Territories: WORLD EXCL DE, AT, Scandinavia

LP transparent crystal clear vinyl, leaflet, sticker, download code

GENRE/S:
Alternative, Independent, Shoegaze, Dreampop

TRACKLIST:
A1. A Different Light
A2. Nightfall
A3. Dreamweavers
A4. I Give My Tears
A5. Hollow
B1. Behind My Eyes
B2. Empty Beaches
B3. In A Storm
B4. Winter's Ghost
B5. Closure


SHORT INFO:
In May, fans were treated to the first new music from Trentemøller since 2022. A new single, "A Different Light," showcased a stunning blend of prismatic space rock and folk. For anyone wondering if it foreshadowed the release of a full-length, Dreamweaver will drop in September, on Friday the 13th.
Featuring 10 tracks that traverse Trentemøller's many musical strengths, Dreamweaver also represents an obvious artistic leap, treading new ground while retaining the overall plot. Tracks featuring vocals come courtesy of of Iceland's Disa, who has been in Trentemøller's fold since the Memoria tour.
Dreamweaver's nylon string-led opening track, and first single from the album, "A Different Light," contains many of Trentemøller's trademarks: exploring dichotomies, musical shadowplay, Nordic frigidity, and warm waves. It opens the door for the steady, hypnotic "Nightfall," with its tetherless vocal, wistful guitars, and early morning desert chill. The third track in the opening trifecta, "Dreamweavers" finds its footing with a percussive soft trot, which starts after what feels like a shortwave radio scan in search of the right chords, eventually dialing in a weightless voice. Ostensibly keeping a ruminative pace with the previous two tracks, the song and, by extension, album soon opens up as the rest of the elements drop into place with a grand, luxurious burst.
Dreamweaver is about to enter its next phase. With the hatch blown off of the portal, the noisy "I Give My Tears," driven by its glissed and fuzzy bass line, pours into the void. It's followed by its sibling, the most chaotic track on Dreamweaver, "Behind My Eyes." Arriving as a piece of noise rock pandemonium, "Behind My Eyes," can't be contained in its plush vault. A whip-crack snare and convulsing guitars smash against each other in the song's verse chamber. The tension builds, as the particles collide, pushing past the point of critical mass, kicking off the chain reaction which is the chorus. At times it harkens back to the proto-gaze tracks that gave birth to dream pop, at others it newly defines what that is. There's no time to contemplate it, though, as the song disintegrates in a microphonic feedback instant.
A respite follows with the somnambulistic pair of "Hollow" and "Empty Beaches." Then, a moment of intensity returns as the soaring textures and tribal drum bursts of "In A Storm" take control, before being taken out with the ambient slo-core of "Winter's Ghost" and "Closure." This diptych wraps up an album which certainly feels on-script for Trentemøller, but is also much more psychedelic than previous offerings.
Dreamweaver will be released on Trentemøller's own In My Room label. It is an exceedingly immersive experience, bound to release any dormant hallucinations you may be harboring.


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

Territories: WORLD EXCL DE, AT, Scandinavia

CD Digipac

GENRE/S:
Alternative, Independent, Shoegaze, Dreampop

TRACKLIST CD:
01. A Different Light
02. Nightfall
03. Dreamweavers
04. I Give My Tears
05. Behind My Eyes
06. Hollow
07. Empty Beaches
08. In A Storm
09. Winter's Ghost
10. Closure


SHORT INFO:
In May, fans were treated to the first new music from Trentemøller since 2022. A new single, "A Different Light," showcased a stunning blend of prismatic space rock and folk. For anyone wondering if it foreshadowed the release of a full-length, Dreamweaver will drop in September, on Friday the 13th.
Featuring 10 tracks that traverse Trentemøller's many musical strengths, Dreamweaver also represents an obvious artistic leap, treading new ground while retaining the overall plot. Tracks featuring vocals come courtesy of of Iceland's Disa, who has been in Trentemøller's fold since the Memoria tour.
Dreamweaver's nylon string-led opening track, and first single from the album, "A Different Light," contains many of Trentemøller's trademarks: exploring dichotomies, musical shadowplay, Nordic frigidity, and warm waves. It opens the door for the steady, hypnotic "Nightfall," with its tetherless vocal, wistful guitars, and early morning desert chill. The third track in the opening trifecta, "Dreamweavers" finds its footing with a percussive soft trot, which starts after what feels like a shortwave radio scan in search of the right chords, eventually dialing in a weightless voice. Ostensibly keeping a ruminative pace with the previous two tracks, the song and, by extension, album soon opens up as the rest of the elements drop into place with a grand, luxurious burst.
Dreamweaver is about to enter its next phase. With the hatch blown off of the portal, the noisy "I Give My Tears," driven by its glissed and fuzzy bass line, pours into the void. It's followed by its sibling, the most chaotic track on Dreamweaver, "Behind My Eyes." Arriving as a piece of noise rock pandemonium, "Behind My Eyes," can't be contained in its plush vault. A whip-crack snare and convulsing guitars smash against each other in the song's verse chamber. The tension builds, as the particles collide, pushing past the point of critical mass, kicking off the chain reaction which is the chorus. At times it harkens back to the proto-gaze tracks that gave birth to dream pop, at others it newly defines what that is. There's no time to contemplate it, though, as the song disintegrates in a microphonic feedback instant.
A respite follows with the somnambulistic pair of "Hollow" and "Empty Beaches." Then, a moment of intensity returns as the soaring textures and tribal drum bursts of "In A Storm" take control, before being taken out with the ambient slo-core of "Winter's Ghost" and "Closure." This diptych wraps up an album which certainly feels on-script for Trentemøller, but is also much more psychedelic than previous offerings.
Dreamweaver will be released on Trentemøller's own In My Room label. It is an exceedingly immersive experience, bound to release any dormant hallucinations you may be harboring.


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

Territories: WORLD EXCL DE, AT, Scandinavia

Cassette, download code

GENRE/S:
Alternative, Independent, Shoegaze, Dreampop

TRACKLIST:
01. A Different Light
02. Nightfall
03. Dreamweavers
04. I Give My Tears
05. Behind My Eyes
06. Hollow
07. Empty Beaches
08. In A Storm
09. Winter's Ghost
10. Closure


SHORT INFO:
In May, fans were treated to the first new music from Trentemøller since 2022. A new single, "A Different Light," showcased a stunning blend of prismatic space rock and folk. For anyone wondering if it foreshadowed the release of a full-length, Dreamweaver will drop in September, on Friday the 13th.
Featuring 10 tracks that traverse Trentemøller's many musical strengths, Dreamweaver also represents an obvious artistic leap, treading new ground while retaining the overall plot. Tracks featuring vocals come courtesy of of Iceland's Disa, who has been in Trentemøller's fold since the Memoria tour.
Dreamweaver's nylon string-led opening track, and first single from the album, "A Different Light," contains many of Trentemøller's trademarks: exploring dichotomies, musical shadowplay, Nordic frigidity, and warm waves. It opens the door for the steady, hypnotic "Nightfall," with its tetherless vocal, wistful guitars, and early morning desert chill. The third track in the opening trifecta, "Dreamweavers" finds its footing with a percussive soft trot, which starts after what feels like a shortwave radio scan in search of the right chords, eventually dialing in a weightless voice. Ostensibly keeping a ruminative pace with the previous two tracks, the song and, by extension, album soon opens up as the rest of the elements drop into place with a grand, luxurious burst.
Dreamweaver is about to enter its next phase. With the hatch blown off of the portal, the noisy "I Give My Tears," driven by its glissed and fuzzy bass line, pours into the void. It's followed by its sibling, the most chaotic track on Dreamweaver, "Behind My Eyes." Arriving as a piece of noise rock pandemonium, "Behind My Eyes," can't be contained in its plush vault. A whip-crack snare and convulsing guitars smash against each other in the song's verse chamber. The tension builds, as the particles collide, pushing past the point of critical mass, kicking off the chain reaction which is the chorus. At times it harkens back to the proto-gaze tracks that gave birth to dream pop, at others it newly defines what that is. There's no time to contemplate it, though, as the song disintegrates in a microphonic feedback instant.
A respite follows with the somnambulistic pair of "Hollow" and "Empty Beaches." Then, a moment of intensity returns as the soaring textures and tribal drum bursts of "In A Storm" take control, before being taken out with the ambient slo-core of "Winter's Ghost" and "Closure." This diptych wraps up an album which certainly feels on-script for Trentemøller, but is also much more psychedelic than previous offerings.
Dreamweaver will be released on Trentemøller's own In My Room label. It is an exceedingly immersive experience, bound to release any dormant hallucinations you may be harboring.


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

After the huge success of his albums ‚The Last Resort‘ and ,The Trentemøller Chronicles‘, Trentemøller graces the Audiomatique catalogue
once again, featuring four timeless and accomplished remixes of his haunting track, ‚Miss You.‘ The original is a deeply musical study showing off Trentemøller’s unique composition skills, and for this release he presents a cut up re-rub full of classic texture and warmth. One of two more club friendly remixes on the release, his remix adds sharp hi-hats and even more hypnotic layers of melodies, creating an energetic track which sits in the ever-smoky borders between techno, house and electronica. Climbing up from deep within his unique and unmistakable river of sound, Scape‘s legendary producer Pole is next to provide a remix. Bass heavy dub-steps close around a tripped out abstraction of the original theme, allowing 7 minutes of glorious analogue experimentation to unfold. A rich cloud of defined and considered noise surfaces to very meniscus of the track, before sinking away back into the depths... One of Germany‘s longest serving figures in Techno, Pascal F.E.O.S, chooses to remain true to the musicality of the original with his drifting techno slow burner. The remix introduces melody as its central focus, but is still underpinned by the Level Non Zero figurehead‘s tough but reduced rhythm track, that drives persistently, without distorting one‘s view of the stirring melodic happenings. Finally two talented musicians from Copenhagen‘s electronic underground, Lulu Rouge and Asger Baden, take the stirring beauty of the original‘s piano melody and create a filmic, beatless interpretation. Gentle washes of warm strings and atmospheres glide subtly through the pale ether of this wonderfully restrained
remix.

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big big big. unbelivable open and intense microhouse rocker with hymn potential. no need to say much about anders trentemoller, he´s done his share of sick elecronic house smash prod and mixes. but this is to be among his best. tip!

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2023 repress

We are happy and proud to present „The Trentemøller Chronicles“.This new double album is not a new studio album, but an overview of Trentemøller‘s impressive body of work. The Trentemøller Chronicles include Anders‘ personal selection of his best songs and remixes and includes one extremely excellent exclusive track Trentemoellers hymn against global warming: A1: The Blacksmoke Organisation: Danger Global Warming (Trentmøller Remix) * , A2: Trentemøller: The Forest , B1: Mathias Schaffhäuser: Coincidance (Trentemøller Remix) , B2: Jokke Ilsøe: Feeling Good (Trentemøller Remix Chronicles Edit)*, C1: Röyksopp: What Else Is There? (Trentemøller Remix), C2: Trentemøller: Gush , D1: The Knife: We Share Our Mother‘s Health (Trentemøller Remix), D2: Trentemøller: Kink

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Tracklist 12":
A1. Homeless Hearts
A2. Undercover
B1. Silence feat. Raphael Hofman
B2. Creature
Info:
Berlin native Florian Kruse has been a key part of the underground house and tech house scene for years now, and his productions have rightfully been bringing him plaudits for their emotional maturity. Finding a kindred spirit in German vocalist Hendrik Burkhard, as TheGround the pair have crafted a killer new album - 'Dediction', including these four exceptional tracks that will appear on the vinyl edition 'Dediction EP'.
'Homeless Hearts' exemplifies the duo's effect on each other - the slick, nuanced and spacy production gives way to a powerful groove, providing the perfect backing for Burkhard's dreamy vocal.
'Undercover' is a clear dance-floor killer, with Kruse's exceptional flair for programming meeting Burkhard's understated delivery.
Co-written by Raphael Hofmann 'Silence' explores some melancholic terrain before finding its way back to the floor via Kruse's & Burkhard's lush production.
The EP is concluded with 'Creature' - featuring a thick growling bass and precise, arpeggiated synth lines that cut through the mix like lasers.


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Swedish phenomenon Tiger Stripes returns to Audiomatique with a funky little number indeed. Going by the name of ‚Glorified‘, this return to the fore (and of course the dancefloor) is a fitting addition to the Audiomatique
catalog, ever growing and pushing cutting-edge, techy house and techno. ‚Glorified‘ opens with a tight swinging groove, an easy going vibe and a light and airy positive vibe. As we get quickly drawn into Mr.Stripes‘ snaking arrangement, an uplifting speech arrives from a preacher from the House of Jack! Smooth organs and high-end production values wrap up this unavoidable winner. Acclaimed producer Rodriguez Junior lends his hand to remix ‚Glorified‘ and really delivers a stellar treatment - drawing out the introduction and adding tension. Pushing drums lead a pitching, super-stereo chord pattern as the filters open and evolved into an early morning anthem.
Tracklist:
A: Glorified
B: Glorified (Rodriguez Jr. Remix)



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DE - 22113 Hamburg
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We welcome a newcomer to the Audiomatique roster as talented Brazilian producer Wehbba comes to the fore with the glorious ‚3Days'.
Wehbba has explored many zones of the tech-house genre and now brings his expertly polished beats to Steve Bugs pioneering label. The groovy, sample-laden beats of ‚3Days' are a tribute to that very special 60s festival of fun and music. Now some 40 years on we are still finding ways to escape to other zones and Wehbba's solid grooves allow us to do just that!
Prolific minimal/techno producer Mihalis Safras engineers a crafty remix on the flip side, strengthening the groove further with dramatic snare shots and heavy bass surges. Trip-out FX and careful use of the sample material make this a reliably heavyweight tech-house journey.
As another solid stamp on the B side, ‚Balance' shimmers and shakes across the audio spectrum, showing off Wehbba's production skills once again. Smooth, immediate and functional, its spacey beats fuse with classic rhodes chords in a modern-deep house jam.
Tracklisting:
A1. 3Days
B1. 3Days (Mihalis Safras Remix)
B2. Balance




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One of the leading figures in the modern house and techno movement, Patrick Chardronnet returns to Audiomatique with another surefire weapon for the summer.
'Pleasant Day' is perfect for the open air season, yet contrary to what its title suggests, it's a dark, funky and freaky tune that carries many trademarks of the Audiomatique sound. Liquid synths and acidic bass fused with modern drums are all precision engineered to the super high quality level you'd expect from Chardronnet.
The lush and divinely deep 'Aim' takes us further into the sound capabilities of this seasoned studio hand. Fluttering, tropical moods soar through colourful layers of dubbed synth textures and strong, surging bass.
Tracklisting:
A. Pleasant Day
B. Aim


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Dutch producer van Dongen arrives back on Audiomatique - almost 5 years since his first outing - ‚Hate To Say O.K' in 2006 - we welcome back his tough, refined and urgent electronic stylings.
‚Vulcanic Ass' gets straight to the point with a gyrating, cyclic attitude that simply cannot be ignored. Bouncing bass, sharp drums and an anthemic pitching synth theme provide a blissful yet party-assured climax! Barcelona boys Audiofly hand in a dynamic and inventive remix that fuses live drum loops with drier, more resolute moments than the original. Carefully engineered and executed, it's a modern incarnation of the the duo's earlier tech-house sound.




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Cult Swedish producer and multi-instrumentalist Tiger Stripes arrives on Audiomatique with this incredible new three track EP. A monstrous lesson in modern minimalism, ‚AH-64‘ pumps with a dark yet funky inner power that‘s felt even stronger after the sinister string laden break. Slow building and totally infectious this trippy late-nighter is built for the big rooms and will have you reaching for the lasers in no time. On a slightly lighter tip, ‚How We Feel‘ warms us with funky, energetic percussion in a modern and positive tech-house jam. With smooth future house keys and plenty of details it‘s a straight forward floor burner. ‚Back To Detroit City‘ takes us right there, deep, dubbed and melodic this retrospective workout features delicate melodies laden above yet more warm, powerful and driving beats. Continuing, elongating and drifting, it‘s a perfect conclusion to the EP.
Tracklist:
A: AH-64
B1: How We Feel
B2: Back To Detroit City



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Maetrik has enjoyed some hot releases of late, with heavy work released on Dumb- Unit, Mothership and Resopal Schallware. Now this big talent comes again on Audiomatique with a three track arsenal of audiomind games. ‚Marinda‘, featuring Sabb, throws us right into the current Maetrik sound with freaky vocal lines and solid nu-house vibes underpinning the hot‘n‘dirty bassline! Expertly executed, with full spectrum clarity as we can always expect from Maetrik, its a versatile track that melts deep house, techno and chicago booty action into one smooth ride! On the B side the deeper ‚Kemik‘ chugs along with sub-sonic freakiness and more classically rooted house references. One for those special, hot moments where tension and drama are key... its a big track for the morning floors! ‚Glider‘ seals the deal then, with rubbery bass energy and super funky grooves forming from a shifting, shimmering, tougher house pump. Again primed for the early morning, or indeed the peak time, as if we needed more confirmation of Maetrik‘s club mastermind.. here it is!
Tracklist:
A: Marinda feat. Sabb
B1: Kemik
B2: Glider

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Tigerskin aka Alex Kruger is certainly one of the most prolific artists releasing electronic music these days. His Tigerskin alias has released music on a plethora of respected platforms, far and wide across the spectrum of electronic music labels. Now we happily welcome him to Audiomatique, Steve Bug's imprint designed to support the techier, more intense end of his eclectic love of house and techno.
Lead cut 'Everybody Likes Ollie' whirls and skips across a liquid platinum backdrop of silky smooth grace and ecstatic wonder. Part tough pumping house, part disco, part future techno, its an anthemic track that throws the listener right in the middle of an epic, mind-blowing main event! Uplifting spaced-out synths sing and climb, augmented by funky percussion patterns and classic strings stabs. Pure quality, as if we expected anything less from this producer!
On the B-Side the longer and more tripped 'Supersonic' comes on strong like a techno classic. Bubbling and freaking in the background with off-kilter FX, and building slowly as a number of momentous synth elements mark its incline, its a building monster of the highest order.


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Maetrik heads up the next Audiomatique 12‘‘ with the stunning ‚Underrate Dis EP‘. Well known for his great work on labels like Mothership or Dumb Unit the man from Valencia continues to grow from strength to strength with this storming three tracker. Melting house, techno and sinister, super funky elements into a truly unique and unmissable package, there‘s sheer talent on display in unearthly amounts! Filling up the A side like a casually swung monster, ‚Relax‘ has all the qualities of a recording that actually makes you do the opposite - this cut urges you to party! Brooding, slow building and stone cold cool, the on-going narrative and freaky vocal motif get right inside your consciousness, literally dragging the dance out from inside. Carrying on that forward moving tip we encounter ‚Purr Baby‘ - a real mind melting slab of funk that sums up the magic of Maetrik‘s sound with tripped out synth warbles, rolling, intricate grooves and dramatic, unforgettable builds. Finally ‚Herb House‘ completes the package, and what a finale it is too! Heavy beats and deep swaying synth atmospheres revolve this one around a delicious hook constructed of sensual vocal snippets and rasping horns. Another prime time excursion from the up and coming Maetrik.

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NYC‘s Adultnapper has built a reputation for himself that not only commands respect for his highly evolved production skills, but also for his unique musical visions that steer him down his own unique path. Not interested in following the current pop-trends, Adultnapper turns in a freaky two tracker using a sharp, modular and timeless electronic sound palette. ‚Almost Nothing‘ is a complex and reduced spacer that features wonderfully processed drums and endless tweaked out studio trickery. Haunting smatterings of melody, synth texture and paranoid-funky vocals drop in and out of the mix as this deep acidic groover charms you from the inside. Poker Flat regular Patrick Chardronnet provides a wicked remix that begins along the same reduced, textural tip as the original, yet builds into a breathtaking organ led harmonic climax. Dramatic, uplifting and main-room friendly Chardronnet‘s remix opens up the spectrum once again as Audiomatique continues to surprise. ‚White Fingers Black Hair‘ is the B side jam from Adultnapper. A skipping, similarly complex and meandering groove is jacked up with some dirty hats and a playful synth theme that revolves around the track, amongst building strings and gated snares as its freaky climax is unveiled. Super, off the wall stuff from NYC‘s chief mindwaper himself!

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Hamburg‘s very own Stimming arrives on the hospitable shores of a freshly cut Audiomatique with the wonderful ‚Buxton Pipes‘ EP. With releases on Diynamic, Freerange, Terminal M and Liebe*Detail Martin Stimming‘s carreer was boosted by the underground hit „Una Pena“ last year and peaked in his debut album ‚Refl ections‘ earlier this year. ‚Buxton Pipes‘, the lead track on the new EP, is a beautifully reduced, gentle roller that combines textural, shifting fi ltered percussion, phasing, effected melodies and a rich sub-room sound design that confi rms Stimming‘s talents at working those subliminal zones. Dainty, pretty and yet totally punchy at the right volumes, its a genuine slice of ultra modern micro-post-minimal- house. Continuing the trippy, time-melting vibe perfectly, ‚Kakusei‘ arrives with its pushing array of softened percussion and carefully extended spooky breakdowns. Sliding and squelching through 7 minutes of prime tracky workout territory its another stellar addition to the record. Finally the skipping ‚Seepferdchen‘ throws a spanner in the otherwise smooth grooves with delicately jacked drum patterns and controlled sub-bassline throwdowns. Super funky, ultimately reduced and sample-heavy it‘ll make those afterhours carry-ons all the more delicious. Simply superb work from Stimming on Audiomatique.
Tracklisting:
A: Boxton Pipes
B1: Kakusei
B2: Seepferdchen

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Already a mainstay in the scene with admired releases on brother label Poker Flat, and of course Connaisseur, Patrick Chardronnet returns with a wonderful 2 track EP on Audiomatique. A delightfully trippy, post-minimal adventure, ‚Piper‘ raises the brow for Chardronnet, dropping the big room synths this time in favour of a very organic, low-slung addictive groove. Sparse, tricky percussion underpins the headsdown late night vibe, as a drifting ensemble of mystic vocals and haunting horns unfolds over 11 minutes. Enchanting, mesmeric and deeply spaced, this reduced-percussive foray explores Chardronnet‘s more hypnotic side... a priceless cut of of hybrid house from a modern master. On the B side the driving, textural chimes of ‚Dropout‘ ensnare the listener into another beautiful and mysterious world. Solid-state, bass-led percussion and crisply-cut percussive fx remain subdued whilst an epic, swirling synth landscape weaves its dreamy tale. Suggesting moments of real drama, yet all the while maintaining an addictive, slow burning vibe, its a an amazing journey into this producer‘s remarkable, inimitable sonic world.
Tracklisting:
A: Piper
B: Dropout

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Fresh from his own stunning Audiomatique 2.0 mix, NYC‘s leader in hi-tech mindplay, Adultnapper, brings us more of his dark and addictive electronic funk! Two more brooding cuts await in the shifting shapes of ‚Madeleine‘ and ‚One Room‘, alongside a pushing, bouncing remix from Germany‘s own Gregor Tresher. Having already featured as a sneak preview on his own 2.0 mix, and teasingly mixed together on Steve Bug‘s Bugnology 3, the full version of ‚Madeleine‘ is now available. Its a cooly focused, dark, yet somehow sweet grind of the sort only Brooklyn‘s master of the black arts is capable. A tough percussive house grind slowly gives way to twisting wires and electro-acoustic energy as a strangely catchy theme is constructed from spooky broken stings and ghostly junked pianos - freaky yet decidedly fresh... With a little more light creeping in through the windows, ‚One Room‘ illustrates perfectly those special daybreak moments, where night stretches its rested limbs and rubs its tired eyes,
slowly morphing into day. The mode is continuation here, as if Adultnapper has captured us at his own special after party, and this is the soundtrack. Its a complex, jacked and blissfully melodic jam that is indeed versatile, but cries out to be played at sunrise! Gregor Tresher has risen to notoriety of late thanks to his impeccable song-writing and arrangement skills set alongside big-room club mechanics. Releasing hits like ‚A Thousand Nights‘ on Great Stuff or ‚Panchakarma‘ alongside Monika Kruse under their GTMK guise on Intacto, the man simply knows how to work it! His remix of ‚One Room‘ holds nothing back, and transforms the original‘s gentler sentiments into a peak time, bouncing techno treat. Skipping basslines and delayed micro-melodies surround us in a wave of unmissable energy.
Tracklisting:
A: Madeleine
B1: One Room
B2: One Roome (Gregor Tresher remix)

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The prolific DJ, producer and lord of the Slovenian undergound, Umek has been a long standing figure on the international Techno scene and produced countless EPs and remixes since his production debut over a decade ago. Now, freshly primed for action in today‘s high-tech club culture, Umek brings us three exclusive tracks full of funk, attitude and substance! The title track, ‚Intense Emotion‘ is an energetic, bouncing bomb that relies on sharp synth stabs to flavour an already delicious concoction of tight beats and cooly refined basslines. The wandering synths fill the spectrum and really lift things off as the track picks up speed, throwing us toward the pushing climax. With a much dryer, minimal approach, ‚Take A Look‘ burns brightly at the other end of the sonic spectrum, with its careful fills, effects and tripped out bending synth mayhem. Its a killer track for the more demented dancers out there, and shows how Umek‘s unique understanding of the dancefloor extends to all corridors of the four-tothe-
floor genre! ‚Dialogue Occurs‘ is a tough, skipping techy cut that rolls from floor to ceiling with bass heavy electronic action. Paranoid, bending and bleeping hooks combine with the busy groove to create a pumping, pushing party track that is as cruel as it is kind! Tracklisting: A: Intense Emotion B1: Take A Look B2: Dialogue Occurs

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After some very well received releases for the likes of Renaissance and Kickboxer records, Stephan Hinz, who has also turned out some hot tracks alongside Martin Eyerer, presents ‚Bacala‘. Its a cheekily warped excursion into Hinz‘s deep and melancholic dancefloor world, spurred on by a great theme melody, as if you found yourself in the middle of a medieval rave after a long and victorious battle! Tight, familiar percussion works the groove, building towards a dramatic break which introduces more layers of synthesised wonder! Check this in the main room for maximum effect. Audiomatique key player Adultnapper‘s remix comes on strong, with a tougher drive and a slightly more freaked out vibe. Trademark hissing percussion works over a finely tuned minimal groove, eventually allowing that haunting melody to show its colours. Designed for the more freaky floors, yet still focused on melody and progression, its another great example of Adultnapper‘s remixing skills.
Tracklisting: A: Bacala B: Bacala (Adultnapper remix)

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Following the recent and astonishing ‚Audiomatique 2.0‘ mixed by N.Y.C‘s Audultnapper, we present one more helping of glistening fresh house and techno, in the shape of remixes by Samuel L Session and Ben Watt. Joel Mull‘s ‚Red Light of Dawn‘, featured on the ‚Audiomatique 2.1‘, is remixed here by the insatiable and constantly evolving might of Samuel L Session. SLS turns in two peak time, driving techno tools, overloaded with power and energy throughout. Tightly compressed pumping beats throb and skip, building satisfying through every pass of his trademark fills and FX. ‚The Drums‘ holds things steady, keeping things moving and providing DJs with an unmissable percussive workout. ‚The Melody‘ mix fills the room with swirling, emotive synth melodies that will appeal to the lovers of more uplifting sentiments, whilst keeping the rest of track firmly grounded in techno. London based Ben Watt‘s Buzzin‘ Fly label is amongst the most highly regarded platforms for new and exciting music today. His edit of
The Viewers ‚Streethorn‘ is a beautifully crafted journey track, carrying playful, melodic instrumental elements along through a deep surging world of hissing percussion and skipping synth hooks.

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The Standard Edition - Territory - NO Sales to Japan
Ryo Fukui's 1976 highly sought-after jazz masterpiece SCENERY-
LP Edition: Mastered at half speed, 140g vinyl, Sticker

We Release Jazz (WRWTFWW Records' new sister-label) is proud to present its first release, the official reissue of Ryo Fukui's highly sought-after masterpiece Scenery (1976), sourced from the original masters and available on limited edition 180g vinyl mastered at half speed for audiophile sound and on digipack CD.

Unquestionably one of the most important Japanese jazz albums ever recorded, Scenery reveals Ryo Fukui as a miraculously brilliant self-taught pianist fusing modal, bop, and cool jazz influences for a very personal, dexterous and game-changing take on classic standards made famous by Bing Crosby and John Coltrane among others. From "It Could Happen To You" and its serene and calm intro which magically flows into a jubilant and upbeat piece, to the out-of-this-world piano solo of "Early Summer", or the incredible teamwork of "Autumn Leaves" where Fukui leads Satoshi Denpo (bass) and Yoshinori Fukui (drums) into groove heaven, every single note on the album oozes precision, confidence and flair and every single section slides seamlessly into one another, creating a supreme and elegant blend of jazz. Often compared to McCoy Tyner or Bill Evans, Ryo Fukui was a genius in his own right, a true master of his craft whose perfectionism gave birth to some of the greatest music ever recorded. Scenery is his magnum opus and an absolute must-have.

The Hokkaido wizard-pianist followed Scenery with the soulful gem Mellow Dream (also available on We Release Jazz) in 1977. He then focused on improving his live skills, often performing at Sapporo's Slowboat Jazz Club (which he co-founded with his wife Yasuko Fukui) and releasing 2 live albums. Ryo Fukui sadly passed away in March 2016, leaving behind a legacy of works that is sure to captivate jazz lovers for generations to come.


Tracklisting Vinyl LP
A1 It Could Happen To You
A2 I Want To Talk About You
A3 Early Summer
B1 Willow Weep For Me
B2 Autumn Leaves
B3 Scenery


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No sales to Japan!

LP: 180g vinyl, half speed mastered, heavy sleeve, obi, gold ink
Genre: Jazz, Fusion, Funk

Tracklisting LP
A1. Shrimp Dance
A2. Kuro To Shiro
B1. Walk Tall
B2. Cat
B3. Romance


Info

We Release Jazz is ecstatic (purrrr!) to announce the official reissue of Hiroshi Suzuki's glorious jazz-fusion-funk Holy Grail Cat (originally released in 1976), sourced from the original masters and available on limited edition 180 gram vinyl mastered at half speed for full audiophile sound, as well as on digipack CD. Both versions come with liner notes by Teruo Isono.
Cat was recorded in October 1975 at at Nippon Columbia Studio, while Hiroshi Suzuki was visiting his home country of Japan after moving to Las Vegas in 1971 to play with Buddy Rich and perfect his craft. Back on his old stomping grounds, the man known as Neko (Cat) immediately reunited with his dear friends for an epic two day session of groove magic. The chemistry was still intact. The skills and style had grown.
The result, Cat, is a smooth masterpiece, a deep and soulful affair where stunning trombone solos by Hiroshi Suzuki flirt with Takeru Muraoka's heavenly saxophone and the sensual rhythm section of Hiromasa Suzuki (keyboards), Kunimitsu Inaba (bass), and Akira Ishikawa (drums).
Celebrated in jazz collectors circles, in the lofi beat scene, and among music diggers around the world, Cat has become one of the most sought-after Japanese jazz albums of all time and, much like Ryo Fukui's Scenery, has fascinated old and young generations alike.

Points of interests

- For fans of jazz, fusion, funk, trombone, Japanese jazz, smooth rides, cats, allure.

- Official reissue of the glorious jazz-fusion album by Japanese trombonist extraordinaire Hiroshi "Neko" Suzuki.

- 10th release from We Release Jazz, following Ryo Fukui's Scenery, Mellow Dream, A Letter from Slowboat, and Ryo Fukui in New York, the soundtrack of Le Cercle Rouge by Eric Demarsan, Stuff Combe 5 + Percussion, Marc Moulin's Placebo Live 1971 and Boillat Thérace Quintet albums. We Release Jazz is the sister-label of Geneva-based WRWTFWW Records (Midori Takada's Through The Looking Glass and Lunar Cruise with Masahiko Sato, Pierre Barouh's Le Pollen, Jun Fuka-machi's Nicole, Grauzone's discography, …)


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Rights : World excluding FR & UK

CD: 1 x CD Jewelcase, 1 x Transparent Tray, 12 page 4/4 Booklet gloss finish, 1 x Inlay front and back. No sticker

TRACKLIST

CD

1. Why?
2. It Ain’t Necessarily So
3. Screaming
4. No More War
5. Love & Money
6. Smalltown Boy
7. Heatwave So
8. Junk
9. Need A Man Blues
10. I Feel Love/Johnny Remember Me
BONUS TRACK
11. Why? (12” VERSION)
12. Smalltown Boy (12” VERSION)
13. It Ain’t Necessarily So (12” VERSION)
14. I Feel Love/Johnny Remember Me (12” VERSION)

SHORT INFORMATION/ SHORT BIOG

Bronski Beat ‘s 1984 cult debut album “The Age of Consent” - remastered edititons celebrating the band’s 35th anniversary – is back on Vinyl & CD

- 1 x CD : The original album+ 4 Bonus Tracks (12’’ versions of the singles)




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The Legandary first Trentemøller debut album - maybe one of the most anticipated independent albums in 2006 and already a megaclassic and forever selling must have item!

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WORLD EXCLUDING GERMANY, SWITZERLAND, AUSTRIA (GSA), NEW ZEALAND.
2LP, Special remarks : Doppelvinyl im Gatefold + 180g + 2 printed Innersleeves + Downloadcode

Tracklist 2LP:
A1 Amniotic
A2 Black Day
A3 Sirens
B1 Rearrange My Mind
B2 Frozen
B3 Father Ocean
C1 Swallow
C2 Take Me Home
C3 Riverman
D1 Return To Oz
D2 Burning Sun


Short release info:
Berlin's own Steffen Linck, a multi-instrumentalist known as Monolink, announces his debut album Amniotic, due April 20th via Embassy of Music subsidy Embassy One.
It is the experiential nature of Monolink's music that defies the muddy definition of modern live electronic music. Armed with a singular blend of Berlin underground culture with the pop-leaning sensibility of American electronica, Steffen transports listeners into his own realm of sonic exploration. The music is pillared by emotive guitar tones, analog synth stabs and, for the first time, his own vocals - acting as a singular point of departure for this budding talent.

Amniotic stands as Monolink's first complete body of work, following his 2017 EP 'Burning Sun' via Sol Selectas, and 'The End', a collaborative record with Acid Pauli in 2015.



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Format Notes: 2024 repress, 140g vinyl, remastered from the original analogue tapes


Track List:

1 A1 : Roots (9:24)
2 A2 : Images (4:55)
3 A3 : Caliban (4:35)

4 B1 : Whapatiti (3:22)
5 B2 : Capricorn (4:00)
6 B3 : Odokamona (3:24)
7 B4 : Southern Roots And Celebration (7:45)

Release Notes:

What an unbelievable record. From the wild cover to the iconic breakbeats, Roots from Ian Carr’s Nucleus is one of the dopest albums we know. This is seriously thick, funky-prog jazz-rock heaven. Originally released on Vertigo in 1973, other than a couple of versions at the time for other territories, Roots was never re-pressed since so it’s gone on to become another one of those impossible to find records.

Maybe it was a little too out there for the time, but it’s aged very, very well indeed and this Be With re-issue, re-mastered from the original analogue tapes, shows off just why this deserves to be back in press.

Genius trumpeter and visionary composer Ian Carr was one of the most respected British musicians of his era. He was a true pioneer and saw the potential in fusing the worlds of jazz with rock, just as Miles Davis and The Tony Williams Lifetime did in the US. In late 1969, following the demise of the Rendell-Carr quintet, and tiring of British jazz, Carr assembled the legendary Nucleus. Regarding music as a continuous process, Nucleus refused to “recognise rigid boundaries” and worked on delivering what they saw as a “total musical experience”. We can get behind that.

Under bandleader Carr, Nucleus existed as a fluid line-up of inventive, skilled musicians. This constant evolution and revolution was all part of the continuous musical exploration and discovery that took jazz to new levels.

Working together with producer Fritz Fryer and engineer Roger Wake, the seven compositions by Carr, Brian Smith and Dave MacRae that make up Roots flirt with perfection, and Nucleus at that time made up of the cream of 1970s UK jazz with Brian Smith on tenor saxophones and flutes, Dave MacRae on piano and electric piano, Jocelyn Pitchen on guitar, Roger Sutton on bass, both Clive Thacker and Aureo De Souza on drums and percussion, Joy Yates delivering the vocals and of course Carr on trumpet.

The spellbinding title track immediately renders the album indispensable. Riding the illest of loping breakbeats, “Roots” is low-slung, doped-out heist-funk. An absolute monster. If it sounds familiar then that’s likely down to it being sampled by Madlib for Lootpack and Quasimoto’s “Loop Digga”, as well as by a whole host of beat manipulators. “Roots” conjures prime instrumental hip-hop / beat music, only 20 years ahead of its time. Truly, these are the roots. Through sinuous bass, twinkling keys and a hypnotic guitar riff, a smoky brass motif weaves its way into a gloriously deep haze around Carr’s solos. “Roots” is over 9 minutes long, but there’s not a single wasted second, not surprising given that this is a condensed version of an originally 40 minute long commissioned composition.

The soothing vocal fusion delight of “Images” follows. Meticulously constructed, with gorgeous flute work from Brian Smith, with Joy Yates’ silky vocals and Dave MacRae’s Rhodes never sounding better. The cool, driving “Caliban” closes out the first side. Originally the third movement in a four part commission to celebrate Shakespeare’s birthday it stands up on its own, all robust rhythms and blended brass. Keyboard colour and Carr’s trumpet are splashed across the funk drums and basslines (and there’s even some bamboo flute). This really is fusion: the elements of jazz and rock coming together in beautifully synthesis.

Side two opens in riotous fashion with the short, thrilling samba of “Wapatiti”. Next up, “Capricorn” forms a smoothed-out, jazzy constellation. Mellow and dreamy, its twinkling percussion and languid horns slowly build the vibe before head-nod drums and a killer bassline enter the fray. With a distinct heaviness that Black Sabbath would’ve envied, “Odokamona” is a venomous slice of riff-soaked jazz metal (yes, you read that right), elevated by Carr’s wah-wah horns.

The album closes with MacRae’s exceptionally cosmic “Southern Roots and Celebration”. Very much in conversation with Weather Report, it opens as a languorous, spiritual jazz of chiming keys and serene guitar that turns slowly, gorgeously into a mid-paced, brass-laced banger. It’s another sure-fire party starter and the sound of the band having a righteous blast, building an ecstatic chaos that ends with Yates screaming.

And of course we need to talk about Keith Davis’ cover for Roots. Perhaps the coolest record cover of all time? Certainly one of the most bonkers. Just your run-of-the-mill high-gloss, acid-tinged airbrush dystopian/utopian living-room party scene. Consider this your chemical flashback trigger warning.

Front-and-centre the hip-to-death green robot holds court with their giant ball of yellow barbwire wool, hooked up to… something(?) being teased out from under the stairs (probably best not to ask). A thoroughly zoned-out, long-legged Pop Art party-goer lounges half-plugged in to the painting behind her as a pair of legs flail into shot from the the top of the stairs opposite. We won’t even begin to guess what the chap’s up to in the middle, but the view out of the windows is rather nice, and someone’s already got the hoover out ready to tidy up. All of the Nucleus sleeves are something special, but this particular one? Crikey.

This Be With edition of Roots has been re-mastered from the original Vertigo master tapes, Simon Francis’ mastering working together with Pete Norman’s cut to weave their usual magic with these wonderful recordings. The crazy cover has been restored at Be With HQ as the finishing touch to this long overdue re-issue.







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WORLD EXCLUDING GERMANY, SWITZERLAND, AUSTRIA (GSA) , AUSTRALIA, NEW ZEALAND

Digipack

Genre: Electronica/Dance

Tracklist:

01. Monolink - Laura
02. Monolink - The Prey
03. Monolink - We Don´t Sleep
04. Monolink - Harlem River
05. Monolink - Into The Glow
06. Monolink - Otherside
07. Monolink - Don´t Hold Back
08. Monolink - Falling
09. Monolink - Under Dark
10. Monolink - Reflections
11. Monolink - Regen (Interlude)
12. Monolink - Take Me Away

Short Info:
Released in 2018, Monolink's debut album, Amniotic, has collected over 100 million combined streams to date. The project was largely supported through remixes from the titans of the modern house and techno scenes such as Patrice Bäumel, Tale Of Us, Rodriguez Jr, Ben Bohmer, Artbat, Adam Beyer and Nicole Moudaber. These remixes all went on to achieve Beatport Top 10 placings, with Artbat's remix of 'Return to Oz' reaching a staggering 43 million combined streams.
"Under Darkening Skies" will pick up where "Amniotic" ended.


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CD, RE Edition 2019,Sticker

Carefully Re Edited Legendary 1977 Studio Recording for RIAS Berlin -Includes Bonus Track: "Despair"
"Largely unnoticed by the mainstream public, some West-Berlin musicians developed a world of sound
that would later become labeled Electronic Music."
Olaf Leitner (RIAS Berlin)


Tracklist:
1. DREAM .................. 30:14
2. DESIRE .................. 22:56
3. DESPAIR .................. 8:29


DREAM & DESIRE
Notes to a friend…

The 1970s. The Vietnam War is slowly coming to an end; the RAF thrives and prospers;
the first Achtundsechziger ('68 protestors) are actually
planning to march through the institutions; rock and roll is getting heavier;
and hardly noticed by the mainstream public, some West-Berlin musicians
develop a world of sound, which later eventually became labelled as
“Electronic Music”.

Indeed, there was nothing electronically generated initially,
let alone even digital. In the beginning they simply named these
sound-mixtures "electro-acoustic". These compositions of slowly evolving
soundscapes relating to the Minimal Music concept created a meditative
mood. This was new. This was the Berliner Schule (Berlin school).

Being responsible for popular music at a radio station in the 1970s
was an absolute dream job. At least that’s what it was like at RIAS Berlin
(Radio In the American Sector). There was no quota, no pressure,
no hit-terror, and we just invited the artists, bands and musicians we liked
to the studio. The artists from next door. That’s how I got to know Manuel.

He was living right on the Ku-Damm (Kurfürstendamm), right in the city
centre, but in the rear building, shielded from the noise.
Manu didn’t have a sequencer. Everything that sounded like a sequencer
was his highly focused guitar work. The slowly changing tone sequences
for example. This was a physical accomplishment in itself.

His minimalistic play is still part of his signature style.

The musicians from Berlin, who worked in the same genre, were either
friends, periodically played in Manuel’s ASH RA TEMPEL, or built up their
own careers.

The scene was small, but equipped with illustrious celebrities
- Klaus Schulze, Tangerine Dream, Harald Grosskopf, Agitation Free.

And my RIAS colleague Walter Bachauer. He had called the Metamusik

Festival into life and brought the international avant-garde to Berlin.

The festival opened up new aesthetic continents to us when we were grateful to listen to chants of Tibetanian
monks or the Steve Reich Ensemble play “Drumming”.

Manuel was able to start his international career pretty quickly, focusing on England, France and Japan.

For the German middle-of-the-road-consciousness, these countries were as exotic as the winds on Jupiter,
especially Japan, where Göttsching still enjoys superstar status. Today it is not only these countries, which
consider him a cult figure. He has also made his mark as a film composer and has added his music to numerous
events and art happenings.

In November 1975 I had initiated a concert at the RIAS Studio 10, entitled “Futurum 3”, with ASH RA TEMPEL
performing. Apart from the guitars there was also an EMS Synthi A on stage. And an old Farfisa Compact Organ
that Manuel played and of which I was especially proud:

I was able to buy this instrument in 1964 after a summer job at a steel drill factory. This Farfisa was on stage
when I performed with my band the Team Beats Berlin, as support act for the Rolling Stones at their legendary
concert in September 1965 at the Berliner Waldbühne.

Somehow this instrument had survived the riot, and ten years later Manuel bought this organ from me. He had
played this Farfisa in many concerts and recordings in the following years, and it can be heard also prominently
here on “Dream and Desire”.

Originally, the two tracks “Dream” and “Desire” had been conceived for my one-hour radio feature at RIAS Berlin
in summer 1977. Then, although being broadcast only once in Berlin and Belgium, they soon became cult
amongst listeners, who taped, multiplied and distributed the tracks throughout Manuel's fan base.

But it was only in 1991, after 14 years, when Manuel decided to make it an “official” release on CD.

Something like that is unusual at times when only the new things count - until it is dismissed by the new and gets
dumped.

The revival of Dream & Desire is not nostalgia but an indication that the present will only be appreciated after
acknowledging the past. Applies also to art.

The bonus track “Despair” was not part of the original radio-feature, but was composed and recorded around the
same time in 1977, and the track fits perfectly in style and sound.

Manuel's music has been with me for now almost 50 years.

I own a superb LP and CD collection of him.

Dream & Desire is beautiful - what more can I say ...

Olaf Leitner, March 2019



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CD Jewel Case
Remastered by Manuel Göttsching and released on his own label MG ART. Inventions for Electric Guitar is Manuel Göttsching´s first solo album, recorded: July-August 1974.
The album was written and performed entirely by Göttsching on electric guitar, hence the title. Manuel played his guitar and used a 4 track TEAC A3340, Revox A77 for echoes, WahWah pedal, volume pedal, Schaller Rotosound and Hawaiian steel bar.

Tracklist:

Echo Waves 17:45, Quasarsphere 06:34, Pluralis 21:36



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NO VINYLE OF ANY MANU CHAO ALBUM HAS BEEN AVAILABLE ON SALE FOR AGES. ALL STUDIO & LIVE ALBUMS ARE BACK ON DOUBLE VINYL GATEFOLD FEAT. THE CD
TRACKLIST
A1. INTRO - A2. BIENVENIDA A TIJUANA - A3. MACHINE GUN - A4. POR DONDE SALDRA EL SOL? - A5. PELIGRO - A6. WELCOME TO TIJUANA - A7. EL VIENTO - A8. CASA BABYLON - B1. POR EL SUELO - B2. BLOOD AND FIRE - B3. EZLN… PARA TOD@S TODO… - B4. MR BOBBY - B5. BONGO BONG - B6. RADIO BEMBA - B7. QUE PASO QUE PASO - B8. PINOCCHIO (VAGGIO IN GROPPA AL TONNO) - B9. CAHI EN LA TRAMPA - C1. CLANDESTINO - C2. RUMBA DE BARCELONA - C3. LA DESPEDIDA - C4. MALA VIDA - C5. RADIO BEMBA 2 - C6. QUE PASO QUE PASO 2 - C7. PINOCCHIO 2 (VAGGIO IN GROPPA AL TONNO) - D1. LA PRIMAVERA - D2. THE MONKEY - D3. KING KONG FIVE - D4. MINHA GALERA - D5. PROMISCUITY

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CD Jewel Case With 8 pages Booklet, Pictures , Notes

In anticipation of the 35th anniversary next year one of electronic music´s most influential recordings, the legendary E2-E4, from 12.12.1981 does get an official rerelease by Manuel Göttsching on his own Label MG.ART.
Carefully overseen by the Master himself

Total Time: 59:34
Tracks:
Ruhige Nervosität 13:00, Gemäßigter Aufbruch 10:00, ... und Mittelspiel 07:00, Ansatz 06:00, Damen-Eleganza 05:00, Ehrenvoller Kampf 03:00, Hoheit weicht (nicht ohne Schwung...) 09:00, ... und Souveränität 03:00, Remis 03:00



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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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