UPC: 4260129252254 Release: 03.06.2013
Tracklist:
A1. Closer feat. Jem Cooke
A2. Lost In London
B1. Out of Order
B2. Out of Order (Vinyl Dub)
"Last summer I moved from Chicago to London, and this EP followed me through the madness!" Kate Simko tells us about how her sensual Get Physical debut, 'Lost In London EP' came to be. "I started the songs in Chicago last spring, and was feeling full of ideas and urgency to get them recorded. I guess I was thinking that somehow things might be forgotten after all of the hustle of moving..." Kate has seen her previous releases span catalogues from Leftroom to Scissor & Thread. She has a solid following of vinyl loving fans - nearly all of her releases selling out in short notice. We expect 'Lost In London' to be no different. "Then it was time to ship my studio by boat to the UK. It took about 6-8 weeks to arrive, and in that time I did a lot of exploring (aka getting lost) in the city of London." By the time the studio arrived, I'd absorbed the sounds of the city and I think they came through in the music, especially in 'Lost In London'." "'Closer feat. Jem Cooke' is the follow up song with Jem Cooke after our collaboration from last year, 'Go On Then' (Leftroom). We recorded the vocals at Royal College of Music; I think the musical vibe of the place put her at ease that day. She's an amazing person and her voice is incredible. So happy to have linked up with her." Kate's groove and rhythm heavy sound shines throughout the release - from the chords of 'Closer feat. Jem Cooke' to the bass pump of 'Out Of Order'. We're super happy to have her on board, and looking forward to hearing more from her in the near future!
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For her debut solo album, 'Lights Out,' Kate Simko packed her bags travelled 6000 miles from Chicago to Buenos Aires - 2 years in a row - taking her time to compose and deliver one of the most creative and timeless electronic music albums of recent times.
A musical expedition of twists and turns, 'Lights Out' branches out into vast avenues of diversity with a ten-track offering that takes us on a body-moving journey of countless colours and shapes. Groovy polyrhythms, rich harmonies, and warm analog textures weave a common thread throughout the voyage, forming a stunning and romantic display of creative emotion. Highly lauded German label Hello? Repeat fits perfectly with Kate's artistic outlook. Having carved their niche in the electronic music scene with rare and meticulously selected output since inception in 2005, they hold a reputation as a leading label in one of the most respected circles of creative and innovative dance music. Hello? Repeat is conceptual, artistic and the music and artist set speak volumes. Bruno Pronsato, Daze Maxim, Cabanne, Audio Werner, Patrick Specke, and Half Hawaii have contributed to the labels catalogue, with 'Lights Out' crowning the label's 19th release. After a contemplative break, they strike back with one of their strongest offerings to date in the shape of Kate Simko's artful and boundary-eclipsing album. Music has been a lifelong journey of discovery and personal expression in Kate Simko's life. From intense classical training, to collaborating with the Philip Glass ensemble, to scoring a feature film, Kate has always embraced all projects in their magnitude. However, her debut artist album was somehow the most challenging of all - her first complete (uninterrupted?) statement of original music. More

A1. Beneath A2. Flight Into BA B1. Mind On You B2. Monochrome B3. Mira Vos C1. Last Breath C2. Bikini Atoll D1. Cairo D2. Had It All
„If archetypal rock music claims „Satisfaction” then the rhythmachine requieres emotion” wrote Kodwo Eshun in his 1998 book „More Brilliant Than The Sun: Adventures in Sonic Fiction.” Today, almost ten
years later, his theory is still correct, and it shows that his idea is explosive when the rhythmachine is programmed against the common sense. Steven Ford aka Bruno Pronsato knows all of this, because
he knows rock music and its creative dead end street. He knows because he played in several rock bands in his hometown of Seattle, trying time and again to play the same songs, and the same rhythms in new ways. But that's a long time ago. Now, more than five years later, he generates music via synthezisers and computers - emotional rhythms far beyond any kind of cliché. His new longplayer „Why can’t we be like us” embodies his old passion for playing the drums as well as his addiction to ones and zeros. Instead of creating streamlined minimal, he has more of an abstract sound on his mind - one that lives on a dark, organic and percussive note. Nothing really new, he has always been unpredictable and funky with an organic twist between the beats. His tracks often rely on devious turns, flickering sounds, warm basslines and some free riding vocals. They still do, but more importantly now, they are more musical, more space filling and above all, much more percussive. His intention here is to provide you with a long player - not a compilation of danceable clubtracks. He wants to tell a story and he does it with nine long, grooving compositions that are full of rhythms that twist around bubbling sounds that seem to launch out of his very own inner space: sometimes a piano melody is dancing in space, then an undefinable vibrancy chirps out of the background, and in the next moment some unheared buzzing sighs in time and space. The only real red threat you can feel deeply is a soulful climax towards the last track „Why Can’t We Be Like Us”. A story-arc that makes his album look like a book that releases emotions via rhythms from chapter to chapter. An experimenting, playful track-architecture that never reacts too apparent with our nervous systems. This album feels like a locigal progression from his E.P.’s for labels like Orac, Philpot, Hello?Repeat and his creative powers as one part of the duo Half Hawaii on Perlon. Musical suspense that processes feelings and soul through electronic vibrations. Everything sounds like Bruno Pronsato plays it himself on his machines and follows the „I am an instrument”-dictum of the spacy free jazzer sun ra. He still maintains his own inner sound and translates it into unheard arrangements. To quote Kwodo Eshun ones more: „Drum and electronica converge in a new space of rhythmatic and syncussion!”
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Tracklist CD:
01 Diachronic
02 Happy Collapse
03 Melted Talk
04 On The Way Back
05 Inbetween
06 Darkness In Your Pocket
07 Shifty Limbs
08 Ghost Of A Chance
09 The You Show
10 Anomaly Of A Poetry
11 Soon
Rising/Falling marks multi faceted artist Daze Maxim aka Markus Manowki's second full length LP since 2000's Same Place The Bot Got Smashed.
The album's title refers to the breathing exercises of meditation; something that by chance Daze begun at the same time as the LP's conception. This additional balance and clarity allowed the album to develop harmoniously, and paved the way for completion. There is also a nod to reflexivity as although this discipline provided necessary solace, it also demanded greater engagement.
The overall aesthetic is unquestionably true to the minimal framework Daze has meticulously crafted over the past 15 years. A playground of intermittent tempo and hybrid organic electronica, harmony builds whilst dissonance prevails. There is maturity and guts in the selection and delivery of each part's piece in the puzzle, and a true viral beauty as it gains momentum.
What is immediately striking about the album in full is its brooding space and progression. From ambient tones and warped classic synths, to rigorous live instrumentation, the sonic palette enriches as the odyssey continues. Much akin to a camera lens drifting in and out of focus, Daze toys with periodic collapse and elongated movements, but always pulls the listener back through percussive punctuation.
The collaborations featured on the record occurred naturally, however the sessions played out differently. Sloth's unique trumpet work on the opener is a entirely improvised workout without specific key or time signatures. In contrast Yonatan, a classically trained jazz musician from Tel Aviv now residing in NYC, added bowed and fingered double bass to an already arranged work. Finally, the piece with Bruno Pronsato became a re-imagination of a previous live composition under their OTHERS moniker. Each partnership subtly enriches the spectrum, yet never overtaking Daze's position at the helm.
Haunting every intimate beat and phrase is a true jazz sensibility. A diligent yet self taught student of composition and theory, Manowki's brilliance lies within his persistent tight-walk of texture and melody. Rising/Falling is as intrinsically musical and direct as is gets, and the outcome is elegantly unsettling.



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Tracklist 3 LP Version:

A1 DIACHRONIC
A2 HAPPY COLLAPSE
B1 MELTED TALK
B2 ON THE WAY BACK
C1 INBETWEEN
D1 DARKNESS IN YOUR POCKET
E1 SHIFTY LIMBS
E2 GHOST OF A CHANCE
F1 THE YOU SHOW
F2 ANOMALY OF A POETRY
F3 SOON

Rising/Falling marks multi faceted artist Daze Maxim aka Markus Manowki's second full length LP since 2000's Same Place The Bot Got Smashed. This is the 3LP Deluxe Vinyl version -
see CD version hello026CD for full info! More

Tracklist 12":
A: Bruno Pronsato - Blue Eyes Blind B: Jens Zimmermann - EEEEF
Info:
Bruno Pronsato & Jens Zimmermann split release on Hello?Repeat.
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UPC: 827170544765 Rel date 26.5.2014
Tracklist 12": A: Semi-Floating Objects B: Semi Flying Objects
Dewalta & Claus Voigtmann's debut release on Hello?Repeat.
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UPC: 827170500365 Releasedate 7.10.2013
Tracklist: A. Flash B. Anavi
Hello?Repeat 022 brings 'Flash' and 'Anavi'. Both tracks in essence bring a linear and continuous flow, to many, a Daze Maxim signature in the sense that each element does not scream for attention alone, it is the combination of them which creates the overall impact. A dose of what we need when we need it. It is to do with structure, it is about the way in which elements are thrown in adding that bit of surprise effect which is able to stunt and amuse us all in a very good way. 'Flash' starts with a solid bass line, the vocal 'Flash', a hypnotic cosmic/trippy element and a hoovering noise on the background making up the intro. The 'locomotive' sounding high-hats then slam in, which together with the bass line complete a dance floor bliss of a track with all that groove. This is the point when one would think the track is there but then the slamming surprise- there comes the pads and the harmony. With a dose of thriller, the suspense created by these two prolonged notes give this atmospheric soundscape making it a groovy, hypnotic, dark, yet driving dance floor beauty. 'Anavi' again boosts a hypnotic vibe to it but this time with the harmony being first introduced via a classy piano. The track starts with this detroit-feel bass synth pattern forming the constant flowing base of the track, a hypnotic feel which gets overtaken by the classy touch of beautiful piano chords. Following, there comes the high-hats, this loose and light addition to it, sounding similar to when hitting the edge of a cymbal on real drums. The pads' introduction on this one could again generate a thriller feel if on a single note however, the note progression of the pads creates a melody turning it into a rather melancholic yet classy feel, in line with the piano from the intro. The last addition , the surprise element, is then added by a discreet appearance of a TR-808 drum-machine turning this into rhythmic heaven.
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UPC: 827170478664 Release 10.12.2012
Tracklist A.Attachments Of The Past B.Now Not No
For Hello? Repeat's 21st release, label head Jan Krueger turns to Vera, a longtime friend and fellow Berlin-based DJ who shares his taste for understated grooves. Vera's production catalog is short but sweet: she's always been a DJ first and foremost, a skill she honed at Frankfurt's legendary Omen club and during residencies at Robert Johnson and Monza Club (both in Frankfurt and Ibiza), but the records she has released show an incredible knack for deep and sophisticated club sounds, informed by innovators like Maurizio and Wolfgang Voigt's Studio1 project. Over the years she's put out a few solo EPs on labels like Oslo and Cargo Edition, while also teaming up with Maayan Nidam as Mara Trax, a hotly-tipped duo whose last EP, Sensibilia, was one of Perlon's best in years. Her Hello? Repeat debut shows her doing what she does best, with two cuts of smart and elegant deep house. "Attachments Of The Past" is the kind of track the creeps up on you. At first it feels like a nicely crafted DJ tool-crisp drums, snappy driving rhythm, small textural flourishes-but soon a weird tension emerges, first with with a nervously climbing melody, then the vocal bit that forms the hook: "let go of the attachments to your past." Suddenly it's reflective and dead serious, a mood that's offset by its perfectly funky rhythm. "Now Not No" experiments with composition a bit. Here the bass is thicker, but the four-four pulse is broken, falling into a lurching, slightly stepping motion while delayed snares flutter in and out of view. Abstract vocal bits and hovering pads make make it all the more hypnotic. This is precisely what makes both Vera and Hello? Repeat stand out: a production style that's at once subtle, propulsive and slightly mezmerizing.



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Hello? Repeat's 20th release comes from act that couldn't be closer to the label, but at the same time has never appeared on it: Others. The duo consists of Daze Maxim, Hello? Repeat's co-founder next to Jan Krueger, and Bruno Pronsato, the acclaimed "romantic techno" artist behind the label's first album, 2007's Why Can't We Be Like Us (plus numerous records since then on DFA, Telegraph and his own imprint, thesongsays). Each artist veers toward weirdness on his own-consider Daze's early 12-inch Intimacy Girl, released as Heartz4, or Bruno's 40-minute epic The Make Up The Break Up-but together they take it to another level. Their only record so far is Take 1/ Take 2, an extended left-field house jam that pairs a floppy beat with the sound of Daze droning away on trumpet. Dope Me / Does Caroline Know? is a slightly clubbier affair-less Sun Ra and more Soul Capsule-but still possesses the air of strangeness that makes the duo so unique. Each artist leaves his mark within the first few measure of "Dope Me." The steady high-hats and flawless kick drum are straight out of Daze's playbook, while the nervous piano and 3 Chairs-style claps are unmistakably Bruno. As for the slurred vocal pleading "Dope me… dope me…", that's anyone's guess. The track carries on for a solid nine minutes as half-melodies and quasi-hooks slide in and out of the mix. The B-side, "Does Caroline Know?", takes us deeper and darker. The drums are plodding, the mood is ominous, and a series of dreamlike flourishes add to an already eerie groove. Like the A-side, it's a surrealistic style of house that only these two could deliver. The artwork, as usual, is done by Daze Maxim.

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The next EP on Germany's Hello? Repeat imprint comes from Seuil, one of Paris's most inspired underground producers. In terms of style, it's a match that could hardly be more perfect. Hello? Repeat has spent the past six years carving a niche for itself with EPs from Cabanne, Audio Werner and label co-founder Daze Maxim, plus acclaimed albums by Bruno Pronsato and Kate Simko. Seuil, meanwhile, has put out a steady stream of ultra-deep 12-inches on labels like Freak n' Chic and Sammy Dee's Ultrastretch. Both specialize in a sound that's modern, understated and hypnotic.

Late Call is exactly what its name suggests: a record made for the deepest, most tender portion of the night. The drums are slick and punchy, but the rest is woozy and romantic--this is one to put on when the crowd has stopped chatting and everyone's dancing with their eyes closed. Topping it off is a vocal line made famous by Diana Ross but recited here by an androgynous diva: If you need me, call me, no matter where you are, no matter how far... Dark, trippy and weirdly moving, this is one of Seuil's finest tracks yet. "Slow Motion" strikes a similar chord but with a more subtle approach. Here you notice Seuil's rare touch for subtlety: in the absence of any real "hook", he keeps the track moving with expertly sculpted drums, a warm half-melody and a gently propulsive beat. Soft chords sustain in the background to create a balmy summer night feel. Both tracks show Seuil and Hello? Repeat doing what they do best: delivering something deep, functional and full of character.
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For her debut solo album, 'Lights Out,' Kate Simko packed her bags travelled 6000 miles from Chicago to Buenos Aires - 2 years in a row - taking her time to compose and deliver one of the most creative and timeless electronic music albums of recent times.
A musical expedition of twists and turns, 'Lights Out' branches out into vast avenues of diversity with a ten-track offering that takes us on a body-moving journey of countless colours and shapes. Groovy polyrhythms, rich harmonies, and warm analog textures weave a common thread throughout the voyage, forming a stunning and romantic display of creative emotion. Highly lauded German label Hello? Repeat fits perfectly with Kate's artistic outlook. Having carved their niche in the electronic music scene with rare and meticulously selected output since inception in 2005, they hold a reputation as a leading label in one of the most respected circles of creative and innovative dance music. Hello? Repeat is conceptual, artistic and the music and artist set speak volumes. Bruno Pronsato, Daze Maxim, Cabanne, Audio Werner, Patrick Specke, and Half Hawaii have contributed to the labels catalogue, with 'Lights Out' crowning the label's 19th release. After a contemplative break, they strike back with one of their strongest offerings to date in the shape of Kate Simko's artful and boundary-eclipsing album. Music has been a lifelong journey of discovery and personal expression in Kate Simko's life. From intense classical training, to collaborating with the Philip Glass ensemble, to scoring a feature film, Kate has always embraced all projects in their magnitude. However, her debut artist album was somehow the most challenging of all - her first complete (uninterrupted?) statement of original music. More

A1. Beneath A2. Flight Into BA B1. Mind On You B2. Monochrome B3. Mira Vos C1. Last Breath C2. Bikini Atoll D1. Cairo D2. Had It All
„If archetypal rock music claims „Satisfaction” then the rhythmachine requieres emotion” wrote Kodwo Eshun in his 1998 book „More Brilliant Than The Sun: Adventures in Sonic Fiction.” Today, almost ten
years later, his theory is still correct, and it shows that his idea is explosive when the rhythmachine is programmed against the common sense. Steven Ford aka Bruno Pronsato knows all of this, because
he knows rock music and its creative dead end street. He knows because he played in several rock bands in his hometown of Seattle, trying time and again to play the same songs, and the same rhythms in new ways. But that's a long time ago. Now, more than five years later, he generates music via synthezisers and computers - emotional rhythms far beyond any kind of cliché. His new longplayer „Why can’t we be like us” embodies his old passion for playing the drums as well as his addiction to ones and zeros. Instead of creating streamlined minimal, he has more of an abstract sound on his mind - one that lives on a dark, organic and percussive note. Nothing really new, he has always been unpredictable and funky with an organic twist between the beats. His tracks often rely on devious turns, flickering sounds, warm basslines and some free riding vocals. They still do, but more importantly now, they are more musical, more space filling and above all, much more percussive. His intention here is to provide you with a long player - not a compilation of danceable clubtracks. He wants to tell a story and he does it with nine long, grooving compositions that are full of rhythms that twist around bubbling sounds that seem to launch out of his very own inner space: sometimes a piano melody is dancing in space, then an undefinable vibrancy chirps out of the background, and in the next moment some unheared buzzing sighs in time and space. The only real red threat you can feel deeply is a soulful climax towards the last track „Why Can’t We Be Like Us”. A story-arc that makes his album look like a book that releases emotions via rhythms from chapter to chapter. An experimenting, playful track-architecture that never reacts too apparent with our nervous systems. This album feels like a locigal progression from his E.P.’s for labels like Orac, Philpot, Hello?Repeat and his creative powers as one part of the duo Half Hawaii on Perlon. Musical suspense that processes feelings and soul through electronic vibrations. Everything sounds like Bruno Pronsato plays it himself on his machines and follows the „I am an instrument”-dictum of the spacy free jazzer sun ra. He still maintains his own inner sound and translates it into unheard arrangements. To quote Kwodo Eshun ones more: „Drum and electronica converge in a new space of rhythmatic and syncussion!”
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As usual, Hello?Repeat co-founder Daze Maxim returns with 3 outstanding tracks which are made for a better tomorrow! More

It's always good to grow slowly and lasting. A sagacity that Patrick Specke, our very good friend from Düsseldorf, internalized. In three years he only released three mesmerizing and breathtaking EP's on labels like Kahlwild and Desolat. Now he enters the floor with some smiling excursions of deepness on Hello?Repeat. We are very happy to have you on board Mister Specke!!!
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Daze Maxim returns with the next eruption on Hello?Repeat. With 'Organ Message' Daze send us two delicious tracks that bubble over like a vulcan. The title track attacks us with his typical crispy beats, an ultra funky bassline and a quirky synth line all over the track, which shows you once again the way to Maxims cosmos. Once you arrived there, 'Strange Things' is waiting for you with a voluminous flow of lawa. A hard hitting, percussion driven track from outer space. So, ladys and gentlemen fasten your seat belts and get ready for another crazy ride to Maxim land.
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Following Bruno Pronsatos latest fantastic album "Why Can't We Be Like Us", we are more than happy to get with "Nobody Calls" another timeless pearl on Hello?Repeat. On the title track Bruno worked this time with his very good friend Caro (aka Randy Jones), and together they delivered a truely magical vocal track. On the flip side you'll find a fairly dirty track called "Where'd You Learn To Kiss That Way". Again Bruno manages to create a record with his very unique atmosphere.
DEEP. REDUCED. GLORIOUS. PRONSATO

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„If archetypal rock music claims „Satisfaction” then the rhythmachine requieres emotion” wrote Kodwo Eshun in his 1998 book „More Brilliant Than The Sun: Adventures in Sonic Fiction.” Today, almost ten
years later, his theory is still correct, and it shows that his idea is explosive when the rhythmachine is programmed against the common sense. Steven Ford aka Bruno Pronsato knows all of this, because
he knows rock music and its creative dead end street. He knows because he played in several rock bands in his hometown of Seattle, trying time and again to play the same songs, and the same rhythms in new ways. But that's a long time ago. Now, more than five years later, he generates music via synthezisers and computers - emotional rhythms far beyond any kind of cliché. His new longplayer „Why can’t we be like us” embodies his old passion for playing the drums as well as his addiction to ones and zeros. Instead of creating streamlined minimal, he has more of an abstract sound on his mind - one that lives on a dark, organic and percussive note. Nothing really new, he has always been unpredictable and funky with an organic twist between the beats. His tracks often rely on devious turns, flickering sounds, warm basslines and some free riding vocals. They still do, but more importantly now, they are more musical, more space filling and above all, much more percussive. His intention here is to provide you with a long player - not a compilation of danceable clubtracks. He wants to tell a story and he does it with nine long, grooving compositions that are full of rhythms that twist around bubbling sounds that seem to launch out of his very own inner space: sometimes a piano melody is dancing in space, then an undefinable vibrancy chirps out of the background, and in the next moment some unheared buzzing sighs in time and space. The only real red threat you can feel deeply is a soulful climax towards the last track „Why Can’t We Be Like Us”. A story-arc that makes his album look like a book that releases emotions via rhythms from chapter to chapter. An experimenting, playful track-architecture that never reacts too apparent with our nervous systems. This album feels like a locigal progression from his E.P.’s for labels like Orac, Philpot, Hello?Repeat and his creative powers as one part of the duo Half Hawaii on Perlon. Musical suspense that processes feelings and soul through electronic vibrations. Everything sounds like Bruno Pronsato plays it himself on his machines and follows the „I am an instrument”-dictum of the spacy free jazzer sun ra. He still maintains his own inner sound and translates it into unheard arrangements. To quote Kwodo Eshun ones more: „Drum and electronica converge in a new space of rhythmatic and syncussion!”
More