Solomun & CASSIM remix two of the track rake from Radio Slave’s Venti album released earlier this year. Diynamic boss and Ibiza titan Solomun remixes Radio Slave ‘The Lunatics’ on Rekids, following the original’s inclusion in Matt Edwards’ acclaimed ‘Venti’ album in May. The original, a rework itself, reimagined the 1981 Fun Boy Three track ‘The Lunatics Have Taken Over The Asylum’, with Edwards’ ode to the band’s late lead vocalist and The Specials frontman Terry Hall winning support from Saoirse, Erol Alkan, Jennifer Cardini, Laurent Garnier, Paul Woolford, and Honey Dijon. Solomun’s remix of ‘The Lunatics’ is sparkling aural nostalgia executed with total joy. Crisp 80s drums, Stranger Things-esque Jupiter 8 synth swells, the vocoded titular vocal, and a gloriously rich sliding bassline combine to drag the listener back to 1983 in the best possible way. As the track builds, rousing guitars join the ensemble, completing what is a hypnotic, melodic trip to the 80s via what’s set to be a 2024 anthem. CASSIMM’s remix of Radio Slave vs Audion’s ‘Mouth To Mouth’ continues the story of Matthew Dear’s classic, which Radio Slave revived and reinvented as part of his 2024 LP, ‘Venti’. Radio Slave’s hi-NRG disco cover of Audion’s minimal/maximal 2006 and era-defining anthem has dominated dancefloors since it emerged as a single in late 2023, with the likes of Erol Alkan, Job Jobse, Sean Johnston, Jennifer Cardini and Eats Everything continuing to play it today and the latter awarding it an Essential New Tune whilst sitting in for Pete Tong on BBC Radio 1. Now, recent Rekids alum CASSIMM continues his huge run of form with a chunky, main-room house interpretation that shows just why his recent release, ‘House of Moves,’ won DJ support from the likes of Tong, Arielle Free, Paul Woolford, Honey Dijon, and Jennifer Loveless. CASSIMS’s remix of Radio Slave vs Audion quickly follows Lindstrom and Solomun’s remixes of the ‘Venti’ LP’s tracks, which have seen support from the likes of Ivan Smagghe, Chloé Caillet, Nightmares On Wax, and more

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Radio Slave's 'Venti' is released on Rekids on May 17th and is a twelve-track celebration of Matt Edward's most prominent alias' history. Starting life as a series of singles that began in 2023, 'Venti' sees Edwards explore lower tempos, House, Disco, and the Pop reinterpretations that birthed the moniker back in 2001.

From Venti’s opening track onwards, a glistening piece of piano-led house that's become an anthem at Sean Johnston and the late Andrew Weatherall's lauded ALFOS parties, it is clear that Edwards is keen to celebrate the past but through the lens of now. A Radio Slave favourite, 'Wait A Minute', is updated to include a powerful vocal from Nez. Kylie's 'Can't Get You Out of My Head' - a track that kicked Radio Slave into the modern dance music consciousness is reinvented as an Italo-inspired cover featuring Michael Love Michael delivering glorious vocals. 'Wild Life' and 'Wake Up', another two tracks that, as singles, dominated house and disco sets of the great and good in 2023, feel simultaneously fresh while paying homage to the origins of House - message-heavy vocals and all. A cover of Audion's 'Mouth to Mouth' and Edwards' tribute to Terry Hall, the Fun Boy Three reimagining 'The Lunatics' are keen displays of Radio Slave's knack for taking on beloved tracks and making them his own. The lasers-set-to-stun cut-and-paste nu-disco of Radio Slave’s 'Jaws' is a muscular and timely reminder that the punch of a track lies in its feel rather than tempo, while Edward's command of dub aesthetics and unmatched ability to stretch grooves into a tension-filled journey shines through on 'New Balance' and the epic closer, 'Thirty-Six'. Never one to entirely give into the throes of the 4:4, the cinematic electro of 'Stranger In The Night' and Balearic Cagedbaby collab 'Amnesia' round out 'Venti' as the whole Radio Slave experience - as intense as it is subtle.

One of the most prolific and critically lauded electronic music artists of the past two and half decades, Matt Edwards was born in Catford, London, in the early 1970s. When acid house hit the city, Edwards was deep in the scene, and he's remained there since. Residencies at the groundbreaking Ministry of Sound and an 'unofficial' residency that has seen him become one of Panorama Bar's most booked DJs during his 15-year stint living in Berlin have provided the grounding for an enviable tour diary that continues today.

His Rekids imprint, a label that has platformed some of dance music's biggest names, has been regarded as a high benchmark for two decades with Matt as sole A&R. Collaborations with legendary artists such as DJ Hell and Robert Hood, releases for Running Back, R&S, Innervisions, Figure and more, and a remixography that simply couldn't be repeated in modern music show just how important Radio Slave is.

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Repress!

Radio Slave drops ‘Strobe Queen’ this June, complete with Eric Kupper and Kirk Degiorgio Remixes. following a string of massive singles over the course of 2022 and 2023, in tandem with the continued success of his acclaimed Rekids and RSPX imprints, Radio Slave prepares his latest single ‘Strobe Queen’, a 12-minute, slow-burning house epic landing this March. Eric Kupper and Kirk Degiorgio remix Radio Slave’s ‘Strobe Queen’ this June. Heard in clubs courtesy of Honey Dijon, Laurent Garnier, and Sean Johnston, amongst others, and on the airwaves via the likes of BBC Radio 1, Radio Slave now recruits two legendary remixers for thw remixes of ‘Strobe Queen’. Requiring little introduction, Eric Kupper and Kirk Degiorgio both turn in exceptional versions of the original, while Radio Slave contributes a stunning reprise of his own, continuing to explore his love of slower tempos and long arrangements of golden era NYC, as seen in subsequent singles ‘Wild Life’ and ‘Wake Up’. Radio Slave aka Matt Edwards is one of dance music’s undisputed heavyweights. Having made his name as a DJ in the 90s, he went on to become the king of edits, twisting pop, R&B and indie cuts into essential versions that consistently set clubs alight. Since the mid-2000s, Edwards’ originals have helped define modern dance music, tackling techno, house, breakbeat, minimal and disco whilst exploring dub, balearic sounds and ambient across the myriad of other aliases and projects.

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Radio Slave pays homage to Fun Boy Three with ‘The Lunatics (A Tribute to Terry Hall)’.
Fun Boy Three’s ground-breaking 1981 anthem ‘The Lunatics Have Taken Over The Asylum’ reflected a socio-political uncertainty and fear of the time, mirroring today’s calamitous society.

Radio Slave’s tribute to the late vocalist of The Specials and Fun Boy Three, Terry Hall, ‘The Lunatics (A Tribute To Terry Hall)’ centres itself on the unmistakable haunting vocal chant of its source material. Welded to the sort of unbreakable groove that Radio Slave has spent two decades refining, the vocal swells, repeating chorus, and jolting alarm sounds make for yet another anthem from one of dance music’s most bankable names.

Rounding out the release, Radio Slave strips the single of its iconic vocal for the ‘A Clinic Full Of Cynics’ dub. In this version, he lets its infectious guitar strum bass roar and added jazz-inflected musical elements shine in a pure and true tribute to Ska music told by the Rekids founder.

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Superpitcher and Idjut Boys remix Radio Slave’s ‘Wake Up’. Radio Slave’s spoken word slow-burner ‘Wake Up’ dropped on Rekids March ‘23, winning support from the likes of Roman Fluegel, Louise Chen and Red Axes and continuing a run of singles that explores the house and disco roots of the iconic British UK/Producer. Now, he invites Kompakt a?liate and Hippie Dance co-founder Superpitcher alongside UK duo Idjut Boys to reimagine ‘Wake Up’ on a fresh 12”. The original ‘Wake Up’ saw Matt Edwards, aka Radio Slave, utilise low-slung grooves and an iconic speech-like vocal. Superpitcher remixes the track ?rst, turning it into an acid-infused trip with its vocal samples echoing through cavernous, dubbed-out soundscapes. On the ?ip, we see Idjut Boys turn up the ?ange in their hypnotic version while maintaining the original’s bassline and stripping back the vocal to eerie whispers.

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Roy Davis Jr. & Byron The Aquarius and Jamie 3:26 & Danou P remix Radio Slave’s Wildlife. ‘Wildlife’, released a few months back, found Radio Slave tapping into his house and disco roots. It proved a dance?oor smash that got support from a wide array of artists, from DJ Bone and Tim Sweeney to Roman Flugel and Axel Boman. As such, the artists chosen to remix come from similar backgrounds and bring all new perspectives to this irresistible gem. First up are Chicago house legend Roy Davis Jr. and keys playing maestro Byron The Aquarius. Both make the sort of dusty, feel-good deep house that will never grow old and have done so on the scene's best labels. Their sizzling seven-minute rework of 'Wildlife' has jazzy, life-a?rming keys and smeared synths that bring the warmth. The drums are rubbery and inviting, and the whole thing brings real musicality to the ?oor. The second remix is from original Chicago innovator, deep digger and edit king Jamie 3:26 and a young Dutch artist he has long since mentored, Danou P. Between them, they have cooked up gems like 'What It Is' together on Shake Records and remixed for Defected, all with a healthy respect for disco, funk and soul from the 80s onwards. Their take on 'Wildlife' is a piano-laced and upbeat party starter. Noodling bass ri?s,zippy synth details and lavish chords make for a sophisticated sound that will swell the heart.

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Following the recently dropped ‘Strobe Queen’, which picked up support from Honey Dijon, Sean Johnston, Laurent Garnier, BBC Radio 1’s Pete Tong and Danny Howard amongst many more, Radio Slave returns with another standout House cut ‘Wild Life’, turning in two exceptional Disco and Dub mixes. “I’ve always adored the “Wildpitch” era of DJ Pierre, Roy Davis Jnr, DJ Duke and labels like Power Music It’s definitely influenced my work as Radio Slave and “Wild Life” started out as a nod to that early nighties sound. Conceived during the pandemic, I had the track mapped out and then with help of a good friend I decided to add live bass, loads of analogue keyboards and record the whole thing live and it became this super funky disco jam.” - Radio Slave

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Initially released in 2020 via his own Rekids, ‘Stay Out All Night’ is one of Radio Slave’s biggest tracks todate, alongside timeless cuts such as ‘Grindhouse’, ‘Don’t Stop No Sleep’, and ‘Another Club’. Recruiting Carl Cox & Commix for remix duties, ‘Stay Out All Night (Remixes)’ sees two varied dancefloor-focused revisions drop this February on 12”. Leading the pack, Carl Cox steps up to the plate fresh from the release of his ‘Oh yes, oh yes!’ book. The People’s Choice delivers a lively 4/4 interpretation, flipping the syncopated breaks of the original into astomping blend of house and techno destined for dancefloor decimation. Following on is Metalheadz affiliate Commix, taking a break from his usual brand of flawless Drum & Bass to flip the original into a fresh UK Garage cut.

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Radio Slave returns to his Rekids imprint this October with the perfectly balanced ‘Acid Dip’ single. The titular track on ‘Acid Dip’ sees Matt ‘Radio Slave’ Edwards in particularly strident form. Riding a broken, stuttered-kick rhythm, ‘Acid Dip’ is a jabbing, insistent slice of UK techno shot through with hardcore and, whilst not skimping on raw power, still maintains the hypnotic nature that inhabits much of Edwards’ work. On the flip, ‘Armani’ takes off down a dubbed-out, futuristic Italo-infused house workout that, throughout its eleven minutes 28-second span, shows a more dense, layered side to Radio Slave production. Another triumph of a single from one of modern electronic music’s most consistent talents, Radio Slave’s ‘Acid Dip’, is released 15th October via Rekids.

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Radio Slave returns to his Rekids imprint for his first release of 2021, ‘Variations’. Marking the first release of 2021, Matt Edwards aka Radio Slave turns in two thundering tracks loosely based around a common theme: his signature maximal minimalism mixed with classic dub techno aesthetics. While his recent anthemic single ‘Live My Life’ displays Edwards’ knack for twisting vocal hooks into main room artillery, ‘Variations’ sees the Berlin-based producer head for room 2, showcasing Edwards ability for crafting devastatingly effective heads-y techno. After releasing Robert Hood’s incendiary ‘Mirror Man’ LP towards the end of 2020, Rekids is showing no signs of slowing down for 2021. With this release highlighting an artist at the top of his game, ‘Variations’ adds yet another powerful and striking 12” to both the discography of one of electronic music’s most essential labels and one of its most lauded artists.



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Radio Slave returns to his Rekids label with ‘Live My Life’, including a remix from Saved Records’ boss Nic Fanciulli. Responsible for some of the most recognisable vocal tracks in techno for the past 15 years, Radio Slave’s latest sees him turn in yet another tough, infectious cut that uses soulful vocal refrains as hooks. Airtight, rolling grooves have been a prominent feature in much of Radio Slave’s work, and ‘Live My Life’ is no different, paired with occasionally overlapping vocals it’s a masterclass in tension and release. On the flip, Grammy-nominated and globally renowned DJ and producer Nic Fanciulli cleverly reinterprets Edwards’ original, in a version that sees a pulsing, offbeat bassline and ever-evolving drums drive the track towards vocal crescendos throughout. Stirring, memorable, and yet another outstanding release from one of dance music’s finest. TRACK LISTING: A. Live My Life, B. Live My Life (Nic Fanciulli Remix)


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Rekids label boss Radio Slave ventures further into unknown territory in a three-part sophomore album entitled ‘Radio Silence’ with the first instalment dropping in June.

Stretching nearly two decades, Matt Edwards’s discography is staggering with releases on labels like Running Back, R&S, Ostgut Ton, Nonplus and Figure, not to mention his illustrious imprint Rekids which has been instrumental in supporting the music and careers of incendiary artists over the years, including Nina Kraviz, Mr. G, DJ Deep, Nic Fanciulli, Peggy Gou, Laurent Garnier, Spencer Parker and many more.

Although he’s released multiple albums under different guises it was only until 2017 that the debut Radio Slave album, ‘Feel The Same’, was released. Now, the renowned UK artist delivers his latest body of work in the form of his ‘Radio Silence’ album, which will be dropping in not one, but three parts.

The first chapter features perhaps the most leftfield tracks we’ve ever heard Radio Slave product, even hitting 150BPM on closing track ‘SYD’. There’s a rawness to the album, which is in part due to the fact each track was recorded live and without edits using hardware and Ableton as the main sequencer.

Across the seven tracks, Radio Slave hone’s in on a sound that’s haunting and hypnotic. Opening track ‘Ghost’ is punctuated by lingering synths, while ‘Cell’ introduces pummelling kicks that will do damage on a big system. ‘Contact’ bleeps and glitches before making way for blaring horn-like synths, and ‘ZQU’ is a masterclass in mind-bending techno. Elsewhere, closing track ‘SYD’ delivers on every level, thanks to uncompromising 150BPM realness.


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Retina.it debut on Nonplus Records, with five tracks of analogue driven Techno/Electronic music

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Charles Duff and Daniel Fisher have known each other since well before their respective forays into dance music. They serendipitously crossed paths at some point in the early 2010s with mutual friends in the NYC club kid scene. Shortly thereafter they realised they both were keen to ditch the vapid hipster bullshit that had fueled their early careers thus far in order to pursue something pure: techno. Mind you, this was at a time when it was not terribly cool to be into underground dance music. If anything, they both were greeted with massive skepticism from their peers but that didn't ultimately deter them. Both went from relative obscurity to regular slots at Berghain. And for two American kids musing in a pathetic bedroom studio, this was nothing short of a dream come true. A prophecy had been fulfilled. The two tried their hands at numerous attempts at collaboration over a 5 year period but nothing seemed to stick. Most of it sucked horrendously according to them. But not on this occasion. The stars finally came into alignment and they were able to execute a concise group of tracks that finally made sense together. Which brings us to Threads. Threads, an homage to the uber-dystopian BBC docudrama from the 80s, sums up their dynamic approach to tracks. It's an alienating, sinister take on techno that somehow manages to not fully lose faith in dire times. Much like life today.

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Emerging from the wake of his sold out release with Zehnin Records, Paleman continues his experiments with textural and visceral modular music exploration for his debut 3 track EP for Nonplus Records. A side “Sweltering Rain” is a powerful piece of groaning, urgent dance floor minimalism, charging forward with a ritualistic, undulating droid line set against scorched, otherworldly drones. B1 “Cells” opens with scurrying modulated white noise and reverberating cosmic texture patterns set against a monolithic kick drum ostinato. The elegant minimalism develops with radioactive analog synth alarms and stark futuristic vocal glitches as the track barrels forward with momentum. B2 Titan Vulture explores an undiscovered alien landscape evoking imagery of liquid pools of methane, erupting geysers and swirls of otherworldly elements. It is an absorbing, chugging and captivating piece of textural escapism, evolving as it goes whilst still featuring the elegant and considered minimalistic touch that runs throughout the EP.

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Ellen Allien prepares to release her first ever solo EP outside of her BPitch Control imprint and has chosen a label she avidly admires, Boddika's Nonplus. The title track is both a thundering call to action and a love letter to the unifying power of rave culture. While its lyrics may seem vague at first "take a stand for or against what?" they unravel their mystery while the track unfolds gradually. Starting off as a sparse basement banger, ‘Take A Stand’ slowly escalates into an acidic anthem before subtly changing its course once more towards the end. Over the course of ten and a half minutes, Ellen Allien revives the cheerful optimism of the original techno revolution while positioning herself against the joylessness inherent to so much techno these days. This is a revolution you can dance to. On the b-side, ‘Trigger’ takes us into an equally hypnotising trip down the wormhole of contemporary rave culture. Combining a hard-hitting groove with a muffled, bouncing acid bassline, it will have basements and big rooms alike dripping with sweat. On ‘Flying Objects’, Ellen Allien uses her voice once more, this time to round off what could just well be the official musical manifesto for what she usually refers to "space techno" - a colourful, futurist statement that leaves no ass unshaken.

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When Alexander (Boddika) got in touch asking for some new fresh music I knew it was a really important step for me. Nonplus is a stable reference label in the Techno scene and it was a unique opportunity. I thought the open minded philosophy of the label would help me a lot and I could create more experimental works. I decided to produce the tracks in almost one take… turned on the synths and looked for the perfect range and character of sounds and spent some weeks recording it, finishing with some edits before the final mixing. The final results were more than expected. Harmonic Rain, the Ep main's track has a really special groove, with a main melody which is transposed and slightly altering it gives me a good feeling. The Ep feels to me like a complete journey itself. With peak time tracks, and more experimental and "warm up" music. Loops but not loops. In summary, I'm really happy with this release and with the beginning of this musical relationship with Boddika and the Nonplus team."

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The Blink single is a labour of love spanning over 2 years evolving from Reshape’s Live Series. The ‘Tunnel mix’ takes its title from being road tested at the now closed Tunnel Club in Paris and both tracks are a homage to early UK and Detroit techno which Redshape holds fond memories of from his youth.

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Burial releases 2 new tracks on Nonplus, out in October!!



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A collection of tracks written & produced in 2016, Milan, Italy, including some of his first solo material after focusing on his CW/A project with Francesco Leali aka Clockwork for a few years. An audio engineer by trade, Avatism records electronic music and operates Parachute Records from his Milan-based studio. With original compositions and remixes on Nonplus, Vakant, Decca, R&S and his own imprint, the young Italian is well-respected for his own brand of dilapidated, muscular dance music. Performing solely as a live act, his improvised transmissions echo through the walls of clubs like Fabric, Berghain, Concrete, Panorama Bar and festivals of the calibre of Sonar, Audioriver and EXIT, either alone or under the guise of CW/A.

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Musician, journalist, radio host. In his works he is looking for a balance between the corporeal and the contemplative aspects of music. Sound induced by him can be described as something between techno, deep techno and dub techno, under a deep impact of broadly although not always explicitly understood ambient.

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Fresh off of a pair of well-received EPs on his recently-launched Manhigh imprint, Berlin’s highly respected techno auteur Henning Baer makes his first appearance on Nonplus with 4 excellently crafted, saturated machine techno tracks on The Idea of Instinct. Following on feelings suggested in the title, the EP opens with a pair of more contemplative pieces: the title track’s spare arrangement puts mechanical rhythmic drive behind its exploration of dusky electronic atmospheres, while the feeling of ‘DNA’ is both brighter and slightly pacier, its hypnosis deriving from the pads and synthesizer sequences that circle the drums. ‘CCC II’ takes a darker approach to a similar idea, this time with the suggestion of polyrhythms in the distant and heavily-treated percussive elements circling in the background behind uneasy ambience. It builds to the closer ‘Spiritual Quest’, where overlaid rhythms in 3 and 4 are not easily reducible and create the tension at the track’s centre driving it to its conclusion.

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Creepin' in plays with the gray areas that exist between genres, contrasting with the clarity of the digital synths and over saturated analog drums. Next up Ineffekt is acid electro cut with thrashing percussion held together with 808 drums. Red Alert is the only track with a vocal. Classic Roland drums, deep sub and hardware synths mixed with the hypnotic vocal overlays make this one for the freaks. Sky Pager is slow cooked mid 90's jacking business, the kind I'm known for. 808 Trash Pile is an acid hammer of a cut with the drum and synth doing a maniacal game of call and response.
More than ever I used digital and analog together creating more sinister vibes on these tracks. The tracks for me also reside in a gray area that is in between house and techno and at the same time analog and digital.

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Acclaimed Be As One boss Shlomi Aber makes a big step up here by putting out a trio of his killer techno cuts on the always excellent and forward looking NonPlus label run by Boddika. His XY Play EP continues in his no nonsense, ‘floor facing style and impresses once more. Shlomi Aber is an underground titan who runs his own musical empire in the form of his Be As One label. He has made it into an essential outlet for no frills house and techno and his own output has found him in fine favour with DJs and dancers alike. Playing all over the world and also serving as an expert at the Emerging Ibiza festival on the White Isle, here he comes correct once more. The title EP XY Play is a brain frying affair with cantering drums and stern synths bringing a dark and intone vibe to the groove. Way Old Story is just as heads down but less ominous, here the synths are a little spooky and add intrigue to his slick rubbery drums. Last but not least Related Sources is a hunched over house track with dub in its kick drums and a desolate industrial feel in the landscapes above. Atmospheric from the first to the last moment, this is another killer EP from Shlomi Aber.

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Nonplus has been pushing the envelope for forward thinking music since its inception in 2009 and the next EP confirms this. There is little known about Hexagon Son but the raw and intricate sound of the Spiral EP suggests this is no newcomer. From the hypnotic swirls of Spiral17, the raw robot funk of Opia to the deconstructed tape driven re-imaging of Blipworx. The Spiral EP covers all corners of the expansive world of Techno.

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Eduardo makes his return to Nonplus with the Sensitive Compartmented Information EP. Eduardo is one of techno’s most dedicated underground legends and continues on a path unaffected by fads or fashions. Following on from his Sequoia Symposium in April last year again we have a 4 tracker exploring the deep realms of techno

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He's not what you'd call a prolific producer but the old saying of 'quality over quantity' couldn't ring truer for Marcellis. With just 3 releases in the last 12 years starting with a single on 2004, followed by an EP on Workshop and then his album on Millions Of Moments, any new work is highly anticipated. Its been a long time coming for Nonplus but every bit worth the wait. 3 tracks covering a range of styles from the ice cold analogue quirkiness of 'Sleep', to the bumping 4/4 offering of 'Indigo Skyfold' through to the jazzed out chugger 'Can They Do Tha (G Love Real Raw)' its an honour to have Marcellis as an addition to the catalogue.

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Nonplus 035 passes the torch to Finnish producer Samuli Kemppi who’s built a solid back catalogue over the last 15 years and in that time has also become a pioneer of electronic music in Helsinki. His radio show Deep Space Helsinki (Alongside Juho) developed into one of the cities most popular club nights and also into his shared record label DSH. His debut on Nonplus brings us 3 slices of no nonsense deep space techno.

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Nonplus continue with the Source Direct re release and remix series and here we have one of the most influential dnb tracks ever written, Source Direct - The Crane, which was a 90s classic at the forefront of the future thinking genre. Alongside the original track there was an alternate version found on an old DAT tape which will now surface on NONPLUS LTD 003, and on remix duties, Inland & Function give their take on the track giving it the 4/4 techno treatment.

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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
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30 year old Inland a.k.a Ed Davenport is an Englishman currently residing in Berlin. His release history dates back to 2006 with a steady output of house and techno and he spawned his Inland alias in 2012, kicking off his own Countercharge imprint with the Solstice EP. He also co-manages the Infrastructure label alongside Function, the pair having produced the 'Odeon/Rhyl' EP together as Function/Inland for the label's comeback release after a 9 year hiatus. Talking about his EP for Nonplus he explains; "This EP represents my current standpoint on 4/4 club music. Textural, crisp, fuller techno tracks with plenty going on beneath the surface. I made the tracks starting with a quite free, live-jam approach in the studio, laying down long recordings of synth parts, drums, and FX while working the mixer to create accents and peaks. Then I layered and edited everything afterwards, trying to maintain the essence of those live jams, letting the tracks find their own story. These are all long tracks designed to work in their entirety, but that can also be thrown in for 2 or 3 minutes in a fast paced set and make their mark."

Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Conatct: [email protected]More