
How to introduce the first record by Wolfgang Tillmans? Now considered one of the most significant visual artists working today, his very first passion in life lay with music. This record features on its B-side three songs recorded in 1986 in his home town of Remscheid. The A-side features two pieces recorded in 2015/2016. The 29-year gap in between were marked by Tillmans exploring music, pop and club culture from many different angles.
'Make It Up As You Go Along' is a pulsing dance track based on the recordings of a book printing press in a factory in Stuttgart. Morphed through various production stages, the press's syncopations and his Tillmans' serendipitouspenditous vocals merge into an intoxicating track that could become a summer festival early a.m. favourite. 'Triangle / Gong / What' is an experimental offering made up ofwhich combines the sounds of playing a special alloy triangle, a 999 fine gold gong and a vocal, fused through a particular gain manipulation during the recording process.
The 1986 side features three songs which Tillmans wrote and recorded with collaborator Bert Leßmann. A single channel recording from the rehearsal room was all he had from back in the day. With the help of Tim and Klaus Knapp the recordings were filtered and eq'ed and then supported with precise reconstructions of the original instruments. Out of this production process spanning 30 years a unique time capsule emerged, which portraits a small town teenager with some ambition. 'Time Flows All Over' is a haunting reminiscence of the angst and energy of the mid-1980s, infused with surprising contemporary relevance.


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Tracklist
1. Digeridoo
2. Flaphead
3. Phloam
4. Isopropanol
5. Polynomial-C
6. Tamphex (Hedphuq Mix)
7. Phlange Phace
8. Dodeccaheedron
9. Analogue Bubblebath 1
10. Metaphaestic
11. We have arrived (Aphex Twin QQT Mix)
12. We have arrived (Aphex Twin TTQ Mix)
13. Didgeridoo (Live in Cornwall 1990)

Undoubtedly one of the most important and influential electronic artists to have emerged in popular music, the sonic misfit from Cornwall, Aphex Twin, released a breathtaking slew of early singles and albums from 1991 onwards (and continues to present day). The first clutch of groundbreaking works came on the legendary Belgium label R&S Records and were collected on a compilation album ‘Classics’, released in 1995, and followed the global success of the timeless album ‘Selected Ambient Works 85-92’.

‘Classics’ receives a long overdue vinyl & CD re-press for 2025, with a fresh vinyl cut by acclaimed mastering engineer Beau Thomas, and a R&S Records sticker sheet inserted into the LP sleeves including cover artwork of the two singles ‘Digeridoo’ and ‘Xylem Tube’ EP which are both featured on this compilation album.

Key Sales Notes
- 30 Years Since first pressing in 1995
- R&S Records sticker sheet inserted into the LP Sleeves
- Fresh vinyl cut by acclaimed mastering engineer Beau Thomas

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Tracklist

A1. Glory Night
A2. Glory Night Tool
B1. Just Chill
B2. Just Fly

Info:

Butch’s unmistakable music has always worn the influence of disco proudly on its sleeve. Both his mega-hit No Worries and his first contribution to the Running Back catalogue, Desire, are essentially modern-day disco records. The same goes for his return to the label with Glory Night—perhaps even more so, thanks to its vintage engineering and authentic aural treatment. Equipped with the genre’s signature sounds and arranged like a lost disco edit from the late ’70s, Butch applies the lotions and potions that today’s dancers demand, creating one of those peak-time sensations that make him unique—complete with confetti, a firecracker breakdown on top, and an extra rhythm section bonus tool included. Just Chill and Just Fly continue that narrative. While the first appeals to fans of R&B or funk samples (though no recordings were harmed in the process), it is catchy as hell and creates an inescapable maelstrom. The second, meanwhile, draws on the principles of deep house and exercises itself in contemplation. Be that as it may, here are a couple of tracks that work on almost any floor and at any time. Or, to quote Giorgio Moroder: “Disco is music for dancing, and people will always want to dance.”





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Territories: WW minus FR

Tracklist :
A1 - "H" Friend
A2 - Timing, Forget The Timing
A3 - One To Choose
B1 - We Never Fly Away Again
B2 - Follow Me (Instrumental)
B3 - No Regrets

Release Info:
Disco Club is a groundbreaking 1978 EP of experimental electronic disco created by Bernard Fevre and his collaborator under their tongue-in-cheek aliases Joachim Sherylee and Junior Claristidge. The Aphex Twin-backed Rephlex label notably reworked a handful of Disco Club tracks in 2004, however this is the first ever reissue of the EP in its complete, originally intended sequence. So synonymous is Fèvre's career with this release, he continues to perform internationally as Black Devil Disco Club today. An impossibly rare piece, this edition has been treated to a remaster from the original tapes by Fèvre himself.

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LP

Tracklist:

1. Houdini's Plane
2. Incident at Westall
3. Aspen Blues
4. On the Mountain
5. Solar Flare
6. Valley of Sorrows
7. The Loneliest Astronaut
8. To the Lighthouse
9. I've Got a Buzz


Short info:

A Place In My Memory Is All I Have To Claim is the new album by Australian atmospheric pop trio Hydroplane, the storied 'offshoot' formed by three quarters of independent pop group, The Cat's Miaow. On this, their first music after two decades plus of radio silence, Andrew Withycombe, Kerrie Bolton and Bart Cummings return to the gentle, close-quarters musical world they shared around the turn of the century.

Recorded during 2024 in Melbourne and Ballarat, A Place In My Memory… picks up the thread Hydroplane set down with its precursor, 2001's The Sound Of Changing Places, though you can hear echoes of their other releases, too, with Withycombe noting a through-line from the group's 1998 "Failed Adventure" single. There's little quite like A Place In My Memory…, then or now, though. Maybe you can draw some connections between Hydroplane and their sister group, The Cat's Miaow, while fellow travellers might include Empress, The Ah Club, and further back, Young Marble Giants, Veronique Vincent (the muffled, ticking drum machine also makes me think of Robin Gibb's Robin's Reign).

There's also an umbilical to the bedroom-crafted electronica doing the rounds in the late nineties and early noughties. Hydroplane hint at this through their approach to songwriting, which often builds creatively around loops as structural devices. Through all this, the trio achieve an effortless, organic weightlessness across these nine lovely songs. Many feature Bolton's clear singing voice, drifting along, while guitars, keyboards, drum machines and loops tickertape away. The constituent parts fit together, but they also have a curiously detached quality - think of abstract cloud formations sharing the same sky.

Hydroplane and The Cat's Miaow often dealt in emotional ambiguity and uncertainty, and the uncertainty of the nostalgic. This was always one of the most appealing facets of their music, and A Place In My Memory… is thus named perfectly. I couldn't dream up a better title for the album and its reflections on history, lived experience, and the inevitable tangle between these two phenomena. These reflections variously address such concerns as human cruelty, flight, space travel, adventurism and spiritualism. There's also "To the Lighthouse", not a direct reference to the Virginia Woolf book, but a great title, nonetheless. (They've always had excellent titles, often borrowed, for songs and albums.)

A beautiful collection of drowsy, sleepy pop, humble and quiet, but resolute in its craft, A Place In My Memory Is All I Have To Claim is dream work in practice; a lovely reintroduction. Welcome back, then.





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LP

Special remarks : Full-colour reverse-card sleeve with lyric sheet

Tracklist
A1. The Reds, Pinks and Purples - Upside Down in an Empty Room (Slow Version)
A2. The Gabys - Your Spell
A3. The Hobknobs - Dictionary
A4. Who Cares? - Wax and Wane
A5. The Sprigs - Leagues of Marsh to Swallow Towers
A6. Chateau - How Long on the Platform
A7. I Can I Can't - Personal Favourite
B1. Drunk Elk - Euros
B2. Rat Columns - Fruit and Nuts
B3. The Lewers - I Can't Sleep (But I've Been Trying)
B4. Daily Toll - Time
B5. Carla dal Forno - Veselka City Lights

Shortinfo:
Going back to sleep… a lovingly gathered suite of windswept, heart-bursting contemporary DIY indie-pop and folk including new songs by Carla dal Forno, The Reds, Pinks and Purples, Lewsberg-related duo The Hobknobs and Rat Columns, next to luminaries and newcomers Daily Toll, Who Cares?, The Lewers, The Sprigs, Drunk Elk, I Can I Can't, The Gabys and Chateau. A beautiful contemporary companion of I Won't Have To Think About You (A Colourful Storm, 2017).

Focused on Australian artists predominantly recording and performing in intimate spaces, the compilation's sentiment extends to likeminded artists around the world. A feeling of introspection that seems impossible to achieve when recording for anyone but yourself. A trip through the wonderfully diverse international pop underground, or more simply, a group of music makers performing on A Colourful Storm's imaginary stage.









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Tracklist
A1. Jonquera – Cause & Utility
A2. Jonquera – Tales Of Decay
B1. Tolouse Low Trax – Amp
B2. Tolouse Low Trax – Solid Rock

Info:
Avenue 66 opens Series 33 with a Düsseldorf–Lyon connection.
Jonquera first encountered Tolouse Low Trax a decade ago in a small Lyon club. That night, his hypnotic slow-motion set was cut short, yet it left a lasting imprint. The Düsseldorf artist’s mechanical psychedelia, and the influence of the Salon collective have been a constant touchstone for
Jonquera, even inspiring playful “Düsselcore” edits in his Tera Octe days.
After several LPs, Jonquera returns to the EP format with Cause & Utility / Tales of Decay. Built from improvised drum, bass, and vocal recordings, the tracks are reworked through heavy looping and acoustic treatment, a method inspired by his recent live shows. Cause & Utility revolves around the
abstract idea of two dogs as concepts, enriched by the earthy drone of a hurdy-gurdy. Tales of Decay paints a surreal image of a house losing its rooms like a body shedding parts.
The MPC sorcerer Tolouse Low Trax, aka Detlef Weinrich, brings his Düsseldorf circuitry and autobahn funk with two tracks of pure rhythm apparition. Amp is a quintessential Tolouse Low Trax cut, built on concealed rhythmic structures, swampy bass lines, and fragments of radio and voice
samples. The piece extends his exploration of how art can mirror the flow of inner-city traffic; drifting without a clear climax. Solid Rock echoes this idea, first conceived as a variation on Amp where particles repeat themselves. The result is distinct yet conceptually linked, evoking the
density of a crowded neighboring city: beginning in apparent disarray before locking into an abstract, hypnotic funk.
Series 33 begins with the convergence of Jonquera’s looping experiments and Tolouse Low Trax’s mechanical psychedelia, a dialogue between Lyon and Düsseldorf.



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Format Notes:

2025 first time vinyl release, limited to 500 copies, 140g vinyl

Track List:


A1 Business & Pleasure 5:50
A2 Last Call 6:57
A3 Slinky Strut 4:37
A4 First Class 6:59

B1 Stank 49 6:26
B2 Dangerous Man 4:15
B3 Stinkbug 5:00
B4 Win Or Lose 4:04

Release Notes:


Steve Moore reprises his beloved Lovelock guise by presenting his unique riff on the library breaks genre. Business And Pleasure contains grimy groove and sleazy, funk-laden lounge music.

This vinyl release is hyper-limited, with just 500 pressed for the world.

The LP is ushered in by the spacey synth-funk of the sleazy, woozy title track. This is that serious slo-mo cosmic-balearic head-nod shit. Laidback bass, heavy funk with dreamy synth and electric guitars. An outstanding opener. Up next, the dynamic, swaggering "Last Call" is a sophisticated, elegant stroll - sweeping, mellow strings, a smooth bassline and gorgeous percussion with urgent keys and swelling synths.

"Slinky Strut" is another spaced-out, sleazy funk groove with jazz rock by way of a heavy, heavy guitar riff, mellotron and bass breakdowns which build to brass crescendos. Gigantic. "First Class" closes out the side, and, like classic Hawkshaw / Bennett noir, it's got that mysterious and murky stretched out sleuth / detective soul with a great bassline and percussive elements, with swelling strings, ace synths and smooth Rhodes piano melodies entering the mix halfway through. Dramatic guitars and groovy percussion add extra intrigue. It's 7 minutes of funk!

Side B opens with the stretched-out psychedelic funk and jazz groove of "Stank 49". It takes its sweet time to unfurl, creating enormous - almost sensual - anticipation for the ensuing beauty but, as it does, we're left beguiled and straight-up hypnotised. Heaven-sent synth flourishes and a laidback bassline over smooth drums cement its simple, vivacious grace. "Dangerous Man" is that creeping crime funk we all love; heavy bass and fuzzy guitar riffs, mellow strings and sumptuous piano/synths. It's irresistible, it's ominous and it's pretty gargantuan. It's basically like an El-P hip-hop instrumental. We need to get some rappers over this stuff, stat!

"Stinkbug" is a dazzling and funky groove-fuelled jazz-rock workout with fizzing synth riffs joined by full percussion and drum breaks, building with strings to a strong swagger. Vigour! To close out this remarkable set, the breezy "Win Or Lose" is laidback soul-inflected funk, utilising urgent, skipping drums and galloping basslines. Just stunning.

This collection was written and recorded in Spring and Summer of ’24. Everything was tracked at Steve's home studio in Albany, NY except the drums and percussion, which were recorded by Jeff Gretz at his space in NYC. The whole collection is basically a rhythm section feature, so Steve's Rickenbacker 4003 and Fender Jazz Bass play very prominently. The bass guitar serves as lead instrument in a lot of these tracks. Also, lots of Rhodes and stringers (Solina, Logan etc) and guitar (Strat and Les Paul). He even dusted off my sax for this one, which he doesn’t do as often as he’d like!

This type of groove-oriented library music has been a steady part of Steve's diet since the late 90’s. In heavy rotation while writing this collection were the following classics: “Time Signals” by Klaus Weiss, “Tilsley Orchestral No. 10” by Reg Tilsley, and “Heavy Truckin’” by Simon Haseley. “Voyage” by Brian Bennett was also a big one.

Lovelock started as a dedicated Italo-disco project, but over the years Steve expanded it to include anything directly informed by the commercial/pop side of the music of his childhood (70s/80s). Writing and recording this album was, like a lot of Steve's music these days, basically a test to see whether or not he could do it.

The song titles, like the music, are meant to be evocative yet vague. But there is a bit of a travel theme. Steve imagined this record being the soundtrack to a sleazy salesman’s business trip. The kind of guy who, when asked if he’s traveling for business or pleasure, responds “both.” Beyond the traveling salesman comparison, the title directly relates to the creation of this album. This was something he wanted to do just for his own enjoyment. Yet, like our sleazy salesman, he still found a way to get paid.

The album’s cover was designed by Chris Stevenson, with no little direction from Steve. He knew that he wanted to go with something photography-based for this cover so, in true DIY/cheapskate spirit, Steve started by looking through his own photos. He found the cover image on his phone, taken through an almost empty bottle of beer, and it clicked. The whole album has a very boozy vibe (especially with titles like “Last Call”) so this shot seemed appropriate. We, hic, agree.

Mastering for this vinyl edition was overseen by Be With regular Simon Francis, and it was cut by the esteemed Cicely Balston at Abbey Road Studios to be pressed in the Netherlands by Record Industry.








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Territories: WORLDWIDE

GENRE/S: Techno

Tracklist:
A1.FINE
A2.PIQUE-E
A3.AIR
B1.LOVE LIGHT
B2.DOLICE
B3.MERGE
C1.CAINERN
C2.PORALITY
D1.Patlache
D2.A Land of Tairin

Short Info:

The incredibly beautiful album "SHINSEKAI", released in 1994, is finally being reissued. Long considered a phantom masterpiece and a cornerstone of Japanese techno, the album had been out of print for many years due to the business circumstances of its original label, RISING HIGH.


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10"- " pink, black and yellow smashed vinyl

2. GENRE/S: Pop, Disco

3. TRACKLIST:
A1 Guilty Pleasures - 5:48
B1 Guilty Pleasures (Instrumental) - 5:48

4. SHORT INFO:
Meet Dr. Brown, a world-renowned astrophysicist who arrives with a ten-pound bag of gummy bears and a DVD box set of a reality show about competitive dog grooming. Before she loses herself in the flamboyant world of puffed poodles and outrageous hairdos, she organizes the gummies by color...

Judge White, on the other hand, unboxes a newly released LEGO set. But he isn't building a replica of the Supreme Court; he is constructing a bright pink, glitter-covered unicorn palace.

Opera singer Miss Black... growls along at the top of her lungs to Chesney Hawkes' "The One and Only", standing on a chair in a red-and-white striped bikini, using nunchucks as a microphone.

And finally, Mister Red, the MIT professor, known for his ironclad logic and severe demeanor, brings a collection of classic comic books. He isn't interested in modern, gritty superhero stories. His joy comes from the simplistic, colorful tales of superheroes with outlandish names like bqdp and ridiculous powers like the ability to selectively negate gravity for objects weighing exactly 13.37 kilograms (but only when standing in moonlight).

They are all members of a club where the rules are simple: no judgment, no professionalism, and no apologies. They understand that the most infamous guilty pleasures aren't those that are truly bad, but those that remind us that we are all, at our core, just human - finding joy in the simplest, most wonderful things, no matter how silly they may seem.

pdqb and DMX Krew gift you with six minutes of pure, unadulterated pleasure. You'll feel like you're locked inside an 80s mall with your best friend, free to do whatever you want. And you'll never want to leave.

5. VITAL SALES POINTS:
" pink, black and yellow smashed vinyl
" mastered by the infamous Mike Grinser
" vocals by DMX Krew
" cover with an artwork by blue-ship artist Robert Nava


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12"
GENRE/S: TECHNO

TRACKLISTS:

01 - Radial - Roundabout Way [TXV01]
02 - Radial - Sly [TXV01]
03 - Bendiak - Cheat Codes (Time Mix) [TXV01]
04 - Bendiak - Niebla en la Trinchera [TXV01]
05 - Bendiak - Dos Copos de Nieve [TXV01]

SHORT INFO:

"After years of exploring different realms of electronic music, Trinchera.XV opens the doors of its label with a vinyl EP that moves between dancefloor-driven energy and sonic abstraction. For this first release, two complementary visions converge: the renowned artistry of Radial, a key figure on the international scene, and the fresh, promising energy of Bendiak, an emerging talent from the local landscape."



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Territories: WORLD excl US, CA

TRACKLISTS:
Side 1 (A)
1. waterslides
2. treading lightly
3. glass like water
4. rosen pools
5. yester feat. Older Brother

Side 2 (B)
1. rift drift
2. at daybreak (reprise)
3. nina's lament
4. split roads
5. oriol


SHORT INFO:
Tom Jarmey returns with Daybreak, a widescreen second album weaving ambient textures, dusty drum breaks and hazy melodies into a deeply emotive listening experience. Known for his genre-blurring releases on Holding Hands and X-Kalay, the London-based producer continues to push his sound into bold new territory. Having clocked 20M+ streams and earned praise from DJ Mag, Mixmag, and Four Tet, Jarmey's second LP cements his place in the UK's new vanguard of genre-fluid electronic artists.


VITAL SALES POINTS
Selected as one of DJ Mag's 'emerging artists you need to hear' and included in Mixmag's 'best EP's of 2023', alongside regular support from the likes of Four Tet, Midland, Shy One and Jossy Mitsu, Tom Jarmey's music has solidified itself in the scene as unique and timeless electronic music





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