According to the band statement - "We are not a terrorist group or
religious fanatics we have just tried to give you a musical feel for the
frightening atmosphere of the Middle East these days, with all the
modern stereotypes - if you feel it, then we did everything right
Those not familiar with Jones' style will listen slack-jawed at the sheer anticipatory nature of his sound collage. The five extended tracks are based on hypnotic and somewhat menacing grooves: a repetitive dub bass beat, waves of Middle Eastern strings and voices, layers of building hand percussion. The washes of sound and percussion come and go, often creating a sense of motion and change. All of the tracks are similar and even share elements. Mid-East tension is so accurately captured through the use of the region's instrumentation (especially percussion), sinister electronics, samples of men chanting, women crying, sounds culled from the horrors of war, and occasional angry distortion that the listener will be transported to the belly of the beast.
»Mullah Said« displays two aspects of the work of Muslimgauze. Firstly, musically, it is in the delightful drifting ambient vein. The percussion is mainly acoustic hand drums - providing a rhythm of aural features - the trademark shimmering string sound heard on a number of releases is much in evidence, rhythms are generally slower, there are lots of samples of people speaking in conversation, markets wherever. 'Mullah said' opens the disc with the lovely mix of these sounds. »Every Grain of Palestine Sand« continues the mood, with a slightly faster tempo, and more emphasis on the beat. But it soon locks into a mesmeric lassitude as various effects echo or smear the sounds, drums come in for short moments, different string sounds enjoin the play. »Muslims Die India« follows the mood though the voices seem darker, sadder, and then comes »Every Grain of Palestinian Sand« followed by »Muslims Die India«. Yes - not a typo, these tracks are repeated. Muslimgauze trend – to remix himself. Prime Muslimgauze middle eastern ambience - if you like that side you will love this album. The final track is short and different, a crackling ground over which a singer chants a song interrupted by machine-gun percussive bursts - »An End«.
There are many reasons why summer always feels like the invincible season, and one certainly is its ability to sketch colorful pictures of life rife with options. Now Sebastian Mullaert and Layla Rehana are drawing one themselves. And they use solar paint for it.
Coming from completely different backgrounds - Sebastian, a sound explorer with a history of exploring musical textures and moving dancefloors while the work of vocalist Layla weaves intuitive healing and subconscious reprogramming - they were immediately ready to take creative chances as first improvised sessions already felt like everything is perfectly keeping up with their very own sensibilities.
The resulting LP for Bigamo offers a collection of patient and almost meditative tracks that feel as natural as breathing. Everything is interconnected. Glowing. Soothing. Like a memory, everything is now and then. It’s the equivalent of laying on your back and watching fair weather clouds as they gently transform and eventually disappear. It’s when you realize that love is all there is, is all you know of love. Although we’re slowly but steadily entering the annual phase of shorter and darker days, their sun clearly sets only to rise and shine again.
“Everything flows – nothing remains, there is only an eternal becoming and changing” is a well-known formulation of the river theory of the Greek philosopher Heraclitus, also known as panta rhei (ancient Greek: πάντα ῥεῖ, “everything flows”). This teaching states that everything in the universe is subject to constant change and that nothing stays the same forever. The metaphor of the river illustrates this: You can't step into the same river twice because both the river and you are constantly changing. The water is constantly flowing, but the river stays in one place. Thus, reality is constantly changing, even if sometimes perceived as constant.”
„Same Same but Different.“ Always different – always the same. Chill-Out DJ Heraklit
For the 26th time, the most consistent of all ambient compilations, in a constant flux of static change, is released on Kompakt. Joining good friends from the early days and reliable confidants are some new additions to the non-hierarchical charts of contemplative rapture culture.
Leading the way is Micå, a Japanese electronic musician whose finely chiseled, graceful musical style has made it onto the new collection with two pieces. Also making his debut is Richard Ojijo, a seasoned sound engineer known, among other things, for his long-standing collaboration with the artist Marcel Odenbach and the Cologne-based label Magazine. Oskø aka Max Hytrek, a multi-talented newcomer to Kompakt and the music scene, debuts with his rapturously ecstatic piece "Ar Vag." He's followed by Sebastian Mullaert, appearing for the second time—this time teamed up with Sebastian Lilja aka Hush Forever. After his surprise return last year after a 20 year hiatus, we are delighted that Tetsuo Sakae aka Pass Into Silence is back again this year with one of his distinctive sound gems. As are Dirk Leyers (Closer Musik) and Mikkel Metal. 18 tracks are featured on this CD. "Erlösung" (Redemption) is the title of Segensklang's closing track. A kind of ambient bolero into infinity. Or at least until next year...
And what would Pop Ambient be without the iconic, artistic cover design of Veronika Unland, who once again, in her unmistakable way, says through the digital flower: The eye always listens...
In October 1987, four months after the release of their critically acclaimed Sister LP, Sonic Youth showcased their latest work in a blistering set at Cabaret Metro, Chicago. The concert was introduced by Big Black's Steve Albini (who at the time was banned from the venue) and subsequently released as a semi-official bootleg under the title Hold That Tiger on writer/provocateur Byron Coley's impishly Geffen-baiting label Goofin' (years later the band would use this nom de guerre for their own imprint).
Hold That Tiger's sterling reputation among the Sonic Youth faithful is well deserved. In fact, it isn't a stretch to suggest that the album is to the first handful of SY releases what It's Alive is to the first three Ramones LPs – a feral and liberatory public snapshot of a band's blossoming imperial phase. Indeed, HTT is the sound of a group at the peak of their powers, presenting new songs alongside a handful of older ones with the kind of wild, cathartic enthusiasm common to rock 'n' roll's most revered live albums.
Taking nothing away from Sister – inarguably one of indie rock's first true masterpieces – it is reasonable that many fans prefer the live versions heard on Hold That Tiger to their studio counterparts. On HTT, Sonic Youth is a spiky, pummeling and confident force, alternately mammoth and meditative. Sister and its predecessor EVOL notably added an airy, dreamlike reverie to the band's turbulent doom-lurch, a stylistic evolution that seems to crystallize on HTT. Throughout, Kim Gordon's sinewy, sumptuous bass and Steve Shelley's propulsive, tom-heavy percussion provide the bedrock groove for Thurston Moore and Lee Ranaldo's ferocious barrages of noise-guitar crunch.
By 1987, the band was confidently articulating their dual lexicon of punk-noir dissonance and supernal, psychedelic sonic calligraphy – bending their jagged, streetwise gnarl into balloon animals of dazzling and beautiful songs. This collision of splendor and chaos would become a hallmark of the group's singular alchemy as well as provide a blueprint for the post-SST American underground they would help invent and ultimately nurture.
Hold That Tiger's encore – four songs by the band's beloved Ramones, which Thurston would later astutely compare to "the perfect pudding after a hearty meal" – serves as a reminder that, like any true punks, Sonic Youth never could resist a good, rousing anthem to send the kids home with their ears ringing, their hearts hot-wired.
This first-time reissue with speed-corrected master comes in a gatefold tip-on jacket. Mastered by Bob Weston from the original tapes. Recorded by Aadam Jacobs. Audio repair/editing by Aaron Mullan.
Drumcode LTD gets a relaunch with the first original EP since 2018. Sweden’s Patrick Seich returns following ‘Rivers Will Turn’, his blistering collaboration with Sebastian Mullaert in 2016. This time a debut link up with Sandra Mosh is on the cards, a fellow underground mainstay of the Swedish techno scene, with caps at Berghain and Sonár Reykavik also to her name.
The four-track offering is a colourful trip through a range of techno moods. ‘Relicta’ is a trippy concoction driven by papery drums and ricocheting synths. ‘Terma’ is brimming with bouncy peak-time spirit. ‘Red Flag’ takes a tougher turn, pummelling with 2am intensity. ‘Square Side’ is a delicious head caver, driven by an unrelenting synth lead.
"Purveyor of finest low notes”, Robin Mullarkey is a UK bassist and producer, renowned for his edgy bass playing with the likes of Jordan Rakei, Jose James, Zero 7 and Jacob Collier. His first solo release takes new twists away from the intricately weaved arrangements of his Brotherly project and into new realms of pure improvisation with a selection of the greatest musicians in the country. With Richard Spaven (Loyle Carner, Platinum Pied Pipers) - drums, Dave Okumu (Rosie Lowe, Jamie Woon, Tony Allen) - guitars and ESKA (Grace Jones, Zero 7) on vocals you can begin to imagine the scope of this wild selection of head-nodders and chin-strokers.
4/5* - Jazzwise Magazine
Those not familiar with Jones' style will listen slack-jawed at the sheer anticipatory nature of his sound collage. The five extended tracks are based on hypnotic and somewhat menacing grooves: a repetitive dub bass beat, waves of Middle Eastern strings and voices, layers of building hand percussion. The washes of sound and percussion come and go, often creating a sense of motion and change. All of the tracks are similar and even share elements. Mid-East tension is so accurately captured through the use of the region's instrumentation (especially percussion), sinister electronics, samples of men chanting, women crying, sounds culled from the horrors of war, and occasional angry distortion that the listener will be transported to the belly of the beast.
»Mullah Said« displays two aspects of the work of Muslimgauze. Firstly, musically, it is in the delightful drifting ambient vein. The percussion is mainly acoustic hand drums - providing a rhythm of aural features - the trademark shimmering string sound heard on a number of releases is much in evidence, rhythms are generally slower, there are lots of samples of people speaking in conversation, markets wherever. 'Mullah said' opens the disc with the lovely mix of these sounds. »Every Grain of Palestine Sand« continues the mood, with a slightly faster tempo, and more emphasis on the beat. But it soon locks into a mesmeric lassitude as various effects echo or smear the sounds, drums come in for short moments, different string sounds enjoin the play. »Muslims Die India« follows the mood though the voices seem darker, sadder, and then comes »Every Grain of Palestinian Sand« followed by »Muslims Die India«. Yes - not a typo, these tracks are repeated. Muslimgauze trend – to remix himself. Prime Muslimgauze middle eastern ambience - if you like that side you will love this album. The final track is short and different, a crackling ground over which a singer chants a song interrupted by machine-gun percussive bursts - »An End«.
Michael Mayer, aka Mr. Lava Lava asked a bunch of his absolute favourite artists to have a go at some of the tracks from his recent album 'The Floor Is Lava'. First up is Barcelona's brightest flame, RAXON, who is melting 'Brainwave 2.0' into a stompin fun-filled primetime banger. Longtime collaborator DAVE DK is a masterful producer and remixer that appears regularly on Pampa and Kompakt. His take on 'The Solution' feels like a road trip to paradise and back. Montreal's PRIORI is one of the hottest names in showbiz right now. His ability to bridge genres and create pristine sound designs is fully on display in his remix for 'The Solution'. Last but not least, the legend that is SEBASTIAN MULLAERT took a moment off from his revered Circle Of Life jams to transform the albums deepest cut 'Ardor' into an extraordinary musical journey. Oldschool Border Community vibes in the rebound!
"Sebastian Mullaert has always favoured the long arc: of tracks, of creative cycles, of artistic trust. His next chapter unfolds in the form of a new vinyl only label, born in close collaboration with Ulf Eriksson - his longtime friend, ally and the steady pulse behind Kontra Musik, a label that's been both home and launchpad for many of Mullaert's most vital releases. K-Files is built on two foundations: singularity and multiplicity. Every release will present a single track refracted through three or four different versions - each one approaching the core idea from a distinct creative angle. These are tools not just for DJs, but for listeners who hear dance music as more than just rhythm - as mood, as exploration, as transformation. The first release, K-FILES 01, sets the tone: deep, dubby, and spacious, it invites patience and immersion. But like all good rituals, the process will shift. Future releases are already poised to explore other territories: sharper energies, stranger grooves, unexpected colours. In a world increasingly defined by instant access and digital saturation, K-Files stands intentionally apart - a slower offering. A return to physicality, to process, to the tactile rituals of listening, selecting, and playing music with care. K-Files is a sublabel for those who play records not just to move bodies, but to open space. A platform for sonic evolution, variation, and perspective. A place where dance music is not pinned down - but opened up. Each record will be released exclusively on vinyl."
Hello Everybody,
In recent years, the introductory texts for the Pop Ambient compilation series, which is released every year on Kompakt as the last release before the Christmas break, often began with the sentence "Every year again...".
“Every year again”, a quiet, almost unnoticed maxim of self-evidentness. Because this is already the 25th issue to be published this year.
25 years in increasingly fast-moving times in the even faster-moving music business is an eternity that doesn't just feel like it. It is all the more remarkable how I, as someone who is always restless and often driven by this fast pace himself, pleasantly almost haven’t realised how - in pop-ambient contexts - time does not pass (or passes differently) in the best sense.
When compiling the 25th edition I was asked, among other things, what it was like that I was still doing this and whether I had a favorite track. In the spirit of bringing all the tracks together I don't have a favorite track, or all of them. But I have a favorite part (moment) that I played. In this case it was a broad chord in a change of key at minute 2:55 in the piece Circles by Max Würden. A moment of majesty and familiarity that, at that moment, contains the entire Pop Ambient cosmos, that just works and doesn't explain anything - and I said: “...that's the reason why I'm still doing this.. .”
Pop Ambient is a statement without demands. Is promise without expectation. Is a path without a destination. Every year again.
Wolfgang Voigt, October 2024
And so to the facts:
01. Leandro Fresco / Thore Pfeiffer – Goldwasserfluss
The intercontinental collaboration between the two long-standing Pop Ambient artists Leandro Fresco from Argentina and Thore Pfeiffer from Mainz is a regular part of the series. They open this year's anniversary edition with the usual filigree.
02. Pass Into Silence – Mirage
The Japanese artist Tetsuo Sakae aka Pass into Silence returns to Kompakt 20 years after his legendary album “Calm Like A Millpond”. A master of tones that are as fine as they are stoic and crystal clear.
03. Tamarma & Sebastian Mullaert – Follow Me
For the first time, the well-known Swedish producer and DJ Sebastian Mullaert will be performing on Pop Ambient in cooperation with the Georgian sound artist Tamara Davitashvili. Their piece “Follow Me” fits confidently into the intimate, familiar sound cosmos.
04. Sono Kollektiv feat. Nathalie Brum – Periadriatische Naht
Sono Kollektiv is now a fixture on Pop Ambient, this time with Nathalie Brum. In particular, Luis Reich's characteristic flugelhorn always gives their sound that special jazzy touch.
05. Thore Pfeiffer – Phase Locked Loop 1
Thore Pfeiffer is a master of shimmering surfaces and hypnotically meandering loops.
06. Andrew Thomas feat. Julia Parr – Sunshine Night
An old friend from New Zealand is back with spherical sounds. Andrew Thomas, in collaboration with Julia Parr, sprinkles finely placed piano tones into distant soundscapes and even more distant voices.
07. Segensklang – Artifacts of Synthesis
We are pleased that Segensklang will be there again this year after his brilliant Pop Ambient debut last year. Deep and beautiful.
08. Ümit Han – Im Delirium
The Cologne producer Ümit Han is back for the third time. While he has so far explored the more emotional, soundscape aspects of the Pop Ambient universe, this year's piece "Im Delirium" rises to a pulsating mountain of sound with pearly, clear, effervescent sound crystals.
09. Würden & Schäfer – Analysis Of Variance II
In their track Analysis Of Variance II, Max Würden and Lukas Schäfer embed a finely placed beat impulse in a soft bed of modulating soundscapes and pleasant psychedelic spaceyness.
10. Max Würden– Circles
Max Würden once again shows his special feeling for one of the core statements of the Pop Ambient style spectrum. The abstract chord and soundscape movement between formal construction and emotional touchability, which seems like “pop music” under the microscope.
11. Blank Gloss – Jennifer’s Convertible
The Californian guitar-ambient duo takes us into their sublimely beautiful sound cosmos with their usual aplomb. Maximum condensed transparency. Lightness - heavy as gold.
12. Hendrik Meyer – Grün War Die Klamm
Another new addition is Hendrik Meyer. The versatile musician, also known for his MYR project distributed by Kompakt, leads us with a glistening, beautiful “wall of sound” determination into the eternity of a sunset that is only ended by the following track. Filmy Music.
13. Triola – Zum Renngraben
Jörg Burger aka Triola combines his typical “handmade” impulses and accents with a multi-dimensional, digital sound scenario in a pleasantly smoky, blurred stonewashed aesthetic.
As always, the indispensable final mastering by Jörg Burger ensures that everything is brought together and the sound is fine-tuned.
And like every year, the 25th edition is of course wrapped in an abstract, floral magic creation by Veronika Unland. Over the years, the grace of her imagery has increasingly merged with the musical aura to form an unmistakable magical symbiosis.
Hallo Leute,
In den vergangenen Jahren begannen die Anmoderationstexte zur Pop Ambient Kompilation-Reihe, die jedes Jahr als letzte Veröffentlichung vor der Weihnachtspause auf Kompakt erscheint, sinnigerweise immer mal wieder mit dem Satz “Alle Jahre wieder...".
„Alle Jahre wieder”, eine leise, fast unbemerkt zur Formel gewordene Maxime der Selbstverständlichkeit. Denn in diesem Jahr erscheint bereits die 25ste Ausgabe.
25 Jahre in zunehmend schnelllebigen Zeiten im noch schnelllebigeren Musikgeschäft, sind gerne mal eine nicht nur gefühlte Ewigkeit. Umso bemerkenswerter wie mir, als ewig Rastlosem und oft selbst von dieser Schnelllebigkeit Getriebenem, auf angenehme Weise fast entgangen ist wie sehr, in pop ambienten Zusammenhängen (gedacht), die Zeit im besten Sinne nicht (oder anders) vergeht.
Beim Kompilieren der 25sten Ausgabe wurde ich u.a. gefragt, wie es ist, dass ich das immer noch mache und ob ich ein Lieblingsstück hätte. Im Sinne des Zusammenbringens von allen Stücken habe ich kein Lieblingsstück, oder alle. Aber ich habe eine Lieblingsstelle, die ich dann gespielt habe. In dem Fall war es ein breit gesetzter Akkord in einen Tonartwechsel bei Minute 2:55 im Stück Circles von Max Würden. Ein Moment der Erhabenheit und Vertrautheit, der in diesem Moment den gesamten Pop Ambient Kosmos in sich trägt, der einfach nur wirkt und nichts erklärt - und ich habe gesagt: „...das ist der Grund, warum ich das immer noch mache...“
Pop Ambient ist Statement ohne Forderung. Ist Verheißung ohne Erwartung. Ist Weg ohne Ziel. Alle Jahre wieder.
Wolfgang Voigt, Oktober 2024
Und damit zu den Fakten:
01. Leandro Fresco / Thore Pfeiffer – Goldwasserfluss
Die interkontinentale Kollaboration der beiden langjährigen Pop Ambient Stamm-Künstler Leandro Fresco aus Argentinien und Thore Pfeiffer aus Mainz, ist regelmäßiger Bestandteil der Serie. Gewohnt filigran eröffnen sie die diesjährige Jubiläumsausgabe.
02. Pass Into Silence – Mirage
Der japanische Künstler Tetsuo Sakae aka Pass into Silence meldet sich 20 Jahre nach seinem sagenhaften Album „Calm Like A Millpond“ auf Kompakt zurück. Ein Meister der ebenso feinen wie stoisch-glasklaren Töne.
03. Tamarma & Sebastian Mullaert – Follow Me
Zum ersten Mal gibt sich der bekannte, schwedische Produzent und DJ Sebastian Mullaert in Kooperation mit der georgischen Klangkünstlerin Tamara Davitashvili auf Pop Ambient die Ehre. Ihr Stück „Follow Me“ fügt sich souverän in den intim-vertrauten Klangkosmos ein.
04. Sono Kollektiv feat. Nathalie Brum – Periadriatische Naht
Mittlerweile eine feste Größe auf Pop Ambient ist das Sono Kollektiv, diesmal mit Nathalie Brum. Insbesondere das charakteristische Flügelhorn von Luis Reich gibt ihrem Sound immer wieder diesen besonderen jazzigen Touch.
05. Thore Pfeiffer – Phase Locked Loop 1 Thore Pfeiffer ist ein Meister der flirrenden Flächen und hypnotisch mäandernden Loops.
06. Andrew Thomas feat. Julia Parr – Sunshine Night
Ein alter Bekannter aus Neuseeland meldet sich mit sphärischen Klängen zurück. Andrew Thomas, in Kooperation mit Julia Parr, sprenkelt fein gesetzte Klaviertöne in weit entfernte Flächen und noch entferntere Stimmen.
07. Segensklang – Artifacts of Synthese
Wir freuen uns, dass auch Segensklang nach seinem fulminanten Pop Ambient Debut im letzten Jahr auch dieses Jahr wieder mit dabei ist. Deep and beautiful.
08. Ümit Han – Im Delirium
Zum dritten Mal dabei ist der Kölner Produzent Ümit Han. Hat er bisher eher die emotional-flächigen Aspekte des Pop Ambienten Universums ausgelotet, schwingt sich sein diesjähriges Stück „Im Delirium“ mit perlend-klaren, sprudelnden Soundkristallen zu einem pulsierenden Klanggebirge auf.
09. Würden & Schäfer – Analysis Of Variance II
Max Würden und Lukas Schäfer betten in ihrem Stück Analysis Of Variance II einen fein gesetzten Beat-Impuls in ein weiches Bett aus modulierenden Flächen und angenehmer psychedelischer Spaceyness.
10. Max Würden – Circles
Max Würden zeigt einmal mehr sein besonderes Gefühl für eine der Kernaussagen des Pop Ambient Stilspektrums. Die wie „Popmusik“ unter dem Mikroskop anmutende, abstrakte Akkord- und Flächenbewegung zwischen formaler Konstruktion und emotionaler Berührbarkeit.
11. Blank Gloss – Jennifer’s Convertible
Das kalifornische Gitarren-Ambient Duo entführt uns mit gewohnter Souveränität in ihren erhaben-schönen Soundkosmos. Maximal verdichtete Transparenz. Leichtigkeit - schwer wie Gold.
12. Hendrik Meyer – Grün War Die Klamm
Ein weiterer Neuzugang ist Hendrik Meyer. Der vielseitige Musiker, u.a. auch bekannt durch sein über Kompakt vertriebenes MYR Projekt, führt uns mit gleißend-schöner „wall of sound“ Entschlossenheit in die Ewigkeit eines nur vom nachfolgenden Stück beendeten Sonnenuntergang. Film(Musik)reif.
13. Triola – Zum Renngraben
Jörg Burger aka Triola kombiniert die für ihn typischen „handmade“ Impulse und Akzente mit mehrdimensionalem, digitalen Soundszenario in angenehm rauchig-verwischter Stonewashed Ästhetik.
Für den alles zusammenführenden, klanglichen Feinschliff sorgt, wie immer, das unverzichtbare, finale Mastering von Jörg Burger.
Und wie in jedem Jahr ist auch die 25ste Ausgabe natürlich in ein abstrakt-florales Zaubergebilde von Veronika Unland gehüllt. Die Anmut ihrer Bildsprache ist über die Jahre immer mehr mit der musikalischen Aura zu einer unverkennbaren magischen Symbiose verschmolzen.
John Grant, der Meister des Zwiespalts zwischen zerreißenden Balladen und progressivem Elektro-Pop veröffentlicht mit 'The Art Of The Lie' sein sechstes Soloalbum.
Obwohl es sich um eine John Grant-Platte handelt, die typischerweise Humor in Tragik einbettet und Wut in Mitgefühl umwandelt, hat 'The Art Of The Lie' eine neue musikalische Ambition, die die politischen und persönlichen Momente in den Songs untermalt. Der harte Kontrast von Schönheit und Grausamkeit macht das sechste Studioalbum des US-amerikanischen Songwriters so zu einem besonderen Hörerlebnis. Die elf Tracks verbinden Kindheitstraumata mit den verhärteten Nachwirkungen im Erwachsenenalter und verknüpfen beides mit der angespannten politischen Situation der Vereinigten Staaten im Jahr 2024.
Ivor Guests Produktionen mit Gastauftritten von Dave Okumu (Gitarre), Robin Mullarkey (Bass), Seb Rochford (Schlagzeug) und der schottischen Sängerin Rachel Sermanni sorgen für die nötige Dramatik auf Grants bisher opulentesten und filmischsten Album, die sich neben der beunruhigenden politischen Aufladung, wie in der ersten geteilten Single 'It's A Bitch' auch manchmal in elegantem Funk entlädt.
The opening line of Emily Dickinson’s short poem ‘‘Hope’ is the thing with feathers’ inspired the central image of Emily Barker’s new single ‘Feathered Thing’, written while she navigated cumulative grief.
When Barker was first introduced to producer Luke Potashnick (Gabrielle Aplin, Jack Savoretti, Katie Melua) in May 2022, she brought with her a full album’s worth of songs. But after visiting Potashnick’s storied studio, The Wool Hall and hearing his ambitious production ideas, she was inspired to write one more song.
“I also needed to process some heavy news” she comments. Barker and her husband Lukas Drinkwater had been trying to start a family. Following a couple of failed IVF cycles (and other “starts that we’d lost”), they investigated adoption and had decided to relocate to Australia to be closer to Barker’s family.
“It felt like we couldn’t work out what we wanted, but we finally reached a point where we both felt at peace with not having kids,” Barker recalls. “It had been an incredibly intense time, coinciding with a house move and the pandemic.”
And then Barker found she was pregnant. “We’d done all these things to try to make it happen, and then it happened naturally (and against all biological odds). Having previously navigated losses throughout our pregnancy journey, we now had to get our heads around what having this new person in our lives might look like - emotionally and practically.”
Soon after work began on the album, Barker had a miscarriage.
“Songwriting has always been a way of processing throughout my life.” Barker reveals how the new song came quickly as she sat at her piano at home. She shared an early version with Potashnick and remembers him politely asking, “Do you mind telling me what this is about?”
“I think I’d left it too abstract, initially,” she reflects. “It was difficult to open up about the miscarriage, but Luke was very supportive and encouraged me to dig a little deeper without necessarily being specific. I revisited the lyrics, and the result is much stronger.”
“I went to the burnt-out woods/ A tourist with some damaged goods/ Remembered how the trees withstood fires before…”
“The opening line is a metaphor for knowing that I’ll get through this,” Barker clarifies. “It’s about recovery and hope, allowing yourself both the space to grieve and permission to move on”. But Barker’s optimism is never misplaced – she knows the imprint of imagined futures and lost children are carried in hearts and minds forever:
“It’s so hard to let go, wanted to know wanted to know you …”
“I think that it's important to share and normalise these stories, which are all too common, yet not openly spoken about. People hide their pain and don’t want to burden friends and family. I think behind all this anguish, there’s a deep, often untold story.”
Now that Barker is settled back in Western Australia, she’s embracing being an auntie. “I’ve got three younger siblings over here who I’m close to, and they all have kids,” she enthuses. “I look after my brother's kids, aged two and five, one morning a week.”
Recorded - along with the entirety of the new album - at The Wool Hall, ‘Feathered Thing’ begins gently, with oscillating piano and distant drums, until the arrangement gradually transforms into an instrumental dervish of vibrant strings, bass drones and cymbal crashes. Throughout, Barker’s vocals float tantalisingly like a slipstreaming feather.
Watch the video, filmed at The Wool Hall here. The Wool Hall is a studio in Beckington, Somerset, set up by Tears for Fears in the 1980s and used by artists including The Smiths, Pretenders, Joni Mitchell and many more.
Emily Barker is an award-winning singer-songwriter, best known as the writer and performer of the theme to the hugely successful BBC crime drama ‘Wallander’ starring Kenneth Branagh.
Her last album, 2020's ‘A Dark Murmuration of Words’, was produced by Greg Freeman and recorded at StudiOwz, a converted chapel in the Welsh countryside. Lyrically probing, by turns both dark and optimistic, Barker searches for meaning through the deafening clamour of fake news and algorithmically filtered conversation, delivering a timely exploration of the grand themes of our age. It garnered widespread acclaim, with Uncut calling it “…a kind of Australian equivalent of PJ Harvey’s Let England Shake”.
Barker has released music and toured as a solo artist as well as with various bands and collaborations, most notably her long association with Frank Turner, and has written for TV and film, including composing the soundtrack for Jake Gavin’s lauded debut feature ‘Hector’ starring Peter Mullan and Keith Allen.
‘Fragile as Humans’ is scheduled for release on May 3rd 2024 through Everyone Sang/Kartel Music Group. The album will also feature earlier singles: the vast, cinematic ‘Wild to be Sharing This Moment’ and the meditative, crestfallen ‘Loneliness’.
Street/OI-Punkrocker LOIKAEMIE kehren auf die Bühnen und in die Ohren unserer Zeit zurück! Und sie haben immer noch und auch wieder was zu sagen! Nachdem die Band 2014 ihr 20-jähriges Bestehen feierte, legte sie eine Pause ein, kehrte aber bereits 2019 erstmals live zurück und ist mit den diesjährigen Gigs enorm erfolgreich und gefeiert. Nun mit der brandneuen Single "Lumpenmann" am Start, welches der erste neue Song seit 2007 ist, aber nicht der letzte sein wird. Versprochen! Denn ab dem 16.09.2022 gibt's den Song als Single Digital und zugleich geht diese Doppel-A-Seite-7"-Vinyl-Single mit dem weiteren neuen Stück "Tief Im Herzen" (ebenfalls Single Digital am 04.11.2022) in den Vorverkauf! Und danach geht's in 2023 mit noch mehr neuen Stücken und in der zweiten Jahreshälfte mit Album Nummer 5 weiter... Der LUMPENMANN ist Feuerwehr und Müllabfuhr zugleich. Man braucht ihn vielleicht, aber man mag ihn nicht in der Nähe haben, und wenn er kommt, soll er baldmöglichst wieder verschwinden. In dem Song steht der Lumpensammler für all jene Mitmenschen, die ihre Meinung nicht sagen können oder wollen, wo es zweifelsohne angebracht und notwendig wäre. Wenn alles schief gelaufen ist, alles gegen die Wand gefahren ist, dann kommt der Lumpenmann und muss mit brachialer Gewalt Erfolg erzwingen und die Geschichte wieder in Ordnung bringen. Der Song spiegelt zum Teil persönliche Erfahrungen der Band wider und soll die Notwendigkeit ausdrücken, sich selbst treu zu bleiben, um nicht zu einem reinem Lumpen zu werden. Denn wenn man das nicht tut, wird der Weg durchs Leben Aufgenommen und produziert von KURT EBELHÄUSER mit MICHEL WERN in den OFF THE ROAD STUDIOS /Leipzig , September 2021.- Abgemischt von KURT EBELHÄUSER im TONSTUDIO 45/Koblenz- Gemastert von ANDY "DOG YOUNG" JUNG im KENNER MASTERING STUDIO Berlin. Produzent Kurt Ebelhäuser ist Gitarrist/Sänger von SCUMBUCKET und BLACKMAIL sowie Produzent von u.a. DONOTS, PASCOW, KMPFSPRT, ACHT EIMER HÜHNERHERZER und ADAM ANGST. Schwarze Doppel-A-Seiten-Single mit zweiseitigem Poster und Beilage (limitiert auf 700 Stück weltweit)!
The final U.S. show, a triumphant and blistering bookend to the storied career of one of the most influential bands in rock music, featuring a unique and expansive eighty-five minute set list that spans Sonic Youth’s nearly three decade catalog. Mixed from multitrack by longtime live engineer Aaron Mullan and mastered and cut by Carl Saff. On August 12, 2011 Sonic Youth played their final US show on an outdoor stage overlooking the East River at the Williamsburg Waterfront in Brooklyn. Fitting that their storied career would bookend with a panoramic view of New York City where it all began 30 years before, having left in their wake one of one of the most powerfully influential careers in rock music. Following incredible sets from Kurt Vile and Wild Flag, the band took the stage. As the sun went down over the city, Sonic Youth ripped through a 17 song set that spanned from deep cuts off their first studio album and highlighting many other albums all the way through to their last, like a band with everything to prove. Or as Brooklyn Vegan’s Andrew Sacher said at the time: “While most bands who are thirty years into their career are either fading away or living off of the nostalgia of their older material, Sonic Youth continue to sound and perform as fresh as ever.” Steve Shelley explains the uniquely career spanning set list of Live in Brooklyn 2011 and how it came to be, as well as the importance of outdoor NYC summer shows in Sonic Youth’s legacy: “This show was a culmination of a run of really special outdoor summertime shows in New York City for us, starting in ’92 with Summerstage in Central Park when we played with Sun Ra. For the Williamsburg Waterfront show I wrote out the set list to present to the band and it was a lot of material we hadn’t played in a while, a lot of deep cuts, so I wasn’t sure if everybody would feel like doing it. After worrying about which songs the band might say yes or no to, I threw those concerns out the window and I just made a list of songs that I thought would be a great set. We practiced the week of the show at our space in Hoboken and put the set together. First we’d try and make sure we had a guitar in the song’s tuning, then we’d try to remember the arrangement and try and put it together, sometimes re-learning bar by bar. In the end I think the whole song list made it through. Even as early as ’86 and ’87 we stopped playing ‘Death Valley 69’ and ‘Brave Men Run’ with any regularity. We’d just get excited about new material coming into the set and songs would get ‘retired’ and wouldn’t get played again for years. So on this particular night in Brooklyn a lot of those retired songs and deep cuts got dusted off and played for this show. It turned out to be a pretty special event with a really special song list.” The band would go on to fulfill a contracted festival run in South America a few months later but, by then, the group’s center was severed beyond repair and the festival appearances didn’t hold the same kind of weight. “The stage was facing the East River from the Williamsburg, Brooklyn waterfront, and I recall the sun going down in the west during our set. It was a pretty magical, if kinda weird day. Fitting, somehow, that our ‘last show’ should be in New York City, our home and where it all began…” Lee Ranaldo The Williamsburg Waterfront show would fondly become referred to as ‘The Last Show’ by fans and band alike, equally for its triumphant high energy performance, its unique and expansive set list and locale. Newly remixed and remastered, Live in Brooklyn 2011 is presented for the first time on 2xLP, 2Xcd, August 18, 2023.
This record is named after Vedyanta, an ancient philosophy based on the Vedas, the sacred scriptures of India. The music, originally composed and produced by Joseph S Joyce and later remixed by Sebastian Mullaert of Minilogue, was greatly inspired, after reading commentaries from Swami Rama Tirtha's biography "The Scientist & Mahatma" - Chapter 1 - Vedanta and The Secret of Success. Now, some nine years later, it gets served up as a remix EP.
There's a dark El Choop Reconstruct, a gorgeous ambient version from Sebastian Mullaert, a minimal headscape from Van Bonn, Federson SF goes warm and dubby and then a crisp, tech-edged vibe from Paul 90 ends the EP in style.
Fabrice Lig has melody running through his veins. On his quest to explore his deep love for the bitter-sweet yearning of Motor City techno, his tracks transcend trends. Over his three-decade spanning career he has refined his blend of soul-infused dance music to striking effect. His gift for a catchy hook is unmatched. His new studio album "The Mental Bandwidth" shows his musical range as a producer once again. On the album's twelve tracks, he effortlessly traverses, cosmic house, funkified techno and electronica, combining his trademark quirky melodies with playful songwriting and dance floor focused beats. The album format is giving Lig enough space to explore his musical ideas from different directions while staying true to the overall atmosphere. "The idea for the album was to go back to the fundamentals of the original Detroit sound and to find new ways of expressing that soul in my music - as I've been doing for years", explains Lig. With Ann Saunderson and the former Kraftwerk-member Wolfgang Flur, the album features two heavy-weight collaborations that connect the "The Mental Bandwidth" to Detroit's musical legacy, too. Slikk Tim aka Garry Grittness also has a cameo in the form of a funky bassline on "Healing", the pop-infused Ann Saunderson collaboration. The title of the album is inspired by Lig's lecture of Sendhil Mullainathan and Eldar Shafir book "Scarcity: Why Having So Little Means So Much" which explores new approaches to reduce poverty. "The authors discovered that the mental bandwidth of poor people is sometimes really low because of short term issues they are facing and are forced to solve", explains Lig. Those issues are reducing the mental bandwidth for long term thinking capacities, which in turn has consequences for the decision making process. An example: before the quality of education of poor kids is increased, the quality of life they have must be increased. This increases the capacities of the kids to learn more than solely better educational programs.
Sebastian Mullaert (Minilogue, Sonkite) joins Hypnus Records with his debut album with the moniker Wa Wu We.
In the presence of the Sun
the grip of the frost release itself
into a dance of the early morning fog.
Ever moving in uncertainty
within light and shadows
clarity is born as we dissolve.
Indra's Kiss
opens the door
where Colors are the birds
&
the 108 dimensions of green
are dancing like the spider and the snake.
Moon is breathing as
the Spotless mind
and the drowned Sea.
Reflections on the Silent surface
of the morning lake
the one eye sing
a sudden song of Eternity.
GENOCIDE PACT return with their eponymous new album. An overdose of gut-wrenching Death Metal, Genocide Pact is heavy, engrossing, and undoubtedly brutal. "This album reflects on the feeling of watching the world crumble while dealing with personal tragedy," says guitarist/vocalist Tim Mullaney. True to his word - every track on Genocide Pact is a sonic assault brimming with palpable malaise. From the guttural screams in the album's opener "Led to Extinction", to the driving double bass that carries "Perverse Dominion", and a head rattling low end on "Deprive Degrade" - Genocide Pact is wholly negative Death Metal. The fury behind Genocide Pact captures the band's collective frustrations and personal journeys through these turbulent times. "You turn on the news and see mass shootings, a global pandemic, endless war, and corporations and politicians trying to sell you bullshit. You pick up your phone and another friend or family member has died. On top of that, you’re broke as fuck and work endlessly for a boss that doesn’t even know your name. You find yourself paranoid, pissed off, and embracing nihilism," Tim Mullaney says. GENOCIDE PACT have learned to embrace the negativity, churning out one of 2021's ugliest and unforgiving records.
Km 4.5’s first voyage of sound navigates the airwaves as a compilation of unique tracks from pioneering producers created uniquely for Km 4.5. Hailing from all over the globe, each has touched the sands of Papaya Playa Project, the birthplace of Km 4.5; each track is their own aural experience of Tulum. Traverse their singular realms of sound manifested into music through their time in this utopia in the first compilation inaugurating Km 4.5.
After an impressive label debut in March this year, Swedish pair Patrick Siech & Sandra Mosh re-link for a multi-faceted follow-up. Inspired by the '90s production ethos of broad-minded genre agnosticism, the EP spans a trio of dreamy, yet functional cuts, displaying the producers’ fluid production arrangements. A fourth track bucks the sonic trend, ‘PPMV1’ a tribute to a pigeon the duo rescued but ultimately succumbed to the virus of the same name. In contrast the track is a punchy bass-led weapon, simultaneously deliciously disorientating and immersive.
Siech has been a symbol of quality in the Swedish underground techno scene going back more than a decade, collaborating with the revered Sebastian Mullaert and releasing on Minus, Parabel and Break New Soil, among others. Sandra Mosh, similarly, is deeply respected by those in-the-know, gaining wide recognition with a show on Swedish national radio P3, playing festivals and clubs including Sónar, Berghain and Kazantip and running her own label MOSH Muzik.
We are pleased to share the first collaborative album by Alexander Berg (Dorisburg) and Sebastian Mullaert (Wa Wu We).
As Jorum, they invite us into a fable where murky soils awaken beneath the moonlit forest dew. Currents begin to rush softly through tentacles reaching far down into the earth. Bones, buried by the sands of time, come slowly back to life along with the slumbering bloodwood woods.
Wa... the Wu are We? Let the question appear, and dissolve in the Let the question appear, and dissolve in the dance! Wa Wu We is back with the third vinyl release, and like before its vinyl only. Deep jams nurtured by the Swedish woods, the home of Sebastian Mullaert. The beautiful four colour sleeve is designed by Markus Clemmedson (Boelja) and include Sebastian’s poetry.
Veta, inte veta, veta, sluta veta, sluta leta, sluta mäta ut det omätbara. Rymd, rymd, rymd, som väcker rymd bortom rymd i det omätbara. Vara, vara, vara endast vara i den rymd bortom inte vara. Klara, klara, klara, klarhet, barhet ... bara Medvetenhet.
Wa Wu We is the artist alias and vinyl only label from Sebastian Mullaert. This is the fourth chapter, crafted in the Swedish woods. The rst 6 episodes of the Wa Wu We label will form a collection of records, united by their signi cant and unique cover art and the way they’ve been recorded; this being the focus on improvising expression, resting in meditation and the nature surrounding Sebastian’s studio. All 6 of these episodes will be released as vinyl only and will be limited to 500 copies each.
THE STORY Wa... the Wu are We? Let the question appear, and dissolve in the dance! Wa Wu We is back with the third vinyl release, and like before its vinyl only. Deep jams nurtured by the Swedish woods, the home of Sebastian Mullaert.
In a year of global shift and continuous changes, Figure takes a leap of faith and extends its catalog by introducing a completely new compilation series to the label. The Open Space series will feature forward-thinking Electronica and Ambient from a well-curated list of seasoned producers. Compositions that invite to let the mind wander, weaving stories, and conjuring up emotions.
While these softer genres have already played a respected role in former Figure releases, for the first time in the label’s history they are now being given the center stage. Volume 1 sets the mark by providing producers whom we’ve come to love for their dancefloor-centric output with an open space to showcase another side of their skillset. Open Space remains open to various strains of Electronica and Ambient, ranging from the introspective synth-monologues (Sebastian Muellaert / Kirilik), drony dub-experimentalism (Moritz Von Oswald), alive and breathing takes on the genre (JakoJako), to singular compositions which slowly build their own lasting narrative and thus develop a genuine, emotive quality (John Beltran / Tin Man ). Len Faki himself proves the artistic breadth of Open Space, sharing a powerful and conscious message through a rare and delicate moment of him exploring the form of spoken words. Other contributions include Jesper Dahlbäck as The Persuader, Luke Slater as 7th Plain, or Ralf Hildenbeutel - a former production partner of Sven Väth and now a successful composer of film soundtracks. Unfairly reduced to background music, it is not the kind of Ambient featured on the Open Space series. It is an engaging body of music, bonded by its contemplative, enveloping nature. Open Space bands together an array of fascinatingly skilled producers, finally given the opportunity to present some of their most creative and emotional material yet to date.
Tobias., Neel and Sebastian Muellaert as Wa Wu We collaborate with the Konstrukt label for their 12th release. Each producer with a unique and refreshing approach towards electronic music.
Tobias. is up first with a beautiful track that balances on the border of rationality and emotion. His abstract sonic narrative discloses through tightly organized rhythms and noisy percussion. Neel follows up with a cinematic composition that submerges us into otherworldly oddities that guides us slowly through his composition. WaWuWe's formally known as Sebastian Mullaert relieves the tension. The Swedish composer made a 13-minute long stirring and relaxing B-side track, blessing us with soothing energy for the mind, body and soul.
A very rare remix package of STL's original material from Sebastian Mullaert on very limited edition 12" vinyl.
When I get a request to do a remix, I take that as an invitation… an invitation to express.
The sounds from the original composition become doors / gates… stepping stones for me to travel into this very moment and investigate how it is always changing (that changing being me).
I start working with the sounds… looping, playing, shaping… like a ceramist working with the clay, a painter working with the brush and paint, or the baker working with the dough. This process becomes a mantra; a meditation, and my studio becomes filled with sounds and rhythms… echoes from the original song, filtered by this very moment, temporary passing through "someone" being called Sebastian Mullaert or Wa Wu We.
Expression taking place and there are "NO MORE WORDS". Music becomes being, just Being.
STL is one of my absolute favorite artists, this specific invitation felt very special to me and the journey around the creation of the remix has been very deep.
Now I invite You to take part of it, let your consciousness express this very moment through the experience of the music. Again, being is just Being.
Much love
Sebastian Mullaert & Wa Wu We & …
Wa Wu We is the artist alias and vinyl only label from Sebastian Mullaert. This is the third chapter, crafted in the Swedish woods. The first 6 episodes of the Wa Wu We label will form a collection of records, united by their significant and unique cover art and the way they've been recorded; this being the focus on improvising expression, resting in meditation and the nature surrounding Sebastian's studio. All 6 of these episodes will be released as vinyl only and will be limited to 500 copies each.
THE STORY Wa... the Wu are We Let the question appear, and dissolve in the dance! Wa Wu We is back with the third vinyl release, and like before its vinyl only. Deep jams nurtured by the Swedish woods, the home of Sebastian Mullaert.
The beautiful four colour sleeve is designed by art director Markus Clemmedson and include Sebastian's poetry.
As a Dutch label, we're proud supporters of the homegrown sounds of guys like Nachtbraker, Frits Wentink and Fouk. Adding another Dutchie to our list of exquisite producers, we present you 'Pitto' with his debut on Heist Recordings. Pitto is a musically omnipotent creature, venturing into deep house with the underground hit 'Richklap' on Wolfskuil back in 2012 and dreamy electronic pop with his album 'Breaking up the Static' on Sonar Kollektiv and Virgin. He has also moved beyond producing his own music, running 'Studio Stekker'; a Dutch music festival that focused on freeform creative interactions between musicians where the artists performing on the festival locked themselves up a week in advance in Kytopia (Colin Benders' synth paradise) to make new music together. Through this, he's worked with people like Kyteman, Matthew Johnson, Sebastian Mullaert and Colin de la Plante, better known as 'The Mole', who is also present on Pitto's Heist debut with a remix.
The 'Late night studio moves' ep is one of varied styles, where Pitto's inspiration from African music, jazzy and soulful samples becomes evident. He finds his 'funk' in repetition, clever sample combinations and combining electronic and live elements in the most organic way.
'Late night studio moves' finds its basic groove in an African percussive loop. Over the 9:26 minutes, the track slowly adds elements, chopped African chants and piercing synth hits. It's all really dreamy and energetic at the same time, but it is when the bass and main keys kick in, that you really feel the euphoric vibe of the track. The Mole chose to remix this track and he turned it completely upside down, both in vibe and tempo. His version is an atmospheric and mesmerizing downtempo track, where the percussion works in an intoxicating way and bells, birds and chants move in and out of the spotlight.
Pitto's second original track on the ep is the mesmerizing 'Treat me like a fool'. 16th hi-hats, claps on the hats, and a chopped piano loop set the mood here, but it's the vocal that steals the show. A mantra like 'You love me' builds up and breaks down into 'you love me like an angel, but you treat me like a fool'. Each time, the track builds and builds, never quite giving in to a massive drop, but instead, focuses on the stripped back soul that is the heart of the track.
'Jazz kids' evolves around a jazzy bass loop and a set of quirky African percussive elements that you could imagine Henrik Schwarz making if he were in a more leftfield mood. A syncopated synth melody filters in and out throughout the track and a basic kick and hi-hat combo keeps the energy going strong on this on.
We're proud to bring you this deep, dreamy and provocative EP by Pitto and hope you'll enjoy it as much as we do.
Eitan Reiter, one of the most exciting producers of the moment follows up his collab album with Sebastian Mullaert with an EP on Gem Records.
GEM052 comes from the exceptionally skilful hands of Eitan Reiter. Label boss Secret Cinema has had an ear on Reiter ever since his prolific 'Reflections Of Nothingness' album in collaboration with Sebastian Mullaert. Gem Records have the honour of releasing the three track Flux EP which features PRZ, Barak Rosen & Ben Kirschenbaum.
Swiss DJ & producer, Mirko Loko, continued to indulge in his intergalactic persuasions on last year's long player Comet Plan". Released on Cadenza, Mirko's second album was enthusiastically received and picked up many fans for its collection of blissfull and wide-eyed electronica and techno sounds. Featured guests on the album included dOP's vocalist, JAW, and Francesco Tristano. 12 months on, and Comet Plan' gets revisited and remixed by two stellar names from the electronic dance community. Sebastian Mullaert is well known for partnership with Marcus Henriksson as Minilogue, the Swedish duo responsible for killer albums & singles for the likes of Cocoon, Silver Planet and Wagon Repair. Mullaert plumps for a solo remix of Venus' of epic proportions, split into two versions, Phaze One' and Phaze Two". An organic trip through the cosmos, Mullaert tweaks and teases over two seductively trippy versions, showing us a master class in minimal electronics. Hailing from Dallas, Brett Johnson has become synonymous with masterful jackin house music via singles for Derrick Carter's Classic, DJ Sneak's Magnetic, Freerange and Visionquest. Brett tackles U Special' featuring JAW, and turn in a very tasty Remix and Instrumental version. Soulful, spacey and groovy in equal doses, Brett delivers the goods in abundance on these mixes. A tight remix package that bows respectfully to Mirko's original visions, and a timely reminder, to the uninitiated, to check out the album for further inspection.
Jurek Przezdziecki is one of those artists that simply can't be pigeonholed. His tracks are full of surprises both in terms of arrangement and sound, and they more often than not defy the rules of what constitutes electronic music.
After years of working to achieve his own signature style, he is now respected by such heavyweights as Sven Vath, Laurent Garnier and Martin Gore (of Depeche Mode). In addition, his records have been released on esteemed labels like Cocoon, Affin, Trapex and legendary Warsaw-based imprint Recognition.
And, yet again, it is time for another release by Przezdziecki. 'Clissm', the first release on a brand new label from Poznan (Poland), International Day Off, is aptly titled as it can best be described as being a modern electronic interpretation of classically themed material. What's more, it can also be seen (and heard) as a manifestation of musical freedom, as it casts away stylistic barriers and genre-based phobias. Full of tension and epic narration, it is a sonic journey during which synthetic melodies intertwine with acoustic mutations to create something truly one of a kind.
The package is rounded off by two remixes from two highly respected artists, namely Sebastian Mullaert and Jacek Sienkiewicz. The former brings to the table 2 deep and hypnotic Minilogue style techno ballads. Sienkiewicz, on the other hand, handed in a raw, organic and at times uneasy tale that would in no way feel out of place on his own own imprint Recognition.
