Label:clown and sunset
Cat-No:cs009
Release-Date:25.04.2012
Configuration:LP Excl
Barcode:827170451469
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Cat-No:cs009
Release-Date:25.04.2012
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Barcode:827170451469
A: Open, A Clone Is A Clone, Palomitastep, Equation of Time, (La Voz) tan Tierna
B: Requiem for a Loop, Mutron Melody, Eulogy to Eunice, Close
The first time I met Acid Pauli, I didn't know it. I was in search of a lighter outside of the Salon Zur Wilden Renate, a bar in Berlin. It was quite late (or early, depending on how you look at it). I had been living in Germany for less than a week. I approached a man that had been moving some equipment nearby. He didn't smoke, he explained, but he produced a book of matches-- almost out of thin air. He had excited, Romanesque features that threatened to overwhelm his face as he spoke. He introduced himself as Martin.I moved to Berlin after quitting my job as a journalist covering culture for an inconsequential (albeit progressive) Middle Eastern magazine. Days after I left the region, the first protests began in Tunisia. I visited Renate that week because Nicolas Jaar recommended it when we met in London around Christmas time. When I mentioned that I might move to Germany, he brought up Acid Pauli-- which is how I first found out about his Johnny Cash interpretation, "I See a Darkness," and some of his other projects with The Notwist. A few nights later, I returned to Renate, observing from afar as Acid gently wrangled the dance floor. His set activated a space that was both free flowing and eclectic-- the opposite of what I had expected (however ignorantly) to find in Berlin.I tracked Acid down after he finished playing and introduced myself properly this time. Eventually, he explained that he had just completed an album for Clown & Sunset. He called it Mst. After pleading with him to let me listen, he handed over a miniature mirror that doubled as a USB drive.It was an appropriate medium for an album that acts reflexively. Each of the nine tracks coaxes your attention, and then plays with it like the hall of mirrors in a funhouse. Songs accelerate or breakdown without warning, before leaping right back into the rhythm or alternating into a new one. Acid Pauli's voice never appears, and so you substitute your own internal monologue-- whether you're waltzing to "(La voz) tan tierna" or weeping to "Eulogy to Eunice." I saw Acid Pauli a handful more times that spring before he began touring with Nico. And despite our conversations about the album, it was not until months later that I realized Acid isn't trying to tell stories with his work. His aim is more holistic than that. Mst extends the atmospherics past the dance floor, refracting the idiosyncrasies of our existence back into our everyday lives.
Lola Marie-Saint
New York
December, 2011 More
B: Requiem for a Loop, Mutron Melody, Eulogy to Eunice, Close
The first time I met Acid Pauli, I didn't know it. I was in search of a lighter outside of the Salon Zur Wilden Renate, a bar in Berlin. It was quite late (or early, depending on how you look at it). I had been living in Germany for less than a week. I approached a man that had been moving some equipment nearby. He didn't smoke, he explained, but he produced a book of matches-- almost out of thin air. He had excited, Romanesque features that threatened to overwhelm his face as he spoke. He introduced himself as Martin.I moved to Berlin after quitting my job as a journalist covering culture for an inconsequential (albeit progressive) Middle Eastern magazine. Days after I left the region, the first protests began in Tunisia. I visited Renate that week because Nicolas Jaar recommended it when we met in London around Christmas time. When I mentioned that I might move to Germany, he brought up Acid Pauli-- which is how I first found out about his Johnny Cash interpretation, "I See a Darkness," and some of his other projects with The Notwist. A few nights later, I returned to Renate, observing from afar as Acid gently wrangled the dance floor. His set activated a space that was both free flowing and eclectic-- the opposite of what I had expected (however ignorantly) to find in Berlin.I tracked Acid down after he finished playing and introduced myself properly this time. Eventually, he explained that he had just completed an album for Clown & Sunset. He called it Mst. After pleading with him to let me listen, he handed over a miniature mirror that doubled as a USB drive.It was an appropriate medium for an album that acts reflexively. Each of the nine tracks coaxes your attention, and then plays with it like the hall of mirrors in a funhouse. Songs accelerate or breakdown without warning, before leaping right back into the rhythm or alternating into a new one. Acid Pauli's voice never appears, and so you substitute your own internal monologue-- whether you're waltzing to "(La voz) tan tierna" or weeping to "Eulogy to Eunice." I saw Acid Pauli a handful more times that spring before he began touring with Nico. And despite our conversations about the album, it was not until months later that I realized Acid isn't trying to tell stories with his work. His aim is more holistic than that. Mst extends the atmospherics past the dance floor, refracting the idiosyncrasies of our existence back into our everyday lives.
Lola Marie-Saint
New York
December, 2011 More
More records from acid pauli
2LP Excl
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Label:Ouïe
Cat-No:ouie018
Release-Date:18.09.2020
Genre:Electronic
Configuration:2LP Excl
Barcode:4250382439943
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Last in:07.04.2021
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Last in:07.04.2021
Label:Ouïe
Cat-No:ouie018
Release-Date:18.09.2020
Genre:Electronic
Configuration:2LP Excl
Barcode:4250382439943
1
acid pauli - A1. Propagating Flip Flops
2
acid pauli - A2. Intellijel Bell
3
acid pauli - B1. Acid On Yusef
4
acid pauli - B2. Sublime Frequencies Of Cairo
5
acid pauli - C1. Du Brecht, Ich Dub
6
acid pauli - C2. Life Polarizer
7
acid pauli - D1. Peace Waer Schoen
8
acid pauli - D2. Quantize Hell
9
acid pauli - D3. No Kick, No Cry
Double-LP, Embossed Gatefold-Sleeve, Download Code, Limited Edition
Tracklist:
A1. Propagating Flip Flops
A2. Intellijel Bell
B1. Acid On Yusef
B2. Sublime Frequencies Of Cairo
C1. Du Brecht, Ich Dub
C2. Life Polarizer
D1. Peace Waer Schoen
D2. Quantize Hell
D3. No Kick, No Cry
Release Info:
“Basically my albums have developed into my personal field of experimentation” says Martin Gretschmann, aka Acid Pauli. Known primarily for his psychedelic, leftfield club sounds that weave between slo-mo beats and deep burners, his EPs, remixes and collaborations have generally been more focused on the dancefloor. With his latest album, MOD (his third full-length released on his own Ouie label), Gretschmann goes in a tangential direction, drawing inspiration from modular synthesis and the scene that has flourished around it over the last years. The result is an album produced almost entirely with modular systems, inspired by the possibilities and restrictions of carefully shepherding machines that sing to themselves.
“I know a lot of people who somehow found themselves and electronic music in a boring dead-end alley, and who have now found completely new worlds through modules”, he explains. Experimental as MOD may be, it certainly isn’t ‘difficult’ or inaccessible - or as someone put it, the nine tracks here are “soft, elegant, fluent, dreamy - the tracks achieve the effect of space-time morphing - magical states”.
The album is best heard as one continuous piece, allowing it to unfold its delights gently. Most of the tracks were recorded live in one take - often with Gretschmann recording up to 10 different versions before choosing the final piece. Propagating Flip Flops starts things off - its glitchy textures and sync-shifting set the scene for the album - the sounds evolving and developing before resolving into a warm, ethereal tone. Intellijel Bell is made up of deep loops of rhythmic sounds, while metallic sounds and a submerged jazzy undertone hint at the classic Acid Pauli sense of fun. Acid On Yusef uses looped up rhythmic pulses and bass tones, joined by modulated beeps and blips. A touch of that iconic liquid acid sound pulls it together and gives the track its name. Sublime Frequencies Of Cairo is another beatless, floating collection of loops that shift and morph - seemingly suspended in space, before an ambient orchestral element resolves the track.
As the title suggests, Du Brecht, Ich Dub revolves around a bass heavy sound, building up a rhythm of disparate elements that develop into a tense yet somehow weightless groove. Life Polarizer is further evidence that an Acid Pauli album will always somehow drift back towards the groove. The track works the effects pretty hard - sounds pinging between left and right and ebbing and flowing into the mix. Peace Waer Schoen also makes heavy use of delay to create a dubbed-out, wonky feel. The freedom of getting away from computer based production is referenced sardonically in Quantize Hell - its bleepy sounds find a rhythm and progression outside of the grid. Finally, No Kick, No Cry brings the journey to a close - it’s the first and only kick drum of the album and adds a structure to the magical unpredictability of the looped sounds.
The album’s artwork perfectly reflects these sounds within - created by musician and artist Billy Caso. Each track is also accompanied by a minimalist video, created with a device from this modular world - the "Vidiot". It’s clear that in MOD, Gretschmann has produced a homage to the modular scene that might inspire as many people as it delights.
More
Tracklist:
A1. Propagating Flip Flops
A2. Intellijel Bell
B1. Acid On Yusef
B2. Sublime Frequencies Of Cairo
C1. Du Brecht, Ich Dub
C2. Life Polarizer
D1. Peace Waer Schoen
D2. Quantize Hell
D3. No Kick, No Cry
Release Info:
“Basically my albums have developed into my personal field of experimentation” says Martin Gretschmann, aka Acid Pauli. Known primarily for his psychedelic, leftfield club sounds that weave between slo-mo beats and deep burners, his EPs, remixes and collaborations have generally been more focused on the dancefloor. With his latest album, MOD (his third full-length released on his own Ouie label), Gretschmann goes in a tangential direction, drawing inspiration from modular synthesis and the scene that has flourished around it over the last years. The result is an album produced almost entirely with modular systems, inspired by the possibilities and restrictions of carefully shepherding machines that sing to themselves.
“I know a lot of people who somehow found themselves and electronic music in a boring dead-end alley, and who have now found completely new worlds through modules”, he explains. Experimental as MOD may be, it certainly isn’t ‘difficult’ or inaccessible - or as someone put it, the nine tracks here are “soft, elegant, fluent, dreamy - the tracks achieve the effect of space-time morphing - magical states”.
The album is best heard as one continuous piece, allowing it to unfold its delights gently. Most of the tracks were recorded live in one take - often with Gretschmann recording up to 10 different versions before choosing the final piece. Propagating Flip Flops starts things off - its glitchy textures and sync-shifting set the scene for the album - the sounds evolving and developing before resolving into a warm, ethereal tone. Intellijel Bell is made up of deep loops of rhythmic sounds, while metallic sounds and a submerged jazzy undertone hint at the classic Acid Pauli sense of fun. Acid On Yusef uses looped up rhythmic pulses and bass tones, joined by modulated beeps and blips. A touch of that iconic liquid acid sound pulls it together and gives the track its name. Sublime Frequencies Of Cairo is another beatless, floating collection of loops that shift and morph - seemingly suspended in space, before an ambient orchestral element resolves the track.
As the title suggests, Du Brecht, Ich Dub revolves around a bass heavy sound, building up a rhythm of disparate elements that develop into a tense yet somehow weightless groove. Life Polarizer is further evidence that an Acid Pauli album will always somehow drift back towards the groove. The track works the effects pretty hard - sounds pinging between left and right and ebbing and flowing into the mix. Peace Waer Schoen also makes heavy use of delay to create a dubbed-out, wonky feel. The freedom of getting away from computer based production is referenced sardonically in Quantize Hell - its bleepy sounds find a rhythm and progression outside of the grid. Finally, No Kick, No Cry brings the journey to a close - it’s the first and only kick drum of the album and adds a structure to the magical unpredictability of the looped sounds.
The album’s artwork perfectly reflects these sounds within - created by musician and artist Billy Caso. Each track is also accompanied by a minimalist video, created with a device from this modular world - the "Vidiot". It’s clear that in MOD, Gretschmann has produced a homage to the modular scene that might inspire as many people as it delights.
More
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Last in:02.03.2020
Label:Ouïe
Cat-No:ouie015
Release-Date:20.09.2019
Genre:House
Configuration:12" Excl
Barcode:4250382438625
1
Acid Pauli - Dancing In The Trunk
2
Acid Pauli - Goran Utan
3
Acid Pauli - Shakmat, but happy (''Pauli’s Psychedelic Breakfast'' Take 9)
Tracklist:
A1. Dancing In The Trunk
A2. Goran Utan
B. Shakmat, but happy (“Pauli’s Psychedelic Breakfast“ Take 9)
Release Info:
Acid Pauli is back with another three-track EP on the label he co-manages with friend and collaborator Nico Stojan. This EP, self-effacingly titled 'Had to get rid of some Shit', showcases Martin Gretschmann’s dancefloor prowess yet again. 'Dancing In The Trunk' is a hyped-up loopy banger - minimal in instrumentation but fully psychedelic in execution. 'Goran Utan' has a deeper, darker edge, with a tension that will tighten the grip on many dancefloors. 'Shakmat, but happy' appears in 'Pauli's Psychedelic Breakfast Take 9' and is a slow-building, loop-based groover, eventually opening up to reveal tinges of acid.
More
A1. Dancing In The Trunk
A2. Goran Utan
B. Shakmat, but happy (“Pauli’s Psychedelic Breakfast“ Take 9)
Release Info:
Acid Pauli is back with another three-track EP on the label he co-manages with friend and collaborator Nico Stojan. This EP, self-effacingly titled 'Had to get rid of some Shit', showcases Martin Gretschmann’s dancefloor prowess yet again. 'Dancing In The Trunk' is a hyped-up loopy banger - minimal in instrumentation but fully psychedelic in execution. 'Goran Utan' has a deeper, darker edge, with a tension that will tighten the grip on many dancefloors. 'Shakmat, but happy' appears in 'Pauli's Psychedelic Breakfast Take 9' and is a slow-building, loop-based groover, eventually opening up to reveal tinges of acid.
More
12" Excl
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Last in:09.01.2018
Label:Ouïe
Cat-No:ouie007
Release-Date:02.02.2018
Genre:House
Configuration:12" Excl
Barcode:4250382435471
1
Acid Pauli - Amadou (Stimming Remix)
2
Acid Pauli - René (Roman Flügel Remix)
3
Acid Pauli - Jeanne (Axel Boman Remix)
4
Acid Pauli - Jorge (Satori Remix)
Tracklist:
A1. Amadou (Stimming Remix)
A2. René (Roman Flügel Remix)
B1. Jeanne (Axel Boman Remix)
B2. Jorge (Satori Remix)
Acid Pauli's album BLD dropped earlier this year and was a superb reminder of Martin Gretschmann's unique place within the electronic music. Breathing musicality and adventurousness into everything that he does, the album covered a number of moods and emotions, from dystopian carnivalesque vibes to moments of high intensity, through to deep melancholia and synth laden ambience. Following on from the "A" remix package, "B" brings another huge selection of producers into the fray to reinterpret the originals.
First up, Hamburg hero Stimming works over 'Amadou' - flipping the original, into a techy bomb. A thick kick underpins a shuffling, off kilter rhythm and beautifully treated melodics. Stimming's feel for gently pushing the dancefloor into new places shines through.
'René' is reworked by Roman Flügel, the Ongaku/Klang/Playhouse boss whose influence on the European electronic music scene has been immense. Always willing to experiment, 'René' is the perfect canvas - arpeggiated blips and beeps echo primitive electronic explorations by the likes of Francis Bebey, and a huge subby kick drum take this track into space.
Alex Boman sets to work on 'Jeanne', locking into his signature groovy, tribal approach to working the dancefloor. The Swedish producer adds dubby elements, an irresistible percussion track and disruptive, random sounds to the thick, heady mix.
Dutch wunderkind Satori tackles 'Jorge' - twisting the original into a psychedelic groover that finds room for backwards vocals, marimba-like melodies, fat basslines and shuffling breakbeats.
More
A1. Amadou (Stimming Remix)
A2. René (Roman Flügel Remix)
B1. Jeanne (Axel Boman Remix)
B2. Jorge (Satori Remix)
Acid Pauli's album BLD dropped earlier this year and was a superb reminder of Martin Gretschmann's unique place within the electronic music. Breathing musicality and adventurousness into everything that he does, the album covered a number of moods and emotions, from dystopian carnivalesque vibes to moments of high intensity, through to deep melancholia and synth laden ambience. Following on from the "A" remix package, "B" brings another huge selection of producers into the fray to reinterpret the originals.
First up, Hamburg hero Stimming works over 'Amadou' - flipping the original, into a techy bomb. A thick kick underpins a shuffling, off kilter rhythm and beautifully treated melodics. Stimming's feel for gently pushing the dancefloor into new places shines through.
'René' is reworked by Roman Flügel, the Ongaku/Klang/Playhouse boss whose influence on the European electronic music scene has been immense. Always willing to experiment, 'René' is the perfect canvas - arpeggiated blips and beeps echo primitive electronic explorations by the likes of Francis Bebey, and a huge subby kick drum take this track into space.
Alex Boman sets to work on 'Jeanne', locking into his signature groovy, tribal approach to working the dancefloor. The Swedish producer adds dubby elements, an irresistible percussion track and disruptive, random sounds to the thick, heady mix.
Dutch wunderkind Satori tackles 'Jorge' - twisting the original into a psychedelic groover that finds room for backwards vocals, marimba-like melodies, fat basslines and shuffling breakbeats.
More
12" Excl
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Last in:09.04.2018
Label:Ouïe
Cat-No:ouie006
Release-Date:17.11.2017
Genre:House
Configuration:12" Excl
Barcode:4250382435464
1
Acid Pauli - Abbebe, Sainte Vie Remix
2
Acid Pauli - Baris (Oceanvs Orientalis Remix)
3
Acid Pauli - Ayam (Red Axes Remix)
4
Acid Pauli - Majid (Nico Stojan Remix)
Tracklist:
A1. Abbebe (Sainte Vie Remix)
A2. Baris (Oceanvs Orientalis Remix)
B1. Ayam (Red Axes Remix)
B2. Majid (Nico Stojan Remix)
Info:
Acid Pauli's second album 'BLD' dropped earlier this year to a rapturous reception. Martin Gretschmann's trippy opus took in various stops around the musical spectrum, yet remained committed to quality dance-floor tracks that refuse to follow any particular rule book.
This collection of remixes of the album's A side (hence the name) only adds to that achievement - bringing yet more new flavours and takes from some of the most exciting names in the underground.
'Abbebe' gets a rework from Sainte Vie who brings his trademark 'multicultural electro' sound to the album's opener, and produces an ecstatic mid-paced groover for the heads.
Oceanvs Orientalis drops a similarly exciting rerub, finding new angles and dimensions to the track 'Baris'. Tel Aviv's Red Axes turn up the psychedelica for the duo's amazing dissection of 'Ayam' - deep sounds immersed in acidic tones and tight-yet-wonky arrangements. Lastly 'Majid' gets the treatment from label co-head Nico Stojan who produces a sleek and spacy remix that will delight the early morning ravers.
More
A1. Abbebe (Sainte Vie Remix)
A2. Baris (Oceanvs Orientalis Remix)
B1. Ayam (Red Axes Remix)
B2. Majid (Nico Stojan Remix)
Info:
Acid Pauli's second album 'BLD' dropped earlier this year to a rapturous reception. Martin Gretschmann's trippy opus took in various stops around the musical spectrum, yet remained committed to quality dance-floor tracks that refuse to follow any particular rule book.
This collection of remixes of the album's A side (hence the name) only adds to that achievement - bringing yet more new flavours and takes from some of the most exciting names in the underground.
'Abbebe' gets a rework from Sainte Vie who brings his trademark 'multicultural electro' sound to the album's opener, and produces an ecstatic mid-paced groover for the heads.
Oceanvs Orientalis drops a similarly exciting rerub, finding new angles and dimensions to the track 'Baris'. Tel Aviv's Red Axes turn up the psychedelica for the duo's amazing dissection of 'Ayam' - deep sounds immersed in acidic tones and tight-yet-wonky arrangements. Lastly 'Majid' gets the treatment from label co-head Nico Stojan who produces a sleek and spacy remix that will delight the early morning ravers.
More
LP Excl
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Label:Ouïe
Cat-No:ouie005
Release-Date:27.10.2017
Genre:Electronic
Configuration:LP Excl
Barcode:4250382435501
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Last in:29.11.2017
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Last in:29.11.2017
Label:Ouïe
Cat-No:ouie005
Release-Date:27.10.2017
Genre:Electronic
Configuration:LP Excl
Barcode:4250382435501
LP
Tracklist:
A1. Mauser (Intro) A2. Halbstark A3. El Condor y la brasa A4. Edda's Cumbia A5. Serge A6. Wilhelm Tell A7. Edda, Mauser & Mustafa
A8. Zelten A9. Resowing B1. Anan feat. Miri B2. Release B3. Acid Mauser B4. Remini
Info:
Acid Pauli and Nico Stojan's label Ouïe proudly presents the original film score and soundtrack album for the new German moive 'Es war einmal Indianerland' which translates into 'Once upon a time in Indian Country' which is centered around brand new songs by Acid Pauli.
On this vinyl version you'll find a fine selection of new workls by Acid Pauli that are taken from the soundtrack.
Imagine you're 17 living in the tower blocks at the outskirts. The air is glimmering: summer. The night Jackie stole your heart. At the outdoor pool. Her red hair. Imagine how sparks emit out of happiness. Bang! Your world is unhinged: Zöllner choked his wife. Edda, the 21 year old from the video store is chasing you. You enter the ring with buddy Kondor. Again and again you think you saw an Indian. And at showdown an almost biblical thunderstorm arises. Is that what it feels like - the adventure of being young ?
A 17-year-old boy is at the odds with himself and the world. Pretty normal. But the coming-of-age-story "Es war einmal Indianerland" is not normal: it's exceptional. Thrilling. Imaginative. The narration is virtousic, just as the attendant nominated novel by Nils Mohl who also wrote the screenplay - in collaboration with Max Reinhold. A psychedelic city-western ! Charged with pictures full of symbolism that are composed into a hypnotic whirl by Ilker Çatak - who won the Max-Ophüls price and who has been distinguished with the student Oscar for " Sadakat ". Another highlight : the outstanding cast. Newcomer Leonard Scheicher (" Quellen des Lebens ") as protagonist Mauser in between Jackie played by Emilia Schüle (" Ku'damm '56, " Jugend ohne Gott "), and Edda played by Johanna Polley (" Mumbai "). In additional roles there's Clemens Schick (" James Bond 007 - Casino Royale ", " 4 Könige ") as Mausers father, and Joel Basman (" Unsere Mütter, unsere Väter ") as Mausers pal Kondor.
Equally exceptional, thrilling and inventive as the film that will be aired in cinemas on 19th October, is the soundtrack of Es war einmal Indianerland. The soundtrack of Acid Pauli aka Martin Gretschmann (The Notwist, Console) plays a central role and originates from the close collaboration between Acid Pauli and director Ilker Çatak. " When I confirmed the film project, I was at that time constantly listening to Acid Pauli's music. Everytime I looked at the screenplay one of his mixes were playing. So I thought : it would be awesome if the film was accompanied by this kind of music. " says Çatak.
Acid Pauli's music, as prooved on his BLD album, is as eclectic and adventurous as Acid Pauli himself : from dystopic, carnivalesque moods via moments of high intensity to deep melancholia and fragile atmosphere - boundaries are being teared down. Sometime psychedelic and far out, sometime focused, catchy with one eye on the dancefloor. But never expectable. A musical work for the adventurous.
This was the basis for a close collaboration, a joint journey to Mexico and the fascinating soundtrack of an exceptional film.
'His œuvre is much more than the stuff he made as Acid Pauli. And that's what he offered me - it was like you're going to a lake but instead you see an ocean.' says Ilker Çatak. 'He always grasped what I was looking for. The soundtrack is a mixture of his old and new tracks and music of artists that he knows.'
More
Tracklist:
A1. Mauser (Intro) A2. Halbstark A3. El Condor y la brasa A4. Edda's Cumbia A5. Serge A6. Wilhelm Tell A7. Edda, Mauser & Mustafa
A8. Zelten A9. Resowing B1. Anan feat. Miri B2. Release B3. Acid Mauser B4. Remini
Info:
Acid Pauli and Nico Stojan's label Ouïe proudly presents the original film score and soundtrack album for the new German moive 'Es war einmal Indianerland' which translates into 'Once upon a time in Indian Country' which is centered around brand new songs by Acid Pauli.
On this vinyl version you'll find a fine selection of new workls by Acid Pauli that are taken from the soundtrack.
Imagine you're 17 living in the tower blocks at the outskirts. The air is glimmering: summer. The night Jackie stole your heart. At the outdoor pool. Her red hair. Imagine how sparks emit out of happiness. Bang! Your world is unhinged: Zöllner choked his wife. Edda, the 21 year old from the video store is chasing you. You enter the ring with buddy Kondor. Again and again you think you saw an Indian. And at showdown an almost biblical thunderstorm arises. Is that what it feels like - the adventure of being young ?
A 17-year-old boy is at the odds with himself and the world. Pretty normal. But the coming-of-age-story "Es war einmal Indianerland" is not normal: it's exceptional. Thrilling. Imaginative. The narration is virtousic, just as the attendant nominated novel by Nils Mohl who also wrote the screenplay - in collaboration with Max Reinhold. A psychedelic city-western ! Charged with pictures full of symbolism that are composed into a hypnotic whirl by Ilker Çatak - who won the Max-Ophüls price and who has been distinguished with the student Oscar for " Sadakat ". Another highlight : the outstanding cast. Newcomer Leonard Scheicher (" Quellen des Lebens ") as protagonist Mauser in between Jackie played by Emilia Schüle (" Ku'damm '56, " Jugend ohne Gott "), and Edda played by Johanna Polley (" Mumbai "). In additional roles there's Clemens Schick (" James Bond 007 - Casino Royale ", " 4 Könige ") as Mausers father, and Joel Basman (" Unsere Mütter, unsere Väter ") as Mausers pal Kondor.
Equally exceptional, thrilling and inventive as the film that will be aired in cinemas on 19th October, is the soundtrack of Es war einmal Indianerland. The soundtrack of Acid Pauli aka Martin Gretschmann (The Notwist, Console) plays a central role and originates from the close collaboration between Acid Pauli and director Ilker Çatak. " When I confirmed the film project, I was at that time constantly listening to Acid Pauli's music. Everytime I looked at the screenplay one of his mixes were playing. So I thought : it would be awesome if the film was accompanied by this kind of music. " says Çatak.
Acid Pauli's music, as prooved on his BLD album, is as eclectic and adventurous as Acid Pauli himself : from dystopic, carnivalesque moods via moments of high intensity to deep melancholia and fragile atmosphere - boundaries are being teared down. Sometime psychedelic and far out, sometime focused, catchy with one eye on the dancefloor. But never expectable. A musical work for the adventurous.
This was the basis for a close collaboration, a joint journey to Mexico and the fascinating soundtrack of an exceptional film.
'His œuvre is much more than the stuff he made as Acid Pauli. And that's what he offered me - it was like you're going to a lake but instead you see an ocean.' says Ilker Çatak. 'He always grasped what I was looking for. The soundtrack is a mixture of his old and new tracks and music of artists that he knows.'
More
Label:Ouïe
Cat-No:ouie003
Release-Date:24.03.2017
Genre:Electronic
Configuration:LP Excl
Barcode:4250382433392
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Last in:21.02.2019
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Last in:21.02.2019
Label:Ouïe
Cat-No:ouie003
Release-Date:24.03.2017
Genre:Electronic
Configuration:LP Excl
Barcode:4250382433392
Tracklist:
A1. Abbebe A2. Baris A3. Ayam A4. Majid
B1. Amadou B2. Joan B3. René B4. Jorge
Info:
Acid Pauli is a name synonymous with certain aesthetic towards electronic music culture - both a part of the unhooked generation of that grew up experiencing his revelatory sets at places like Bar 25 and Fusion, and yet deeply rooted in musicality and adventurousness. BLD, the second full album from Martin Gretschmann, (aka Acid Pauli), builds on his already impressive back catalogue which spans back to 2005, and includes a debut album released on Nicolas Jaar's Clown and Sunset.
Over the course of the eight tracks here, Gretschmann explores some of the many facets that have made him one of the most trusted artists in his field. Released on his own (and Nico Stojan's) label Ouïe - the album is the perfect expression of the imprint's commitment to diverse, exciting sounds, freed of the conventions of traditional club music.
The album covers a number of moods and emotions, from dystopian carnivalesque vibes to moments of high intensity, through to deep melancholia and synth laden ambience. Gretschmann's well documented love of the sampler shines throughout - tracks are textured and colored with different hues from his extensive sound palette, whether it's a part of his more psychedelic moments, or concentrated on his innate knowledge of dancefloor dynamics.
As such BLD sits together as a complete piece of music - to be relished just as much by blissed out home listeners as the left-field dancers.
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A1. Abbebe A2. Baris A3. Ayam A4. Majid
B1. Amadou B2. Joan B3. René B4. Jorge
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Acid Pauli is a name synonymous with certain aesthetic towards electronic music culture - both a part of the unhooked generation of that grew up experiencing his revelatory sets at places like Bar 25 and Fusion, and yet deeply rooted in musicality and adventurousness. BLD, the second full album from Martin Gretschmann, (aka Acid Pauli), builds on his already impressive back catalogue which spans back to 2005, and includes a debut album released on Nicolas Jaar's Clown and Sunset.
Over the course of the eight tracks here, Gretschmann explores some of the many facets that have made him one of the most trusted artists in his field. Released on his own (and Nico Stojan's) label Ouïe - the album is the perfect expression of the imprint's commitment to diverse, exciting sounds, freed of the conventions of traditional club music.
The album covers a number of moods and emotions, from dystopian carnivalesque vibes to moments of high intensity, through to deep melancholia and synth laden ambience. Gretschmann's well documented love of the sampler shines throughout - tracks are textured and colored with different hues from his extensive sound palette, whether it's a part of his more psychedelic moments, or concentrated on his innate knowledge of dancefloor dynamics.
As such BLD sits together as a complete piece of music - to be relished just as much by blissed out home listeners as the left-field dancers.
More
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Label:clown and sunset
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Release-Date:06.05.2013
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Limited to 300! including Hugo Bocca Remix on B Side. Release: 6.05.2013
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On Nicolas Jaar´s Clown and Sunset Label. Intriguing Coverversion of the Leonard Cohen Classic by Just Friends who are Nicolas Jaar and Sasha Spielberg. B Side features no less touching versions of said song by Julia Holter and Shlohmo. Epic.
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As you descend the staircase into DARKSIDE's Brooklyn studio, the cement walls pulse slightly faster than your heartbeat.
Entering the converted apartment, the first thing you notice is the symmetry of Dave Harrington's appearance. In the low light, his matte-black shirt and jeans form negative space between the shine of his boots and his shock of red hair. He holds the guitar, which bisects his body, with equal parts tenderness and lust. When he plays, he whips the rhythm with soprano licks and a steady baritone.
Behind Dave, an opaque figure controls the percussion and the bass line. I watch them manipulate the reticent groove until the silhouette steps into the microphone's aura and delivers a falsetto. The atmospheric relief reveals Dave's accomplice to be Nicolas Jaar. Together, they are DARKSIDE.
During a break from the rehearsal, we sink into a crushed velvet loveseat and listen to their self-titled debut. The EP begins innocently enough. But as you progress into the tracks, entitled "A1," "A2," and "A3," it feels like searching for pleasure where you know you shouldn't. The beat in this clandestine affair has just enough restraint. By the time DARKSIDE concludes, you know the catharsis is worth the sin.
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Entering the converted apartment, the first thing you notice is the symmetry of Dave Harrington's appearance. In the low light, his matte-black shirt and jeans form negative space between the shine of his boots and his shock of red hair. He holds the guitar, which bisects his body, with equal parts tenderness and lust. When he plays, he whips the rhythm with soprano licks and a steady baritone.
Behind Dave, an opaque figure controls the percussion and the bass line. I watch them manipulate the reticent groove until the silhouette steps into the microphone's aura and delivers a falsetto. The atmospheric relief reveals Dave's accomplice to be Nicolas Jaar. Together, they are DARKSIDE.
During a break from the rehearsal, we sink into a crushed velvet loveseat and listen to their self-titled debut. The EP begins innocently enough. But as you progress into the tracks, entitled "A1," "A2," and "A3," it feels like searching for pleasure where you know you shouldn't. The beat in this clandestine affair has just enough restraint. By the time DARKSIDE concludes, you know the catharsis is worth the sin.
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2014 ONE TIME repress/re-rerelease of CS007 in it´s original sleeve /art/ labeldesign!
In the dead of winter, I visited Nico in his apartment in Providence, Rhode Island. He had just finished composing "Don't Break My Love," the A-side of his new EP and his first song since Space is Only Noise. He seemed solemn, but I didn't ask why. The next night, I witnessed a rare occurrence: Nico DJ-ed a small party. We danced all night in a brick-walled loft as snow fell outside. Half a year later and a continent away, the B-side, "Why Didn't You Save Me," arrived. Nico wrote it one sleepless night after a show in Germany. He spent the rest of the tour developing the song, letting it grow.
The rhythms on the EP unravel slowly. As the songs progress, they fill up with rapid-fire hi-hats and mechanical percussion. The faster strikes meet slower beats and the songs seem to stretch; they feel pulled in both directions almost ad infinitum. After the tour, I re-listened to the EP, a ten inch vinyl, with Nico in his apartment in New York. He told me he had been singing more and more, and sampling less. The EP foreshadowed an evolving sound within Clown & Sunset, he explained, and previewed an upcoming compilation by the same name, replete with new talent.
When the B-side wound down, and the clavinet faded out, Nico placed his finger tip on the edge of the record, slowing it to a crawl. With the resonance of our feelings, we remained still for a while after, as silence enveloped us.
Tracklisting:
A: Don't Break My Love
B: Why Didn't You Save Me
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In the dead of winter, I visited Nico in his apartment in Providence, Rhode Island. He had just finished composing "Don't Break My Love," the A-side of his new EP and his first song since Space is Only Noise. He seemed solemn, but I didn't ask why. The next night, I witnessed a rare occurrence: Nico DJ-ed a small party. We danced all night in a brick-walled loft as snow fell outside. Half a year later and a continent away, the B-side, "Why Didn't You Save Me," arrived. Nico wrote it one sleepless night after a show in Germany. He spent the rest of the tour developing the song, letting it grow.
The rhythms on the EP unravel slowly. As the songs progress, they fill up with rapid-fire hi-hats and mechanical percussion. The faster strikes meet slower beats and the songs seem to stretch; they feel pulled in both directions almost ad infinitum. After the tour, I re-listened to the EP, a ten inch vinyl, with Nico in his apartment in New York. He told me he had been singing more and more, and sampling less. The EP foreshadowed an evolving sound within Clown & Sunset, he explained, and previewed an upcoming compilation by the same name, replete with new talent.
When the B-side wound down, and the clavinet faded out, Nico placed his finger tip on the edge of the record, slowing it to a crawl. With the resonance of our feelings, we remained still for a while after, as silence enveloped us.
Tracklisting:
A: Don't Break My Love
B: Why Didn't You Save Me
More