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.

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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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GENRE/S:

Techno / House
Electronic
Pop

TRACKLISTS:

Insanely Alive (Pet Shop Boys Maxi Mix)
Insanely Alive (Total Freedom and Sami Baha's Spooky Curse / Special Blessing Mix)
Insanely Alive (Pet Shop Boys Radio Edit)
Insanely Alive (Original)


SHORT INFO:


Fresh from the release of his recent debut album 'Moon in Earthlight', Wolfgang Tillmans drops "Insanely Alive" with remixes by the legendary Pet Shop Boys alongside producer Total Freedom, in a collaboration with Sami Baha. Tillmans, a life-long fan of the Pet Shop Boys, directed the music video for their 2002 single 'Home And Dry', and contributed the cover artwork for the third iteration of their remix series 'Disco 3'. In 2015, Tillmans met Ashland Mines aka Total Freedom for the first time at Mike Q's club night at Escuelita in New York. Earlier that year, Tillmans had researched the DJ and producer's tracks for 'Playback Room', his sound installation focusing on the sounds of American producers. For this remix single, Tillmans invited both the Pet Shop Boys and Total Freedom to put their hands on the catchiest song of his album, resulting in a classic PSB Maxi Mix, an additional radio edit and Total Freedom's pulsating rework of "Insanely Alive".



5. VITAL SALES POINTS:

Pet Shop Boys Remix, Total Freedom Remix




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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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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Conatct: [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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'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. 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
Conatct: [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.


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GENRE/S:

Techno / House
Electronic
Pop

TRACKLISTS:

Insanely Alive (Pet Shop Boys Maxi Mix)
Insanely Alive (Total Freedom and Sami Baha's Spooky Curse / Special Blessing Mix)
Insanely Alive (Pet Shop Boys Radio Edit)
Insanely Alive (Original)


SHORT INFO:


Fresh from the release of his recent debut album 'Moon in Earthlight', Wolfgang Tillmans drops "Insanely Alive" with remixes by the legendary Pet Shop Boys alongside producer Total Freedom, in a collaboration with Sami Baha. Tillmans, a life-long fan of the Pet Shop Boys, directed the music video for their 2002 single 'Home And Dry', and contributed the cover artwork for the third iteration of their remix series 'Disco 3'. In 2015, Tillmans met Ashland Mines aka Total Freedom for the first time at Mike Q's club night at Escuelita in New York. Earlier that year, Tillmans had researched the DJ and producer's tracks for 'Playback Room', his sound installation focusing on the sounds of American producers. For this remix single, Tillmans invited both the Pet Shop Boys and Total Freedom to put their hands on the catchiest song of his album, resulting in a classic PSB Maxi Mix, an additional radio edit and Total Freedom's pulsating rework of "Insanely Alive".



5. VITAL SALES POINTS:

Pet Shop Boys Remix, Total Freedom Remix




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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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GENRE/S:
Progressive House, Techno, Trance, Breaks

TRACKLISTS:
A. Café Del Mar (Orbital Remix)
B. Café Del Mar (Michael Mayer Remix)

SHORT INFO:
Energy 52's Café Del Mar is one of the most iconic tracks in dance music. Over the years, Café Del Mar has achieved legendary status, regularly featuring in lists of the greatest dance tracks of all time. To put it simply, Café Del Mar is a cultural phenomenon, encapsulating the spirit of an era and influencing generations of artists and fans alike.
Now this iconic track is being remixed by two of the most revered acts in electronic music, Orbital and Michael Mayer. Orbital, the pioneering British electronic dance duo consisting of brothers Phil and Paul Hartnoll, have continued to shape the electronic music scene since their emergence in 1989. Their remix is an ode to the golden age of rave, with clattering breakbeats and an ethereal synth line pulsing through its early stages before the iconic lead warps into view. A key figure in Cologne's electronic scene, Michael Mayer co-founded the influential Kompakt label, contributing significantly to its direction and success. For his interpretation, Mayer leans into head spinning, hypnotic rhythms, with tribal drums and the patiently evolving lead line building towards a climax that is more subtle but no less effective.






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Format: (LP)

Special remarks : white vinyl


Genre: Ambient


Tracklist LP:

A1. Autumnal Dew
A2. Dawn Lined Horizon
A3. Zodiacal Clouds
B1. Infinite Pathways
B2. Dusk Settled Over The Mountains
B3. Alternate Spring Sundown


Short Info:

Simon Huxtable’s Inhmost project has been a focal outlet for his ambient and downtempo compositions. Pierre Nesi’s Owl production alias likewise is rich in ambient tones and textures. The resulting collaboration is chillout bliss.




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Vinyl Only / lim. Pressing.

Afrodisco / Afrobeat / Disco Edits

Remember Noema's legendary tribute edit of Ata Kak's “Daa Nyinaa” and the wicked re-rubs of Eddie C, Axel Boman and Soft Rocks? Then I have good news for you: AFRICAN SHAKETOWN is back!!! Coming in hot and rebranded with the letter “T” in the name, the essential Afro Disco series returns with four outstanding remixes and edits of ultra rare gems that without a doubt will make your summer.
On the labelside you'll find two funky Disco tunes, originally played with full band set-up and treated by MAGIC JAMS, while on the flipside NOEMA presents a choice of electronic and cosmic Disco flavors featuring synths and drum computers. David Benjamin aka NOEMA aka MAGIC JAMS is a DJ, Producer, Guitarist and Label Owner from Berlin. In his studio work, he has released one very well received album as well as several EPs, remixes and edits. In this context he collaborated with heavy weights like Apparat, Dj Dixon, and Grammy winners Basement Jaxx as well as electronic music underground heroes such as Lauer, Kalabrese, Shubostar, O/Y, Acid Pauli, Auntie Flo, Dreems, Khidja, Panthera
Krause and Mehmet Aslan.
Looking back at more than 25 years of DJing, David is a true master at the decks. Constantly refining his craft during a former 10-year residency at the legendary Berlin Club institution Wilde Renate, he developed a unique style combining an outstanding selection, ranging from Disco to IndieDance and House, with out-of-this-world mixing skills. While David releases and plays rather electronic, contemporary and psychedelic music under his NOEMA moniker, his MAGIC JAMS alias is all about acoustic sounds and crate digging, with focus on Music of the African diaspora, Cosmic Disco and Balearic Beat.
Furthermore David holds a diploma in classical guitar with focus on music theory, works as a teacher/mentor and runs the highly acclaimed The Magic Movement label and released music by the likes of Nicola Cruz, Axel Boman, Dengue Dengue Dengue, Xique-Xique, Eddie C and many more.

Tracklist:
THIS 1 // The Janja (Magic Jams Remix)
THIS 2 // The Wonder (Magic Jams Edit)
THAT 1 // The Enemy (Noema Remix)
THAT 2 // The Zebra (Noema Remix)

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2LP

A1. HYbr:ID Noh Talk
A2. HYbr:ID Sync Dark
A3. HYbr:ID Noh Human
B1. HYbr:ID Sync Inter
B2. HYbr:ID Collective Open
B3. HYbr:ID Obsessive Behaviour Day
B4. HYbr:ID Obsessive Behaviour Night
C1. HYbr:ID Para Contamination
C2. HYbr:ID Script Solitude
C3. HYbr:ID Script Sacre Drone
D1. HYbr:ID Script Broken Conversation
D2. HYbr:ID Rehuman
D3. HYbr:ID Épilogue




For an aesthetic of (dis)obedience. The impressions Richard Siegal and his company Ballet of Difference gathered on a trip to Japan in September 2022 now find their way into a full-length dance evening. Siegal and his team had set off for Tokyo to learn the practice of Shuudan Koudou, also known as "Japanese Precision Walking". The strictly synchronised group choreographies are astonishing in their radical stringency and have become a secret YouTube hit, not least because of their peculiar subtle humour. Siegal recognises in the extreme disciplining of the bodies an analogy to the training practice of classical ballet. In the mutual exchange of these movement cultures, questions are raised about individual and collective thinking, about personal decision-making power and social responsibility. For this extraordinary project, Richard Siegal has invited a special guest: Nazareth Panadero, long-time companion of Pina Bausch, who has long since become an icon of Wuppertal dance theatre and will be on stage with the BoD ensemble.

The production BALLET OF (DIS)OBEDIENCE is sponsored by Goethe Institut, with the kind support of Sissel GmbH.
CHOREOGRAPHY & STAGE: RICHARD SIEGAL
COSTUME: FLORA MIRANDA
LIGHT & VIDEO: MATTHIAS SINGER
MUSIC: ALVA NOTO
DRAMATURGY: TOBIAS STAAB

more info to: Shuudan koudou

'Shuudan koudou' Shuudan Koudou Is the Japanese #art of Synchronized Precision ...YouTube · Boson TV: Tech Marvels & Cool Discoveries22 Dec 2022

Kottke.org https://kottke.org › shuudan-koud...Shuudan Koudou Is the Japanese Art of Synchronized Precision Walking


On the other hand, hybrid 3 is inspired by Noh Play - Japanese performances and deals with the refusal of rules musically, hybrid three continues the two previous albums and weaves both rhythmic and beatless musical pieces into a holistic work.
The idea for me has always been that these albums are not only perceived as individual tracks, but as a whole piece, which is why I find the possibility of experiencing and listening to these albums in the right order and as a whole particularly important. For me, the pieces are not only closely related to the ballet that was created for them, but also function as individual pieces as pure, musical pieces and mark a new quality for me, which is very strongly focussed on producing electronic sounds and structures in such a way that they can develop a sculptural quality.






















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Territory: Worldwide no exceptions

2024 repress, 140g vinyl, remastered, double LP with the original LP along with a second record of 14 rare tracks

Sweet And Nice is the vital debut album from Jamaica’s undisputed first lady of song Marica Griffiths. It’s reggae at its most soulful. Slinking through a tight ten tracks of R&B and pop-sourced material, it became an instant best seller. 45 years after its initial release the LP is available again on vinyl, now as a double LP, with an extra record collecting 14 rare tracks.

Sweet And Nice has appeared over the years with a revised running order and under different titles. But the original’s opening sequence of loping soul is legendary, even beyond reggae circles. These songs are now returned to how they were presented on that first Jamaican release, and under their intended album title. Be With doesn’t mess with magic.

Marcia’s version of “Here I Am (Come and Take Me)” has long been lusted after, played by genre-hopping selectors to snapping necks for decades now. It’s followed by the sophisticated, rollicking wah-wah funk of “Everything I Own” and the slice of smooth lovers soul par excellence that is “Green Grasshopper” and her ace, lilting Neil Diamond cover “Play Me”.

The thundering, humid funk of “Children At Play” “sounds uncannily like a precursor of Massive Attack”, as FACT Mag astutely noted when they put Sweet And Nice at number 16 in their list of the 100 best albums of the 1970s. Otherworldly, moody and essential.

Side two keeps the fire burning. “Sweet, Bitter Love” should leave you swooning, and is also one of the album’s alternate titles. Curtis Mayfield’s already-eternal “Gypsy Man” is up next, recast as proto-lovers rock.

“There’s No Me Without You” is elevated to canonical status by the majestic, forlorn horns of the Federal Soul Givers and Marcia’s heartbreaking delivery. And if this doesn’t get you then surely the next track will: arguably the definitive version of Ewan MacColl’s “The First Time Ever I Saw Your Face”. Yes, seriously.

“I Just Don’t Want To Be Lonely” re-takes its rightful place at the end of the LP’s second side… but we couldn’t leave it at that. So we added an entire second record of rare material recorded around the same time as Sweet And Nice, much of it unavailable since it was originally released. Some of these songs have only ever been found on now unattainable 7" singles and no, rarity doesn’t always correspond with quality, but in this case we’re talking about some seriously jaw-dropping music.

Amongst 14 extra tracks you’ll find the exquisite late-60s singles “Melody Life” and “Mark My Word” which, along with the sumptuous reading of “Band Of Gold”, are now £100 records, if you can find them! Just sayin’. There‘s also a fantastic version of “The First Cut Is the Deepest” and an alternate take of “Play Me” with producer Lloyd Charmers adding his own vocals.

Everything’s been remastered of course, including the original LP, so Sweet And Nice now sounds even sweeter, and even nicer.




TRACKLISTING


A1 : Here I Am Baby (Come And Take Me)
A2 : Everything I Own
A3 : Green Grasshopper
A4 : Play Me
A5 : Children At Play

B1 : Sweet Bitter Love
B2 : Gypsy Man
B3 : There’s No Me Without You
B4 : The First Time Ever I Saw Your Face
B5 : I Just Don’t Want To Be Lonely

C1 : Mark My Word
C2 : The First Cut Is The Deepest
C3 : Melody Life
C4 : Work And Slave
C5 : Working To The Top (My Ambition) (Part 1)
C6 : Don’t Let Me Down
C7 : Band Of Gold

D1 : Put A Little Love In Your Heart
D2 : I See You, My Love
D3 : It’s Too Late
D4 : Baby If You Don’t Love Me
D5 : Love Walked In
D6 : When Will I See You Again
D7 : Play Me (Part 2)

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12“ Vinyl

GENRE/S: Electro/Techno

TRACKLISTS:
A1) Extrawelt - Riverrun
B1) Extrawelt- Midi Waters

SHORT INFO:
Arne and Wayan of Extrawelt hardly need an introduction, yet their latest release is notably special as it marks their debut on Marc Romboy's Systematic Recordings imprint.
Renowned for their releases on Cocoon, Kompakt/Speicher, and Border Community, they masterfully blend techno with rich sound structures, harmonies, and intricate arrangements.
Their new track "Riverrun" features a captivating bass line that twists and transforms throughout the piece, showcasing their skills as sound architects. Alongside, "Midi Waters" delves into a darker, deeper soundscape that commands respect from Detroit Techno enthusiasts with its powerful, dystopian narrative. Experience the sound for yourself with this unique two tracker.

VITAL SALES POINTS:
- Debut EP from Extrawelt on Systematic
- Strictly limited vinyl (300 only)
- Special Sound Mastering by LUPO

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Territories: Worldwide no restrictions

Format Notes: 2024 repress, 140g double vinyl, original picture sleeve and insert


Track List:

1 A1 : Rhythm-al-ism (Intro) (1:40)
2 A2 : We Still Party (5:13)
3 A3 : So Many Wayz (5:41)
4 A4 : Hand In Hand (4:18)

5 B1 : Down, Down, Down (4:43)
6 B2 : You’z a Ganxta (4:22)
7 B3 : I Useta Know Her (3:50)
8 B4 : No Doubt (4:12)

9 C1 : Speed (3:21)
10 C2 : Whateva U Do (7:47)
11 C3 : Thinkin’ Bout U (4:05)
12 C4 : EL’s Interlude (4:05)

13 D1 : Medley For A “V” (The P***y Medley) (6:27)
14 D2 : Bombudd II (2:59)
15 D3 : Get 2Getha Again (4:41)
16 D4 : Reprise (Medley For A “V”) (2:39)

Release Notes:

DJ Quik is a giant of West Coast hip-hop. With his fourth album Rhythm-Al-Ism he created his masterpiece, a perfect hip-hop album. As Quik explains, “the name Rhythm-Al-Ism alone tells you what I was doing. I was mixing up rhythms. I was meshing R&B with hip-hop and jazz. And a little bit of comedy”. It’s absolutely sensational and as with a lot of mid-90s albums those original vinyl copies are now rare so here’s the Be With re-issue.

A preternaturally gifted producer/rapper, DJ Quik has produced scores of LA gangsta rap classics. He’s released platinum and gold records of his own, as well as helped craft them for the likes of Tupac, Snoop Dogg, and Dr Dre. Quik has always been quirkier and more interesting than his gangsta rap peers, both musically and lyrically. An old-school funk producer at heart, he’s also incredibly nice on the mic. His raps often deal in boasts, jokes and good times but also cover his beefs, his trials and his trauma. Partying and pain, all mixed up. DJing and producing hype beat tapes from age 14, Quik’s tracks blended the languid funk and rubbery synths of Zapp and George Clinton with a gangsta aesthetic, creating a more danceable foil to Compton’s more typical nihilistic hedonism. Ultimately, his records sound custom engineered to drift out over sun-soaked barbecues.

Released in 1998 on Profile, Rhythm-Al-Ism was the closest Quik ever got to making a commercial splash. “You’z A Ganxta” and “Hand in Hand” made radio waves across the country and the less radio-friendly tracks like “Medley For A ‘V’” were bumping out of car stereos. Combining his soulful, jazzy P-Funk/G-Funk beats with his effortlessly smooth flow, Rhythm-Al-Ism was the quintessential West Coast Party. Squelchy synths, bouncy bass, monstrously knocking drums and freaky keys - this is peaking acidic party-rap, straight out the gate. Music for gliding, for skating, for time with your people and your poison. Sunshine. No cares. BBQs. Heavy smoke in the air. Dripping with wit and good humour. A real swing to the vibe.

The album opens with Quik setting out his mission statement with “Rhythm-Al-Ism (Intro)”, telling us what this is all about before the self-explanatory “We Still Party” rocks the spot. It’s definitely all about the party here, complete with Quik’s signature head-nod/body-moving beat. Next up, the undeniable laidback funk and dripping swing of groove-laden “So Many Wayz”. This positively slaps.

Then we get to the three huge singles. The R&B-tinged radio-friendly minor-hit “Hand In Hand” closes the first side only for the flip to get straight into the rolling and scratching of bleepy computer-funk banger “Down, Down, Down” (featuring a particularly nice use of Howard Johnson’s epochal “So Fine”). The effortlessly smooth, flute and guitar-laced “You’z A Ganxta” completes the trio. Next up the fast-paced, vocoder-enhanced, woulda-beena-global-hit “I Useta Know Her”. This coulda (shoulda) been a single too. Head-nod funk workout “No Doubt”, with its ace sample of Prince's “Sexy Dancer”, closes out the second side.

“Speed” races out the gate on the second disc, sampling Edwin Birdsong’s “Rapper Dapper Snapper” in a harder, better, faster, stronger way than those daft Parisian punks. Amphetamine-swift raps over soaring, string-drenched b-boy beats. A total anthem. Up next, the staggering, near 8-minute laconic, lounge-y sax-rap of “Whateva U Do” cools things down and smooths things out with its flute wrapping around a sample of Smokey Robinson’s “So In Love” and some oh-so-classy lounge-piano tinkling. And speaking of smooth, things don’t get much smoother than the blissfully melodic glider-anthem “Thinkin’ ’Bout U” riding that ace flip of SWV’s “Use Your Heart”. Exceptional.

The exquisite funky-flute-slapper “Medley for a ‘V’ (The P***Y Medley)” opens the fourth and final side, with star turns from Snoop Dogg and a typically suave Nate Dogg. It’s followed by the supremely skanked-out “Bombudd II”, a beautifully sweet reggae-fuelled ode to the herb. “Get 2Getha Again” is slick funk. Stunning.

This 2022 Be With double LP re-issue has been mastered for vinyl by Simon Francis, cut by Pete Norman and pressed at Record Industry. Unusual for the time, Rhythm-Al-Ism was originally pressed as a double and we’ve reproduced the original LA vibe picture sleeve and insert to match.

As that original front cover says, this is “over 70 minutes of commercial free music” and it’s absolutely perfect from start to finish. There are no stand-out tracks here. It’s all gold.


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Finally this very sought after LP from 2021 gets a repress!

Be quick! lim. transparent vinyl release.

A1 Funeral Canticle
A2 Trembling
A3 Positivism
A4 Sphere
B1 Birthday
B2 Sonnet 29
B3 Visions
B4 The Future
B5 Micro-Story


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