Cerca:11 off

The elusive Berlin label MASK are back with another anonymous release featuring four
analogue driven tracks entitled ‘Cliff’.
Known for being purveyors of mysterious yet exquisite hardware induced tracks, MASK continue to
hold up their reputation following on from ‘Hunter’ that picked up support from the likes of Laurent
Garnier, Elena Colombi, Machine Woman, Anastasia Kristensen and DJ Deep. ‘Cliff’ involves four
people live jamming on analogue equipment in a Berlin based studio.
A1 begins with crunchy drums fused with revolving, modulated synths and obscure elements that are
soaked in acid flavours before the A2 focuses on an electro-tinged sequence in harmony with ominous
atmospherics and eccentric oscillations.
On the flip, sweeping pads balanced with intense kicks and washing synths take the focus on the B1
until the B2 rounds off this magical EP with wavering compositions, hard-hitting percussion and
unsettling sound design keeping the atmosphere intense yet truly absorbing.

After their brilliant label debut with "Grow Yes Yes" in 2017, Professor Wouassa now returns with their brand new third album on Matasuna Records.

The Swiss band's career spans more than 15 years, where they have played at many major festivals in Switzerland and abroad. The 11 members of the band have perfected their musical qualities over the years and captivate as a well-rehearsed live band with their energetic and rousing shows. So it isn't surprising that they supported concerts of Afrobeat legends like Ebo Taylor or Seun 'Anikulapo' Kuti.

Their still exuberant creativity can also be heard on their new work entitled Yobale Ma!, which in Wolof's language can be translated as "take me" or "get me". With their new album they take the listener to their musical island to explore the borders of Afrobeat and beyond.

The song Fallou Fall opens the album in a jazzy & big band way, and quickly switches to an afrobeat theme and solo. In the middle the song breaks into an Afro-style pattern, which is performed by Thaïs Diarra in Bambara (Malian dialect) in a traditional Mandingo way of singing. The track ends with a Sabar percussion part - a traditional Senegalese drum.

Yobale Ma is the single of the album, which is inspired by the funky guitars of a Nile Rodger and some typical fast Ghanaian highlife of Ebo Taylor.

The track Thiaroye Gare is about the Tirailleurs sénégalais, a unit of the French army who fought for France in WWII. After returning from captivity they were taken in Camp Thiaroye northeast of Dakar. Corrupt and racist colonial officials led to a revolt, which was bloodily suppressed by French troops.
From the musical point of view the song shows a link between afrobeat and funky James Brown rhythms, which ends in a fast afrobeat style with baritone saxophone and trombone solos.

Beguente Len in the middle of the album is a kind of interlude that represents Wouassa's own way of interpreting traditional afro beats and rhythms.

With the two songs Djongoma and Sama Yone Professor Wouassa leaves his usual afrobeat path to explore the "sound of the islands" (Mauritius, La Réunion, Cape Verde or Cuba) and blend it with their personal and unmistakable style.

With Iba Niawoulo the professors investigate a kind of Ghanaian highlife medium tempo with a chord progression from Serge Gainsbourg's song "Initial BB". The tracks change in the middle to a fast Rhythm'n'Blues beat, which is accompanied by afro guitars. The singer "Mamadou Diagne" talks about his alter ego in Dakar.

In Djougoudja typical afro rhythms are mixed with pure Ethiopian 70's brass sounds and funk guitars. As heard several times in other songs, the track breaks into a very personal and hard to describe Wouassa beat in it's middle. At this time, Mamadou Diagne recites a big slam about the spiritual ideas and the history of the famous senegalese theologian and poet Serigne Touba (Cheikh Ahmadou Bamba). Under his flow some sabar percussions (typical senegalese percussions) build a strong and intense musical rug.

The first artist other than label head Patrick Topping to release on TRICK , his Geordie compatriot Adamson delivers an eclectic mix of tracks. The EP opener and title track, ‘Electric Acid Tater Tots’ is an acid-soaked techno slammer, strung together by Elliots own robotic vocals. Skream then steps up to deliver the labels first ever remix, a trippy, high-energy workout, before the Electric Acid Tater Vox offers a stripped-back vocal version which is available exclusively on the vinyl. Over on the B-side, ‘NYC Dada’ is an infectious disco-house edit destined to fill countless dancefloors, then ‘11am in Brisbane’ delves into melodic techno waters.
“I don't recall writing the lyrics, but I like to believe they appeared in the notes in my phone delivered by some divine spirit via the medium of an Apple iPhone XR - cheers Steve,” Adamson jokes. “About four instrumentals existed for about four weeks and I would often find myself standing on the table at parties singing out the lyrics excitedly trying to explain that 'this is my song.’” - Elliot Adamson The record is also accompanied by two exclusive bonus tracks. Lesgo Lesgo Lesgo is a true techno odyssey and bonus purely for digital copies of the EP. Then, there is the Electric Acid Tater Tots (Acid Mix) , a secret dubplate that has only been sent out to a select number of DJs. A true weapon for the warehouses.
“Elliot had to be the first artist, other than myself, to release on TRICK!” Topping enthuses. “ I’ve been championing his music for years and this release has been a long time coming. He’s now helping me A&R and is a resident at the label parties. His EP genre-hops and this is what TRICK is all about.” - Patrick Topping

NO MORE don't need much of an introduction - the legendary Kiel-based (No)Wave / PostPunk band project took the worlds dancefloors by storm with the release of their seminal single "Suicide Commando" in 1981 which was later re-introduced to the Techno / Electro youth of the world, when Munich's DJ Hell famously reinterpreted the tune in 1998.

Still actively touring and releasing on a regular NO MORE are now making their debut on the freshly launched Intrauterin Recordings-offshoot EL CABALLO SEMENTAL..

The labels cat.no. 001 is a first time on vinyl release taken off NO MORE's "The Return Of The German Angst" digital mixtape and sees one of the bands hit tunes being reworked in a unique, highly captivating manner, pressed exclusively as a limited to 200 copies whitelabel edition on purple / violet vinyl.

"123456789 (baze.djunkiii + Herr Brandt Dream A Nudream Remix)" exceeds the bands natural musical realm by far and transfers the song into MoombahGoth / DubWave territories previously unheard of, not only for a classic band like NO MORE.. The rework picks up latest developments from the urban and bass music world whilst keeping the haunted vibe of the original songs chorus intact, slighty references NuBeat / PostPunk and Dub, adds lush, dreamy Cosmic guitar textures and even winks to the underground whistle and rave posse with a sweet as candy piano breakdown.

In their conjunctional remix work we see Intrauterin Recordings-founder baze.djunkiii, quality electronic music activist and prolific DJ for more than 20 years, and Herr Brandt, founding member of the classic German Wave / Indie / Alternative outfit The Convent as well as of the praised underground Synth Pop / Minimal Wave band Sonnenbrandt, effortlessly merge the best of two musical worlds to create something new and captivating, like they used to do on the decks with their former BETA-ZERFALL parties which were the main and initial reason the two of them and NO MORE came together in the first place.

a A- 123456789 BAZE.DJUNKIII + HERR BRANDT DREAM A NUDREAM REMIX

After 10 vinyl releases exploring the leftfield side of electronic music, No Suit Records enters a new era with a new serie of Split EPs. Two artists per EP, offering a wider color palette, stretching styles and genres.

Cabasa is back on No Suit Records after the launch of a successful live act and many appearances in festivals and high profile clubs around Europe. On this release Cabasa navigates between luscious atmosphere, broken beats and polyrythmic patterns.
Crystal Clear is made of soft melodies and tickling bass —it is a reminiscence of the 00’s downtempo apogee and an invitation to accept your inner melancholy. More Than a Second is a slow awakening, a groggy musical move, a muffled request for a brighter future. Catching Fire Slowly is a contemplating ode, a call to take a deep breath and prepare yourself for the upcoming run.

Lost souls or flowers of hope, lurking into light and darkness, no one knows who Scaarlet are. The only certitude is that they always play with boundaries and enact performances between syncopated melodies, cut up sounds, wavy basslines and deep atmospheric sounds. They are back on No Suit Records and continue to develop their own intricate style, merging Drum’n’Bass and Techno influences into a politically and socially engaged music.
My Man translates the raw energy of riots and rebellion, powering a fusion of Drum’n’Bass and Techno. The River resumes some of the Yakusa women tattoos symbolism into a romantic pulsating 170ish bpm vibe. Advertising is an open critic of the fast fashion world and the supremacy of commercial communication, mixing polyrythm with a straight DnB kickdrum.

All tracks mastered by Pole at Scape Mastering in Berlin.

In late 1997, unsigned Melbourne producer Castel won a competition at a local club. The prize was certainly sought-after: a CD single release on leading local label DanceNet. That EP, “Estrel”, subsequently appeared in stores in 1998, but within two years Castel had packed away his Atari-ST, sold off his hardware and quit music for good.

Thanks to Echovolt Records, Castel’s story now has a happier ending. 22 years after it was recorded, the unfeasibly gorgeous “Estrel” is finally appearing on vinyl alongside original bonus cut “Me & You” and a trio of similarly impressive unreleased productions from the period.

“Estrel” is positivity personified – a melodious, morning-fresh blast of deep electro bliss rich in bustling drums, tuneful IDM style lead lines and darting, psychedelic electronics. It’s joined on side A by “Me & You”, a pitched-down chunk of hazy ‘90s electronica that wouldn’t have sounded out of place on one of Warp Records’ legendary Artificial Intelligence compilations.

On side B, Castel opens up his archive of unreleased recordings for the very first time. The rush-inducing, bass-heavy swirl of “Safer Somewhere” – one of the last tracks he ever recorded and reminiscent of some B12 recordings from the period – is followed by the intergalactic ambient brilliance of “Latch” and the lilting, sun-bright bliss of breakbeat-driven shuffler “16/11/1998”, whose combination of weighty bottom-end and layered electronics neatly sums up the unheralded qualities of Castel’s previously forgotten work.

Man Tear are back with this high-energy emo-disco record, originally scheduled for release some
11 years ago! A sweet little 7'' is what their equally fast-footed and broken-hearted fanbase are
finally being offered. On the record we find two captivating dance pop ditties from the greatest
band to never make it, once again proving that it’s all about love - not about emotions! Let’s hope
this release is the spark that sets Man Tear’s future ablaze. Let’s hope for death to self-loathing!
Death to expectations! Death to laziness! Man Tear are back, maybe!

Introspection Recordings is proud to present his new limited 300 copies series.

A four-track EP that practically oozes class, the debut offering from Italian label Introspection is nothing if not an auspicious one. Featuring four tracks from an evidently shrewdly chosen bunch of artists, Introspection001 takes on numerous different styles and sounds, with the end result one that's thoroughly uncompromising and always engaging throughout. Featuring the work of four Italian producers; E-dward!, Matthew Redden, Lorenzo Magnozzi and BCFHBH, it's a release that dazzles from start to finish.

We get going courtesy of Edoardo Scarpellini aka E-dward!'s 'Got It'. A firm fixture in discerning Italian circles, as a DJ he has played in practically all of his country's foremost nightspots, not least Cocoricò in Riccione, Spazio 900 in Roma as well as Tenax and Fortezza da Basso in Florence. Equally renowned as a producer, his sounds have brought him to a wide range of respected outlets, including Bosconi, Stardub and Apparel Music. A minimal track that's but a sum of a few parts, Scarpellini's contribution here is a dubby, weighty, emotional cut that's high on intensity throughout.

Next up is Matteo Salvadorini aka Matthew Redden. A native of Livorno, Redden's contribution here, the whimsical, curious strands of 'Melancholic Probe In A Sad Space' serves up a very different sound to what's come before. A nimble, microhouse-inspired cut that's both happy and sad while serving up a host of introspective vibes, Redden's contribution here is truly a joy to behold.

The B side kicks off courtesy of label owner Lorenzo Magnozzi and his track, the wonderful 'Acid Morning (Space Time)'. Another track on display here that's been suitably named, it's teeming with peak-time prowess, with its sporadic vocal stabs only adding to the sense of drama. A considerable move into a different sound sphere, it signals the EP's intentions with some prowess. Supported by a host of respected names such as Ricardo Villalobos, Dana Ruh, Raresh, Tobi Neumann and Nastia, his is a sound that defines categorisation but one that always follows a discerning script.

Born in Huntingdon in the UK but raised in Pisa, BCFHBH started his musical journey at the age of 11, meddling with his parent's vinyl collection, a move that would ultimately inspire a life-long love affair with all things electronic music. His deep house flavoured track, 'Kin' is a wonderfully deep number that harks back to the days when deep truly did mean deep. A classy, sophisticated and wonderfully restrained track, it signs off the release in some style.

"Nicolas Gaunin's surreal sound experiments lift you out of the everyday and transport you to an off-world Tiki lounge set high amongst the tree tops of a tropical rainforest, where you're surrounded by bizarre, colourful creatures and weird psychotropic plants. Noa Noa Noa is modern Dada, a neon soundtrack to your most outlandish fever dreams.
Nicolas Gaunin is the alter ego of Nicola Sanguin, part of the vibrant experimental music scene around Padua, Italy where he plays in outsider rock groups The Lay Llamas and Orange Car Crash. Nicolas Gaunin is his solo electronic project, a bright and playful cosmic mash-up that uses the rhythms of traditional African percussion groups and skews them slightly to create unsettling, off-kilter grooves. These drum machine experiments are laid over a teeming microscopic sound world of bird calls, insect chatter and weird jingles reminiscent of advertising earworms or video game soundtracks.
Noa Noa Noa takes its influences from music from around the world, and inspiration from high and low culture; from composer Gyorgy Ligeti to the cosmic sounds of Italian DJ Danielle Baldelli, from the experimental music of Moondog or Harry Partch to the playful sounds of Francis Bebey or the exotica of Martin Denny, from Iannis Xenakis to 8-bit video game music. Noa Noa Noa ends up sounding something like the imaginary soundtrack to the Nintendo Gameboy version of a lost William S. Burroughs novel.
Incredibly, most of the tracks on Noa Noa Noa were recorded live in one take with the express intention of creating music that is, in contrast to much of today's electronic music, bright, sunny, light-hearted and mischevious. The resulting album is both totally essential and also completely throwaway.
These tracks were originally released in 2018 by Artetetra Records (Italy) as Noa Noa (cassette & digital) and Danse de l'Oiseau (digital only). Hive Mind Records are proud to present Noa Noa Noa on vinyl for the first time."

Alexander Pletnev started an entirely new journey under his own name two years ago. Release after release on forward thinking and respected labels like Media Fury, KUMP, Fleeting Wax, SZE and Hard Fist, he has built a solid discography of incredible diversity - from percussive DJ tools to viscous synthetic EBM to dreamy weirdness.

His latest EP titled Voranto Bros is a long awaited return to Le Temps Perdu and the prime example of refined musical storytelling. Title track is a cinematic tale, a sound novel about two migrant brothers hitting the shores of USA in the dawn of XXth century to became vicious gangsters, broken souls ruling the night of NYC. Dusty tape hiss, off kilter percussions and melodies all alternate to later sink under the weight of heavy drums. While Hope They Wont Come Back is a severe instrumental ballad with low drums, talking bass lines and noisy guitar riffs - five minutes inside confused man's mind.

On a remix front, Cocktail D'Amore's head honchos Discodromo strip Voranto Bros down to bear bones to deliver EBM style dance floor burner. And Harold Boué aka Abstraxion aka Lion's Drums of Biologic Records fame delivers menacing remix for Hope They Won't Come Back, a dark & mystic journey, which unwinds slowly and builds up to unexpected climax.

Tunnelvisions third original outing since 2018’s The Celestial Ritual and 2017’s Midnight Voyage. Channel Tropico offers 6 tracks that show the diverse sound from the Dutch producers duo. A must have for fans of percussive sounds and the analog vintage synthwork.

Halav Av is a Tel Avivian super-group consisting of members of the Israeli alternative music scene. Alonzo and Amitkes of The Crotches, Niv of Red Axes, Yovav of Shame on Us and Adiel of Hila Ruach & Future Shock.

This summer the band will release their first album, the first singles to meet the public’s ears will be To Live, Talk to Me and Mt. Beitar. These singles and the rest of the album were recorded by Uri Mixmonster of The Apples straight onto two-inch tape like the good ol’ days.
In addition to Mixmonster’s recording expertise, the album features Cello virtuoso Noa Ayali of The White Screen and Keyboardist Shay Landa of The RPS Surfers.

Wrapped up in a cover by the praised Israeli artist David Tartakover, the songs in this album are meant to be short and ticklish just like a father’s bristles. Because Father’s Milk is the essence of male gentleness. It is romantic, optimistic, nostalgic and naive. It’s childhood. It’s longing. It’s longing for childhood. Father’s Milk is the feeling of fatherhood, even if without offsprings. Father’s Milk is love, it’s music, it’s nourishing music.

Taking inspiration from a vast musical sphere, the Munich-Vienna pair Jorkes are widely recognised for their open-minded and passionate approach to electronic music which is translated through their Freeride Millenium imprint and own unique productions. ‘Cross The Line’ will be the duo’s first outing since 2016 seeing them join up with the Italian pair Hard Ton who are known for releases on Wonder Stories, Luv Shack Records, Toy Tonics and many more. Jorkes invite Live At Robert Johnson artist Massimiliano Pagliara and Philpot founder SoulPhiction aka Jackmate for remix duties which tops off this distinctive release highlighting the openness and sensibility of their musical philosophy.
‘Cross The Line’ begins the EP with alleviating pads balanced harmoniously with alluring, heart-warming vocals and gentle keys drifting throughout before Massimiliano Pagliara delivers an infectious remix focusing on hypnotic bass grooves, effervescent drums and undulating pads fluttering naturally with the stirring modulations.
‘Jackmate’s Dub Mix’ deploys low-riding resonations fused with muffled tones and thrilling, shuffling rhythms within whereas ‘Jackmate’s 90s Mix’ focuses heavily on organic percussion rolling throughout with robust musical elements and looping vocals. SoulPhiction’s ’Dub Mix’ completes the pack with a tranquil take on the original laying focus on funk-infused instrumentals and subdued jazz drums.

Apparel Tronic comes back after the heat of summer introducing the first V/A on the catalogue as well as its 10th release overall (Varioustronic 1). This 3 tracks V/A is an ambitious project that unites 3 great artists with diverse approaches to music production, 3 different minds and visions, 3 declination of the same verb brought together under the same roof, our roof. We always like to experiment, to try and push our boundaries over again in everything we do and surely this is an organic evolution to the so-called "Bliss-Beat": the identificative concept behind our ideas. The 3 producers we chose, Anton Kubikov, Artizhan & Tommy Vicari Jr. need no introduction so we're simply grateful to them for their availability to huddle up and create some great music for one cause and it's surprising how the three tracks, colliding, offer different but likeminded perspectives, like fragmenting planets creating new ones. This release is the result of 2 years of research, ending up choosing Anton's "Freak Out Little Bit", Artizhan's "Birthday" and Tommy's "Conceal" amongst many others. APLTRONIC010 V/A is clear for the take-off, on vinyl and digital versions, and we hope you'll like it!

Shovel Knight began as a modest, yet highly promising Kickstarter project in March 2013. Billed as 'a groundbreaking love letter to 8 bits!' by Indie developer Yacht Club Games, this 2D side-scrolling platform game released in June 2014 to universal praise and accolades. Fans and industry professionals praised Shovel Knight for its charming retro-2D visuals, humorous story, fun characters and strong gameplay design, which all came together to offer a game that is nostalgic yet very modern. The efforts of Yacht Club Games paid off when Shovel Knight was won the prestigious 'Best Independent Game' award at The Game Awards 2014. The game's chiptune soundtrack, composed by Jake Kaufman and Manami Matsumae, is integral to the game's modern-retro identity and has been similarly praised for its outstanding arrangements, memorable melodies and strong technical composition. This definitive soundtrack contains all music from the original Shovel Knight game released in June 2014, with a vinyl tracklist crafted by Jake Kaufman himself. The package cover and inner-gatefold have been designed exclusively for the soundtrack by Hitoshi Ariga; an interview with co-composer Manami Matsumae; and character artwork from the game.

Dreamteam pairing of Defaultman and Sapurra collaborate on this highly impressive 3 tracker for Poker Flat Wax. The two have collaborated frequently before, and with this vinyl only release, the juices are really flowing. 'Paperman' kicks things off - a slinky mid-tempo groover with an edge. The tight drums keep the rhythm ticking over while dub fx and a thick bassline add the drama and suspense. On the flip comes 'Groove Tutorial' - as fair a name as any when the programming is this good. The beat shuffles and chugs along, always staying fresh and interesting, while a minimal layer of other instrumentation adds depth. 'Lessons Cost' rounds off the EP, a full jazzy-house excursion that showcases the producers’ wide ranging talents and ear for rhythmic excellence.

Trentemøller returns with his fifth studio album 'Obverse' in September 2019! Anders Trentemøller is a well-known multi-instrumentalist, but perhaps the one he’s most adept at is the studio itself. 'Obverse' is the result of him expanding that skill even further. 'Obverse' often feels like an instrumental album because it started life as one, the driving philosophy being “what if the pressure of having to perform these songs live is removed entirely?” Granting yourself the freedom to chase down every idea a studio offers comes with privileges. What happens when you reverse a synth part mid-verse? Why not send an entire track through a faulty distortion pedal? Inspiration reveals itself in a variety of forms and, before long, a simple chord progression contorts into something entirely new. It’s a work method that yielded great results for the legendary German Kosmiche/Motorik experimentalists of the 1970’s. Intentional or not, 'Obverse' embodies more than a little of that spirit without even a hint of pastiche.

So it only makes sense that 'Obverse' would stray from its original roadmap. In due time, half of the nascent compositions featured singers, including Lina Tullgren, Lisbet Fritze, and jennylee, of Warpaint, another band deeply influenced by dream pop. While 'Obverse' was born from a different work ethic than previous efforts, it also continues an arc that started in 2006. Each successive effort has represented a logical next step beyond the album before, and 'Obverse' absolutely picks up where Fixion left off.

For the past decade Trentemøller has been perfecting this form of sonic chiaroscuro to conjure up images of severe landscapes, and to mirror the Scandinavian climate, where half the year the sun barely sets, and the other it barely tops the horizon. While there has been a film noir element in his previous work, 'Obverse' is the first time each song has felt like a collection of pocket soundtracks.

By fusing together a love of dream pop, dark synth-based music, film scores, and a deep connection with the stark Nordic panoramas, Anders has created an inimitable language. Ultimately 'Obverse' resides in a genre all its own.

The original freaks SES are back for another mind melting EP called “Saboteur”.

Completely tuned for a sweaty underground club system, the kicks in ‘Sounds Like’ hit deeper then your typical sound-boy bass lines of 2019.

Europa is on some dystopian Kraftwerk transeuropean express tip with all the attitude you’d hope to squeeze into four and a half minutes.

Hijacker kicks off the B side with continuing paranoid themes of the SES back catalog.

Flesh Tone simply jacks you in half and makes you throw shapes like it’s 1989. Only in Hi Def.

- all tracks blend with each other flawlessly, so buy two copies why don’t you.

Will Saul is a key figure in UK dance music. Approaching his twentieth anniversary as a DJ, producer and label founder, Saul has helped break the career of key artists such as Leon Vynehall, Midland and Dusky via his Aus Music label, has himself played some of the world’s finest nightclubs and contributed to !K7’s storied ‘DJ Kicks’ mix series, which he also curates.

Finally returning to the production fold himself with his first full-length album in thirteen years, ‘Open Too Close’ is a condensed trip through the influences, discovery and sense of history that have helped shape his career and drive a forward-facing, unblinking passion for new music. The record’s concept reflects Will’s enormous skill and knowledge as a DJ, and as it’s title suggests, “"represents what I play in a club if an 8 hour set was condensed into 10 tracks.”

Having held residencies and made regular appearances at some of the world’s finest clubs including The End and Fabric in London, Panorama Bar in Berlin, Trouw in Amsterdam and Robert Johnson in Offenbach, Saul is uniquely qualified but this refreshingly straightforward approach. Eschewing the lingering, almost cliched expectations for a dance artist to create an album “that sounds good at home, as well as in the club”, ‘Open Too Close’ instead draws on the timeless futurism at the heart of the music that drew Saul into electronic music culture. Simply put, futuristic, melancholic sci-fi soundscapes meets stripped back raw sample driven house music, all executed with the precision and panache of an artist who truly understands how to move a dancefloor.

Rolf Hansen, who as a guitarist is originally rooted in jazz, has been one of the most in-demand studio and session musician in the Danish rock, pop, and folk scene. Between 2010 and 2017, he toured under the name Il Tempo Gigante as a solo artist and released two albums: »Lost Something Good« (Speed of Sound, 2010) and »Watch It Watch« (Resonans, 2014). With subsequent tours throughout Europe, he made a name for himself in the alternative folk scene.

After a phase of reorientation, he now releases his first purely instrumental record under his real name through the Berlin-based Karaoke Kalk label in September. On his third album »Elektrisk Guitar«, the many different influences Hansen has gathered as a composer, solo performer, session musician and producer shine through.

The concept of limitation - an album composed for and played with solo guitar - is being mirrored in the conception of the album itself. Not only does Hansen resolutely constrain himself to a sole instrument, he also eschews traditional composition techniques and follows an experimental approach.

»Elektrisk Guitar« is an album that enters into a dialogue with its conscious and attentive listener. Pieces whose melancholy is carefully weighed meet complex musical structures that again and again provide new challenges. In just 43 minutes, »Elektrisk Guitar« offers a plethora of ideas, impressions, details, and inspiration. And even more so, it opens up a room for its listeners to explore, precisely because its minimalistic compositions create a lot of space in which to get accommodated in.

Apart from his solo projects, Rolf Hansen has for several years been connected to Donna Regina as well as Anders Mathiasen (formerly Murder, now Vessel, DK) and Henriette Sennenvaldt (formerly Under Byen, DK) through close collaborations.