After spending 6 months in New York Tin Man returned with 2 records for Pomelo. The first of the pair, the “Underdog EP pt1.”, features two of Tin Man’s most party ready tracks to date. On the A Side Tin Man shows how to rock at peak time. ‘UR’ applies rave stabs over a Tin Man trade mark acid line, achieving maximum dancefloor pressure in an always evolving 13 minutes arrangement. The track title makes it easy to guess where Tin Man drew his inspiration from. ‘Stay Down’ on the flip side goes deeper, delivering a hypnotically grooving minimal house tune, featuring an elevating key line that, like an Escher staircase, perpetually moves up while returning to its starting point.
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More records from tin man
1
Tin Man - Nonneo
2
Tin Man - Mystified Acid (2024 rework)
3
Tin Man - Nonneo – Donato Dozzy remix
4
Tin Man - Love and Sex Acid
Tracklist
A1. Nonneo
A2. Mystified Acid (2024 rework)
B1. Nonneo – Donato Dozzy remix
B2. Love and Sex Acid
Acid Test repress the very first Acid Test 12”, a now-renowned outing by Vienna’s Tin Man aka Johannes Auvinen. ACIDTEST01.1 the repress serves up the original “Nonneo” alongside a new 2024 rework of “Mystified Acid” on the A side, while the B-side sees the revered hypnotic “Nonneo” remix by Italian techno master Donato Dozzy, rounded off by long-time favourite “Love Sex Acid” from the Acid Acid album. It’s a sweetly balanced package of vintage Tin Man vibes, always searching for the heart in the machine.
Mastered and recut by Rashad.
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A1. Nonneo
A2. Mystified Acid (2024 rework)
B1. Nonneo – Donato Dozzy remix
B2. Love and Sex Acid
Acid Test repress the very first Acid Test 12”, a now-renowned outing by Vienna’s Tin Man aka Johannes Auvinen. ACIDTEST01.1 the repress serves up the original “Nonneo” alongside a new 2024 rework of “Mystified Acid” on the A side, while the B-side sees the revered hypnotic “Nonneo” remix by Italian techno master Donato Dozzy, rounded off by long-time favourite “Love Sex Acid” from the Acid Acid album. It’s a sweetly balanced package of vintage Tin Man vibes, always searching for the heart in the machine.
Mastered and recut by Rashad.
More
1
Tin Man - Hidden Acid
2
Tin Man - Swaying Acid
3
Tin Man - Running Acid
4
Tin Man - Wrapped Up Acid
Tracklist
A1. Hidden Acid
A2. Swaying Acid
B1. Running Acid
B2. Wrapped Up Acid
Release Info:
Vienna-based producer and 303 maestro Tin Man returns to Acid Test for his first solo EP for the label in over 5 years. It's another impeccable outing of romantic acid variations, especially tailored for unforgettable dancefloor revelations.
Tin Man has been setting the pace for forward-looking acid lovers for close to two decades now, and on his 15th Acid Test appearance he takes the vibe back to early and proto-house roots, stripping back the musical elements while layering in the euphoria with four perfectly crafted slices of feelgood 303.
Opening track Hidden Acid already sounds like a long lost classic, with strings draped over bouncy acid and motorik drums, stretching out over nearly nine minutes, and beautifully capturing the feel of house music circa 1991. Swaying Acid comes in all propulsive, toms and congas setting the foundation for melodic acid lines to weave through your heart strings.
On the B Side, Running Acid is fully optimized for the autobahn fast lane - a gradual, slow-filtered acid meltdown that builds and releases in tandem with driving hats and vaporous pads that hang over the track like early morning mists. Wrapped Up Acid brings the EP to a fitting close, slowing the tempo for a low-key easy dance excursion par excellence - smooth yet spikey 303 riffs punctuate the chords that drift through with a hint of Badalamenti in the progression.
With the Hidden Acid EP Tin Man might hark back to more vintage times, but the emotive power is as strong as ever. The naivety of the ‘90s is instead replaced with a conviction behind the musical choices that brings even more weight to the heartwarming vibes. This is acid in some of the best shape it's ever been, enhanced and upgraded specifically for the dance.
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A1. Hidden Acid
A2. Swaying Acid
B1. Running Acid
B2. Wrapped Up Acid
Release Info:
Vienna-based producer and 303 maestro Tin Man returns to Acid Test for his first solo EP for the label in over 5 years. It's another impeccable outing of romantic acid variations, especially tailored for unforgettable dancefloor revelations.
Tin Man has been setting the pace for forward-looking acid lovers for close to two decades now, and on his 15th Acid Test appearance he takes the vibe back to early and proto-house roots, stripping back the musical elements while layering in the euphoria with four perfectly crafted slices of feelgood 303.
Opening track Hidden Acid already sounds like a long lost classic, with strings draped over bouncy acid and motorik drums, stretching out over nearly nine minutes, and beautifully capturing the feel of house music circa 1991. Swaying Acid comes in all propulsive, toms and congas setting the foundation for melodic acid lines to weave through your heart strings.
On the B Side, Running Acid is fully optimized for the autobahn fast lane - a gradual, slow-filtered acid meltdown that builds and releases in tandem with driving hats and vaporous pads that hang over the track like early morning mists. Wrapped Up Acid brings the EP to a fitting close, slowing the tempo for a low-key easy dance excursion par excellence - smooth yet spikey 303 riffs punctuate the chords that drift through with a hint of Badalamenti in the progression.
With the Hidden Acid EP Tin Man might hark back to more vintage times, but the emotive power is as strong as ever. The naivety of the ‘90s is instead replaced with a conviction behind the musical choices that brings even more weight to the heartwarming vibes. This is acid in some of the best shape it's ever been, enhanced and upgraded specifically for the dance.
More
Renowned acid cosmologist Johannes Auvinen, best known by his alias Tin Man, leaves the club floor behind for a full-length kosmische excursion on Bureau B. Since his first Tin Man records nearly 20 years ago, Auvinen has impelled acid—in the grand tradition of Phuture and co.—into shapes and forms heretofore uncharted. He does it again on his latest, "Arles," exploring a new realm of impressionistic beauty where pristine, heartfelt melodies dance delicately atop austere motorik rhythms. It's a trip you'll want to take again and again.
Tracklist
1.1Arriveé
1.2Arles
1.3Lucidité
1.4Espace Gestuel
1.5Tournesol
1.6Irisé More
Tracklist
1.1Arriveé
1.2Arles
1.3Lucidité
1.4Espace Gestuel
1.5Tournesol
1.6Irisé More
1
Tin Man - No Title
2
Tin Man - No Title
3
Tin Man - No Title
4
Tin Man - No Title
The legendary Tin Man takes us down, going deeper into the acid rabbit hole with his latest EP on Konstrukt. The 11th release of this Dutch label shows the influx of acid pulses that move and resonate through the liquid landscape below surface. The perfect blend between the well known eerie and soothing acid-scapes that navigate on the solid foundation of kick and hihat.
All tracks written and produced by Johannes Auvinen More
All tracks written and produced by Johannes Auvinen More
4LP (full 3LP original classic version + 4th LP Bonus)
Acid Test reissues the highly sought after 'Acid Acid' 3 LP from Tin Man,
now titled 'Acid Acid Acid' and includes a 4th disc of unreleased material recorded from the period, and has been remastered by Stefan Betke.
A Flip
B Forever
C1 Confusion's In
C2 Acid Supreme
D1 Giving It To You
D2 Love And Sex
E1 Come Feel The Acid
E2 Bass Tunnel
F1 Hot Juice
F2 Acid Acid
G1 Heated Acid
H1 Crisp & Cosey Acid
H2 Jack It Acid
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Acid Test reissues the highly sought after 'Acid Acid' 3 LP from Tin Man,
now titled 'Acid Acid Acid' and includes a 4th disc of unreleased material recorded from the period, and has been remastered by Stefan Betke.
A Flip
B Forever
C1 Confusion's In
C2 Acid Supreme
D1 Giving It To You
D2 Love And Sex
E1 Come Feel The Acid
E2 Bass Tunnel
F1 Hot Juice
F2 Acid Acid
G1 Heated Acid
H1 Crisp & Cosey Acid
H2 Jack It Acid
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Dripping Acid is a series of separate 12"s exploring themes of melodic liquid acid. Part 1 of 6 limited releases by the Tin Man!! -- For Tin Man, acid endures. Like the lapping of a sizzling ocean on the shores of a distant planet, the peaks and troughs of expansive 303 basslines have been a constant in the music of the producer born Johannes Auvinen. He dedicated his mid-2000s early period to the sound, and even as his productions have expanded in scope and style - from the vocaltinged techno of Cool Wave, Wasteland and Perfume, to the intricate, classical-leaning compositions of Vienna Blue - he has returned often to Roland's indelible bass synthesizer. His plaintive, searing melodies have anchored Absurd Recordings' venerable Acid Test series since its first release, and they've punched through the mix in the club music of recent collaborations with Gunnar Haslam (Romans), with Cassegrain, and also with John Tejada. So it wouldn't be accurate to call Tin Man's latest project, Dripping Acid, a rededication. Yet his most ambitious project to date - six 12"s comprised only of new acid compositions - embraces the style as wholeheartedly as he ever has. While the brittle machine-music of '80s Chicago is the blueprint of any acid track, Dripping Acid refrains from revivalism, instead looking forward and inward as it harnesses the 303's psychedelic potential through sumptuous production and adventurous composition. Though it's focused on a single style, Dripping Acid is tremendously diverse, expanding upon the evocative physicality of its track titles ("Evaporated Acid," "Drenched Acid," "Oozing Acid") to rend dancefloors of all shapes and sizes. Tin Man's acid can be exuberant and coy, bleak and technicolor, maximalist and impressionistic, even completely unrecognizable as acid - but as Auvinen stretches the sound to the point of snapping, he shows there's still bend in a decades-old template, and plenty more alien waves to ride
More
1
tin man - Evaporated Acid2
2
tin man - Underwater Acid3
3
tin man - Sunken Acid
Dripping Acid is a series of separate 12"s exploring themes of melodic liquid acid. Part 1 of 6 limited releases by the Tin Man!! -- For Tin Man, acid endures. Like the lapping of a sizzling ocean on the shores of a distant planet, the peaks and troughs of expansive 303 basslines have been a constant in the music of the producer born Johannes Auvinen. He dedicated his mid-2000s early period to the sound, and even as his productions have expanded in scope and style - from the vocaltinged techno of Cool Wave, Wasteland and Perfume, to the intricate, classical-leaning compositions of Vienna Blue - he has returned often to Roland's indelible bass synthesizer. His plaintive, searing melodies have anchored Absurd Recordings' venerable Acid Test series since its first release, and they've punched through the mix in the club music of recent collaborations with Gunnar Haslam (Romans), with Cassegrain, and also with John Tejada. So it wouldn't be accurate to call Tin Man's latest project, Dripping Acid, a rededication. Yet his most ambitious project to date - six 12"s comprised only of new acid compositions - embraces the style as wholeheartedly as he ever has. While the brittle machine-music of '80s Chicago is the blueprint of any acid track, Dripping Acid refrains from revivalism, instead looking forward and inward as it harnesses the 303's psychedelic potential through sumptuous production and adventurous composition. Though it's focused on a single style, Dripping Acid is tremendously diverse, expanding upon the evocative physicality of its track titles ("Evaporated Acid," "Drenched Acid," "Oozing Acid") to rend dancefloors of all shapes and sizes. Tin Man's acid can be exuberant and coy, bleak and technicolor, maximalist and impressionistic, even completely unrecognizable as acid - but as Auvinen stretches the sound to the point of snapping, he shows there's still bend in a decades-old template, and plenty more alien waves to ride
More
1
tin man - Washing Acid 2
2
tin man - Diving Acid
Dripping Acid is a series of separate 12"s exploring themes of melodic liquid acid. Part 1 of 6 limited releases by the Tin Man!! -- For Tin Man, acid endures. Like the lapping of a sizzling ocean on the shores of a distant planet, the peaks and troughs of expansive 303 basslines have been a constant in the music of the producer born Johannes Auvinen. He dedicated his mid-2000s early period to the sound, and even as his productions have expanded in scope and style - from the vocaltinged techno of Cool Wave, Wasteland and Perfume, to the intricate, classical-leaning compositions of Vienna Blue - he has returned often to Roland's indelible bass synthesizer. His plaintive, searing melodies have anchored Absurd Recordings' venerable Acid Test series since its first release, and they've punched through the mix in the club music of recent collaborations with Gunnar Haslam (Romans), with Cassegrain, and also with John Tejada. So it wouldn't be accurate to call Tin Man's latest project, Dripping Acid, a rededication. Yet his most ambitious project to date - six 12"s comprised only of new acid compositions - embraces the style as wholeheartedly as he ever has. While the brittle machine-music of '80s Chicago is the blueprint of any acid track, Dripping Acid refrains from revivalism, instead looking forward and inward as it harnesses the 303's psychedelic potential through sumptuous production and adventurous composition. Though it's focused on a single style, Dripping Acid is tremendously diverse, expanding upon the evocative physicality of its track titles ("Evaporated Acid," "Drenched Acid," "Oozing Acid") to rend dancefloors of all shapes and sizes. Tin Man's acid can be exuberant and coy, bleak and technicolor, maximalist and impressionistic, even completely unrecognizable as acid - but as Auvinen stretches the sound to the point of snapping, he shows there's still bend in a decades-old template, and plenty more alien waves to ride
More
1
tin man - Flooding Acid 1
2
tin man - Pooling Acid 2
3
tin man - Dripping Acid 3
Dripping Acid is a series of separate 12"s exploring themes of melodic liquid acid. Part 1 of 6 limited releases by the Tin Man!! -- For Tin Man, acid endures. Like the lapping of a sizzling ocean on the shores of a distant planet, the peaks and troughs of expansive 303 basslines have been a constant in the music of the producer born Johannes Auvinen. He dedicated his mid-2000s early period to the sound, and even as his productions have expanded in scope and style - from the vocaltinged techno of Cool Wave, Wasteland and Perfume, to the intricate, classical-leaning compositions of Vienna Blue - he has returned often to Roland's indelible bass synthesizer. His plaintive, searing melodies have anchored Absurd Recordings' venerable Acid Test series since its first release, and they've punched through the mix in the club music of recent collaborations with Gunnar Haslam (Romans), with Cassegrain, and also with John Tejada. So it wouldn't be accurate to call Tin Man's latest project, Dripping Acid, a rededication. Yet his most ambitious project to date - six 12"s comprised only of new acid compositions - embraces the style as wholeheartedly as he ever has. While the brittle machine-music of '80s Chicago is the blueprint of any acid track, Dripping Acid refrains from revivalism, instead looking forward and inward as it harnesses the 303's psychedelic potential through sumptuous production and adventurous composition. Though it's focused on a single style, Dripping Acid is tremendously diverse, expanding upon the evocative physicality of its track titles ("Evaporated Acid," "Drenched Acid," "Oozing Acid") to rend dancefloors of all shapes and sizes. Tin Man's acid can be exuberant and coy, bleak and technicolor, maximalist and impressionistic, even completely unrecognizable as acid - but as Auvinen stretches the sound to the point of snapping, he shows there's still bend in a decades-old template, and plenty more alien waves to ride
More
1
tin man - Surfing Acid
2
tin man - Soaking Acid
3
tin man - Oozing Acid
Dripping Acid is a series of separate 12"s exploring themes of melodic liquid acid. Part 1 of 6 limited releases by the Tin Man!! -- For Tin Man, acid endures. Like the lapping of a sizzling ocean on the shores of a distant planet, the peaks and troughs of expansive 303 basslines have been a constant in the music of the producer born Johannes Auvinen. He dedicated his mid-2000s early period to the sound, and even as his productions have expanded in scope and style - from the vocaltinged techno of Cool Wave, Wasteland and Perfume, to the intricate, classical-leaning compositions of Vienna Blue - he has returned often to Roland's indelible bass synthesizer. His plaintive, searing melodies have anchored Absurd Recordings' venerable Acid Test series since its first release, and they've punched through the mix in the club music of recent collaborations with Gunnar Haslam (Romans), with Cassegrain, and also with John Tejada. So it wouldn't be accurate to call Tin Man's latest project, Dripping Acid, a rededication. Yet his most ambitious project to date - six 12"s comprised only of new acid compositions - embraces the style as wholeheartedly as he ever has. While the brittle machine-music of '80s Chicago is the blueprint of any acid track, Dripping Acid refrains from revivalism, instead looking forward and inward as it harnesses the 303's psychedelic potential through sumptuous production and adventurous composition. Though it's focused on a single style, Dripping Acid is tremendously diverse, expanding upon the evocative physicality of its track titles ("Evaporated Acid," "Drenched Acid," "Oozing Acid") to rend dancefloors of all shapes and sizes. Tin Man's acid can be exuberant and coy, bleak and technicolor, maximalist and impressionistic, even completely unrecognizable as acid - but as Auvinen stretches the sound to the point of snapping, he shows there's still bend in a decades-old template, and plenty more alien waves to ride
More
1
tin man - Undertow Acid 2
2
tin man - Drenched Acid 3
3
tin man - Oily Acid
Dripping Acid is a series of separate 12"s exploring themes of melodic liquid acid. Part 1 of 6 limited releases by the Tin Man!! -- For Tin Man, acid endures. Like the lapping of a sizzling ocean on the shores of a distant planet, the peaks and troughs of expansive 303 basslines have been a constant in the music of the producer born Johannes Auvinen. He dedicated his mid-2000s early period to the sound, and even as his productions have expanded in scope and style - from the vocaltinged techno of Cool Wave, Wasteland and Perfume, to the intricate, classical-leaning compositions of Vienna Blue - he has returned often to Roland's indelible bass synthesizer. His plaintive, searing melodies have anchored Absurd Recordings' venerable Acid Test series since its first release, and they've punched through the mix in the club music of recent collaborations with Gunnar Haslam (Romans), with Cassegrain, and also with John Tejada. So it wouldn't be accurate to call Tin Man's latest project, Dripping Acid, a rededication. Yet his most ambitious project to date - six 12"s comprised only of new acid compositions - embraces the style as wholeheartedly as he ever has. While the brittle machine-music of '80s Chicago is the blueprint of any acid track, Dripping Acid refrains from revivalism, instead looking forward and inward as it harnesses the 303's psychedelic potential through sumptuous production and adventurous composition. Though it's focused on a single style, Dripping Acid is tremendously diverse, expanding upon the evocative physicality of its track titles ("Evaporated Acid," "Drenched Acid," "Oozing Acid") to rend dancefloors of all shapes and sizes. Tin Man's acid can be exuberant and coy, bleak and technicolor, maximalist and impressionistic, even completely unrecognizable as acid - but as Auvinen stretches the sound to the point of snapping, he shows there's still bend in a decades-old template, and plenty more alien waves to ride
More
2LP - ATLP04 UPC: 827170559868 Release 22.09.14
Special remarks: : 2LP Gatefold Vinyl +Downloadcode
Tracklist LP: 1. No New Violence 2. In Your System 3. Depleted Serotonin 4. What A Shame 5. Vertigo 6. Memorphillia 7. Ode
What does a rave sound like the next day? The strobe lights in a dark warehouse, the pounding kick, the blur of ecstatic faces lead to a morning-after emptiness, all fade into memories of the friends you once had. On Ode, Tin Man (proper name Johannes Auvinen) explores this feeling, offering tracks which possess an exhausted joy, the aural equivalent of the stretch of time beginning when the last record is played and stretching on towards the doleful contemplation of last night's unmade sheets.
Appropriately, Tin Man's melancholic dance music is more club-ready than ever. The opening tracks explore the spacious atmosphere first proposed on Neo Neo Acid and the (recently repressed) Acid Test 01 collaboration with Donato Dozzy. Auvinen continues to coax unique, bittersweet sounds out of the 303 - his control is akin to a virtuosic theremin player, all dramatic lunges and dynamics. Yet on tracks like Depleted Serotonin, the memories of half-remembered nights surface. That track reprises the minor-key rave breakdown, ending with nearly three-minutes of knackered techno throb. Similarly, "What a Shame" sounds like a forgotten Warp classic run through Tin Man's palette of tasteful reserve.
Always conceptual, Tin Man is commenting on big room techno music by presenting his thoughtful, hungover version of it. On Vertigo, he reins in the acid box acrobatics - opting instead for a rudimentary, early-Chicago style pattern, eventually following optimistic chords skyward. It's a simulacrum of that end-of-the-night moment when the music is so charged and utopic that all fatigue is forgotten. Auvinen's recognized talent to imbue machines with complex human emotion draws us into his world. With Tin Man's music, there is always something left unsaid -- he uses familiar elements yet his perspective remains singular and mysterious. Each dreamlike track is another clue.
He ends the set with the intensely dramatic Memoraphilia and Ode. The former concludes on an ominous note with strings that evoke paranoia, yet this feeling, too, will pass. The final (and title) track begins with the Deepchord-level percussive filtering that acts as the album's textural base. Almost immediately, Tin Man introduces an octave jumping acid refrain. The four-bar loop reaches operatic heights of yearning. Ode's rave stabs indicate this drama comes from the implacable notion of being alone in the crowd -- an emptiness which can remain long after it's disbanded. What comes when the dance is over?
More
Special remarks: : 2LP Gatefold Vinyl +Downloadcode
Tracklist LP: 1. No New Violence 2. In Your System 3. Depleted Serotonin 4. What A Shame 5. Vertigo 6. Memorphillia 7. Ode
What does a rave sound like the next day? The strobe lights in a dark warehouse, the pounding kick, the blur of ecstatic faces lead to a morning-after emptiness, all fade into memories of the friends you once had. On Ode, Tin Man (proper name Johannes Auvinen) explores this feeling, offering tracks which possess an exhausted joy, the aural equivalent of the stretch of time beginning when the last record is played and stretching on towards the doleful contemplation of last night's unmade sheets.
Appropriately, Tin Man's melancholic dance music is more club-ready than ever. The opening tracks explore the spacious atmosphere first proposed on Neo Neo Acid and the (recently repressed) Acid Test 01 collaboration with Donato Dozzy. Auvinen continues to coax unique, bittersweet sounds out of the 303 - his control is akin to a virtuosic theremin player, all dramatic lunges and dynamics. Yet on tracks like Depleted Serotonin, the memories of half-remembered nights surface. That track reprises the minor-key rave breakdown, ending with nearly three-minutes of knackered techno throb. Similarly, "What a Shame" sounds like a forgotten Warp classic run through Tin Man's palette of tasteful reserve.
Always conceptual, Tin Man is commenting on big room techno music by presenting his thoughtful, hungover version of it. On Vertigo, he reins in the acid box acrobatics - opting instead for a rudimentary, early-Chicago style pattern, eventually following optimistic chords skyward. It's a simulacrum of that end-of-the-night moment when the music is so charged and utopic that all fatigue is forgotten. Auvinen's recognized talent to imbue machines with complex human emotion draws us into his world. With Tin Man's music, there is always something left unsaid -- he uses familiar elements yet his perspective remains singular and mysterious. Each dreamlike track is another clue.
He ends the set with the intensely dramatic Memoraphilia and Ode. The former concludes on an ominous note with strings that evoke paranoia, yet this feeling, too, will pass. The final (and title) track begins with the Deepchord-level percussive filtering that acts as the album's textural base. Almost immediately, Tin Man introduces an octave jumping acid refrain. The four-bar loop reaches operatic heights of yearning. Ode's rave stabs indicate this drama comes from the implacable notion of being alone in the crowd -- an emptiness which can remain long after it's disbanded. What comes when the dance is over?
More
More records from pomelo
1
Lok44 - Dime
2
Lok44 - Stranger
3
Lok44 - Late Reaction
4
Lok44 - Easy Virtue
From the straight-edge allure of 'Dime' to the enigmatic charm of 'Stranger' and the jazzy sophistication of the title track, ending with the deep electro funk tune 'Easy Virtue,' Lok44's 'Late Reaction' is a captivating exploration of divergent forms of electric sweat music. Out on Pomelo, one of the longest running techno label out there.
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1
Atom™ & Tobias. - Cuando
2
Atom™ & Tobias. - Cuando (tool I)
3
Atom™ & Tobias. - Aux I
4
Atom™ & Tobias. - Aufmerksamkeitsspanne (Edit I)
5
Atom™ & Tobias. - Aufmerksamkeitsspanne (Tool II)
6
Atom™ & Tobias. - Zahlenraum (Edit)
7
Atom™ & Tobias. - Zahlenraum (Tool)
8
Atom™ & Tobias. - Enne
9
Atom™ & Tobias. - NMHS
10
Atom™ & Tobias. - Aux II
Extremely limited collectors edition of Atom™ & Tobias.' Toolbox Series (Cuando, Zahlenraum & Enne) released on Pomelo (POM45-47) with a Dextro-designed cover, including download codes of all releases with exclusive edits.
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1
Vedelius - The Crypt
2
Vedelius - The Crypt (Phosphene Remix)
3
Vedelius - The Crypt (Lodig/Dibek Remix)
4
Vedelius - The Crypt (Lok44 Remix)
Newest addition to Pomelo is Spanish talent Vedelius, who delivers the late night burner "The Crypt". The EP comes with three inventive and floor ready remixes by the likes of Phosphene, Lodig/Dibek and Lok44 – a rolling breakbeat version by Phosphene, jacking techno by Lodig/Dibek and a dubbed out Electro-Techno stepper by Lok44. Strictly Limited Edition of 250.
More
1
Atom TM & Tobias - No Title
2
Atom TM & Tobias - No Title
3
Atom TM & Tobias - No Title
Atom™ & Tobias bookend their Pomelo trilogy in style with "Enne", final instalment of their three-part series that started with "Cuando" and "Zahlenraum" last year. The EPs three tracks span the breadth and depth of Atom™ & Tobias's hardware techno sessions. From the slow-burning and punishingly addictive title track, to the jacking, rattling TR-909 grooves of 'NHMS', and the sprawling widescreen dubs of "Aux II", "Enne" simultaneously celebrates the delicacy, immediacy, and unmitigated power of twirling synth lines, grumbling bass spirals, and pounding techno rhythms.
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Atom™ & Tobias.’s “Zahlenraum” is the second in a series of three EP’s on Pomelo, the follow-up to last month’s “Cuando”.
“Zahlenraum” features 4 cuts of daring, hypnotic and darkly twisted techno taken out of a recent studio-session. More
“Zahlenraum” features 4 cuts of daring, hypnotic and darkly twisted techno taken out of a recent studio-session. More
1
Atom TM & Tobias - Cuando
2
Atom TM & Tobias - Cuando (Tool I)
3
Atom TM & Tobias - Aux I
Atom™ & Tobias.’s CUANDO is the first in a series of three upcoming take-no-prisoners techno EP’s. Atom™ & Tobias. showcase their unique skills for hypnotic dance floor killers in unmatched sound design and once more prove that they are playing in a league completely their own.
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1
lodig/ dibek - Mix1
2
lodig/ dibek - Mix2
3
lodig/ dibek - Erdem Tunakan & Alpha Tracks Remix
Pomelo are back with this new release by Lodig/Dibek. The viennese duo delivers two modern techno tracks with compelling acid grooves, sparse drums and a haunting atmosphere. On top of that the EP is backed with a remix by Cheap records' Erdem Tunakan and Alpha Tracks who surprise with an old school Piano techno rave tune the likes of we have been missing for over 20 years.
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More
“Eat My Pussy” is the delightfully nasty debut solo release from Latvian artist Anet K., coming out on Pomelo November 24th. The title track, featuring Anet’s vocals and production, functions as both a demand and endearing request, fusing her encyclopaedic knowledge of electro with a cunning lyrical twist. With such a explicit title, it should come as no surprise that the inspiration for “Eat My Pussy” comes from firsthand experience. Anet K. is no stranger to the scene – as a long-term resident of Berlin she’s contributed vocals to several recent releases, including Barker’s “Like An Animal” on Leisure System. For the remixes, DJ Stingray presents the vocals as an even more aggressive command, while the legendary Egyptian Lover raps some addictive verses and completely revamps the arrangement, presenting his personal ode to cunnilingus in an earworm chorus. On the dance floor or between the sheets: you won’t forget “Eat My Pussy” anytime soon.
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In 1994 Pomelo released their first record, the double album "Pomelo Compilation" which featured acts who played during some of the notorious Pomelo nights in
Vienna, that had started one year before. This is the first of 2 EP ´s with exclusive tracks by some of their recording artitst, celebrating the 20th anniversary of
Pomelo Records This first part features new recordings by Patrick Pulsinger & Sam Irl, Altroy aka. TJ Hicks, Buffered Multiple aka. Microthol and DJ Glow.
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Vienna, that had started one year before. This is the first of 2 EP ´s with exclusive tracks by some of their recording artitst, celebrating the 20th anniversary of
Pomelo Records This first part features new recordings by Patrick Pulsinger & Sam Irl, Altroy aka. TJ Hicks, Buffered Multiple aka. Microthol and DJ Glow.
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Pomelo’s newest outing is delivered by the NYC based producer extraordinaire Brendon Moeller, a real master in the field of techno and dub, also well known for his productions under the monikers ‘Beat Pharmacy’ and ‘Echologist’. Despite his 10 albums and over 50 singles released for some of the best labels out there, it is three of Brendon’s strongest tracks to date that have made it on his ‘Reconcile’ EP. The EP’s title track promises a subtle fusion of house and techno through a loosly swinging techno groove, and duly delivers with echoing chord cascades and spluttering sound effects. ‘Machiavellian impulse’ picks up the intensity with a more direct, pounding beat, to which stuttering, spacious stabs add an element of deepness and dub. ‘Loudness Sustain Decay’ finally has a whole side to itself, starting out as a lofty house mover, with a pulsing wild pitch synths slowly adding tension until the track’s wild finale.
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Tin Man has been creating a stir on dance floors worldwide for many years with his unique vision of acid, techno and house. In recent times he has opened his production toolbox to a wider variety of styles, also focusing on songwriting, often adding vocals. The Underdog series, produced last winter in New York, emphasizes on deep killer techno – This new release – the Underdog EP Part 2 – features three floor shaking techno cuts in different shapes. On the A Side the aptly titled “Swarm” features an epic minimal acid tune building over 10 minutes driven by twirling soundscapes resembling a swarm of killerbees on attack. Flipping over there is “Hack”, which bows towards Soundhack with its dirty funked up sample chords and cut up groove. The EP finishes off with “Rocky”, a masterpiece in reduction – hypnotic and deep techno.
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Bad Cop Bad Cop, - Retro Futurist
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Bad Cop Bad Cop, - Unicorny
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Bad Cop Bad Cop, - Schaschlik
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Bad Cop Bad Cop, - Soulsoul
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Bad Cop Bad Cop, - Beauty
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Bad Cop Bad Cop, - Cornplex
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Bad Cop Bad Cop, - Come Swallow Me
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Bad Cop Bad Cop, - Cheeky
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Bad Cop Bad Cop, - Mudshark Galore
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Bad Cop Bad Cop, - Hilton Hihat
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Bad Cop Bad Cop, - Bodyless Material
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Bad Cop Bad Cop, - Surfin USB
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Kemetrix, - Soul Man
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Kemetrix, - K-O-T-G
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Kemetrix, - Soul Survivor
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Kemetrix, - Ancient Godz
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Kemetrix, - Keep Yo Eyes
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Kemetrix, - The Hunger
Pomelo introduces the Motor City?s superbly talented Kemetrix, aka Soulwerkz Detroit. Part of the Mahogani Music family and closely associated to Moodyman as well as Sherard Ingram aka DJ Stingray, Kemetrix blazes a unique path through soul, funk, ghettotech and sci-fi electro styles. ?Soulbrother #3? brings both KDJ?s deepness and Stingray?s futurism to the table, merging both sides of Detroit?s 20th century musical heritage, Motown and Metroplex, in singular fashion. Kemetrix?s influences range from Curtis Mayfield?s falsetto vocal style and social commentary, to George Clinton?s collage production style, and J Dilla?s raw and unquantized beat programming. Kemetrix?s music comes from the ghetto. It is raw, intense, and authentic, a unique expression of the struggle and hardships of Detroit inner city life ? true soul music for the 21st century.
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Elektro Guzzi, - Fat Pony
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Elektro Guzzi, - High Noon
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Elektro Guzzi, - Asteroid
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Elektro Guzzi, - Jangu
Elektro Guzzi have been called a lot of things – from “Man-Machine” to “first ever real live techno band” – and most critics have added plenty of superlatives to their descriptions. It’s a hype you can safely believe: The energy and precision of their fabled live shows has to be experienced first hand in order to understand why Elektro Guzzi are regulars on the world’s clubs and festival circuit, having played Berghain and Fabric, SÛnar and Time Warp in 2011. It’s also a hype you can safely ignore: Listening to Elektro Guzzi’s music it becomes completely irrelevant that these tracks are created using guitars, drums and effect pedals. They stand tall for what they are: Spectacularly unique sounding and brilliantly flowing exercises in dark, organic techno.
From hypnotic ‘Fat Pony’ to ‘High Noon’s swirling pads and ‘Jangu’s steel-drum-led Jeff Mills allusions, the trio’s Pomelo debut is an EP that’s firmly made with the dance-floor as its inspiration and goal, refining their style while embracing new influences, such as the wobbly bass lines and bouncy UK-style grooves in ‘Asteroid’. Once again aided by the legendary mixing skills of Patrick Pulsinger at Vienna’s Feedback Studios, Bernhard Hammer, Jakob Schneidewind and Bernhard Breuer are clearly at the peak of their prowess and well on the way of making Elektro Guzzi the most radical dance band of the decade.
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From hypnotic ‘Fat Pony’ to ‘High Noon’s swirling pads and ‘Jangu’s steel-drum-led Jeff Mills allusions, the trio’s Pomelo debut is an EP that’s firmly made with the dance-floor as its inspiration and goal, refining their style while embracing new influences, such as the wobbly bass lines and bouncy UK-style grooves in ‘Asteroid’. Once again aided by the legendary mixing skills of Patrick Pulsinger at Vienna’s Feedback Studios, Bernhard Hammer, Jakob Schneidewind and Bernhard Breuer are clearly at the peak of their prowess and well on the way of making Elektro Guzzi the most radical dance band of the decade.
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Alex Cortex, - Kihon 11
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Alex Cortex, - Kihon 5
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Alex Cortex, - Kihon 10
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Alex Cortex, - Kihon 4
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Alex Cortex, - Kihon 9
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Alex Cortex, - Kihon 6
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Alex Cortex, - Kihon 3
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Alex Cortex, - Kihon 8
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Alex Cortex, - Kihon 2
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Alex Cortex, - Kihon 7
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Alex Cortex, - Kihon 1
15 years have passed since Alex Cortex began to create his own vision of electronic music - timeless and beyond trends, without a buzz or hype, steadily winning the following of DJs and home-listeners, collectors and critics worldwide. His style can be described as unpredictable to a certain point, while maintaining high aesthetic standards; playful with quotes and references, always low-key and focused on psychedelic immersion into sound
that shifts the attention from the artist to the music. 'Kihon' is a very personal effort, as suggested by the self-portrait on the cover that puts ear, eye, and mouth -reception and production- into context. The carefully elaborated design of this gatefold double LP speaks as a whole and in true minimalist fashion about the passing of time, without ever declaring nostalgia to be a means for itself. This also reflects in the music. Alex Cortex evades large gestures and obvious quotes, but is certainly conscious of locating his album within a framework of references to other works of electronic music that are important for his own musical evolution. In 11 nameless tracks, 'Kihon' takes us on a journey through organic worlds of sound that invites us to flow with the music and connect with the feelings contained in it. The title 'Kihon' that relates to Japanese martial arts translates to 'basics' or 'fundamentals', the training of which does not even cease when reaching master grades. Those basics that are passed on beyond time are also the foundation of this album. By concentrating on the bare essentials, the music begins to speak, turning the album into a harmonic whole. 'Kihon' therefore is also a return to
listening, away from a utilitarian perception of music as a background sound. This does not mean it would not work perfectly well in a club context -in the right hands it indeed does- but more notably, 'Kihon' is a work of art worth your attention and destined to stand the test of time.
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that shifts the attention from the artist to the music. 'Kihon' is a very personal effort, as suggested by the self-portrait on the cover that puts ear, eye, and mouth -reception and production- into context. The carefully elaborated design of this gatefold double LP speaks as a whole and in true minimalist fashion about the passing of time, without ever declaring nostalgia to be a means for itself. This also reflects in the music. Alex Cortex evades large gestures and obvious quotes, but is certainly conscious of locating his album within a framework of references to other works of electronic music that are important for his own musical evolution. In 11 nameless tracks, 'Kihon' takes us on a journey through organic worlds of sound that invites us to flow with the music and connect with the feelings contained in it. The title 'Kihon' that relates to Japanese martial arts translates to 'basics' or 'fundamentals', the training of which does not even cease when reaching master grades. Those basics that are passed on beyond time are also the foundation of this album. By concentrating on the bare essentials, the music begins to speak, turning the album into a harmonic whole. 'Kihon' therefore is also a return to
listening, away from a utilitarian perception of music as a background sound. This does not mean it would not work perfectly well in a club context -in the right hands it indeed does- but more notably, 'Kihon' is a work of art worth your attention and destined to stand the test of time.
More