quête:ecstasy

Prisoners Of Love And Hate' is an offering to community, to desires that imprison and liberate, to people in all their divinity and ugliness. Apostille - aka Night School Records’ captain Michael Kasparis - presents is third album with a bang, a bursting ball of NRG, empathy and bristling living.
Like its predecessor 'Choose Life', 'Prisoners…' was recorded at Full Ashram Celestial Garden in Glasgow with Lewis Cook (Free Love) through 2022. A nine song treatise on pop music, trauma, ecstasy and the mundanities between the extremes, Kasparis takes on classic 80s synth pop, 90s house music, 00s trance, wistful balladry, 70s power pop. The thread that runs through the album is a boundless energy, an openness to the moment, to living
the pains and joys equally, open armed.

This is a place of no judgement, of possibility, challenge and comfort. The nine songs on 'Prisoners…' can be read as separate ruminations on the feelings and desires that imprison our experience. Through it all the narrator struggles against them, transported and fooled by love and longing, peering through the bars of anguish, flailing in a cell of emotions. 'Saturday Night, Still Breathing' breaks the album open with an invigorating scream and pounds into the night with a nod to Whigfield, Kasparis’ punk roots and house music. Over a thumping 909 kick and bassline, Kasparis pens a love letter to being with people, the collective energy of hearts in a room, thrumming together, making it through together. Written as private ritual magic, manifesting community during a time of isolation, it’s as if the party is the most important thing in the world. 'Rely On Me' imagines 80s Mute synth pop, Erasure fronted by Bruce Springsteen, romance doomed and forever perfect in the mind. 'Spit Pit' completes the opening triptych of fast paced rollercoasters, an ode to childhood forged out of change and discomfort told with a bold, epic production by Lewis Cook, AFX breakbeats, 160BPM kicks and a commanding vocal performance.

On 'People Make This City', Kasparis eases off the gas, lets the mist blowing in from the Clyde River blow over his version of Glasgow. A wistful ballad about small town gossip and coming through anger to leaving it all behind, it provides some shadow to the bright light of the vibrancy of the album. 'Natural Angel' owes much to 70s and 80s power pop, guitar melodrama, Thin Lizzy and Rick Springfield through the prism of co-dependence in relationships. It’s a theme that’s picked up in slow burner 'Nothing But Perfect', a hazy synth soul-inflected song about building your own mythology, constructing a dream to hide in, to hold on to. The most surprising track of the album, 'Summer of ’03' re-imagines the trance music of early noughties Europe into a lament for an eternal summer or as a fan once put it, “Meat Loaf with a donk on it.” A recognition that all ecstasy has tragedy laced within it, it’s a theme that is sewn throughout the LP and continued on the final song 'Feel Good (You Can Make Me)'. Referencing Shalamar’s 1982 mega hit by way of N-Trance’s piano riffs, the epic closer is riddled with heartbreak, vulnerability and power. It’s a testament to the new confidence in Kasparis’s songwriting, sure, but also to the enduring power of people to come together in mutual dependence and love. If ecstasy is always laced with tragedy, then 'Prisoners of Love and Hate' can always reach out between the bars to meet in the middle, the eternal now.

WATAIN, die 1998 gegründet wurden und 2023 ihr 25-jähriges Bestehen feiern, sind eine der am meisten verehrten und gefürchteten Black-Metal-Bands überhaupt. Von ihren bescheidenen Anfängen in der Metal-Szene von Uppsala bis hin zu den Bühnen der ganzen Welt, die sie nach sieben Alben in Flammen setzen, sind ihre Live-Shows eine Liga für sich und berüchtigt für ihre schiere Intensität. Aufgenommen von Jamie Elton und gemastert von Tore Stjerna im Necromorbus Studio, bietet "Die in Fire - Live in Hell" die Möglichkeit, WATAINs rohe Kraft und feurige Präzision zu erleben, perfekt eingefangen auf diesem Mitschnitt einer ausverkauften Show im Stockholmer Fållan am 7. Oktober 2022.

Mit dem von E. Danielsson gestalteten Artwork ist "Die in Fire - Live in Hell" nicht nur eine klangliche, sondern auch eine visuelle Reflektion von WATAINs Tourneezyklus für "The Agony & Ecstasy of Watain" (2022), und darüber hinaus ein Symbol der Dankbarkeit für ihre treuen Legionen weltweit! "Die in Fire - Live in Hell" ist eine sehr persönliche und engagierte Veröffentlichung für all jene, die WATAIN seit 25 Jahren auf dem Pfad der gesetzlosen Black Metal-Dunkelheit begleitet haben.

There’s a connection between the musical history of the Mediterranean that can’t be explained through academia alone. It’s an expression of simultaneous grief and celebration that trespasses cultures and generations; and demands to be felt, or even better, danced, to be understood. The same spirit weaves Rebetiko from the ashes of the Ottoman empire to the heavy Hafla soundtracks on the Koliphone label in ‘70s Jaffa, or rebellious Turkish psychedelic music to the first generation of surf guitarist migrants in America. It's an infectious feeling that travelled and evolved wherever it was called, and that passion is embodied in “Back to the Taverna”, the new album by Berlin based bouzouki quintet, Cherry Bandora.

On the milestone of their third release, original members Liad Vanounou (Bouzouki) and Lorena Atrakci (Vocals) have bolstered their sound with longtime friends and collaborators Moshe ‘Moosh’ Lahav on Keyboards and flute, Tamir ‘Hassan’ Chen on Bass and Nimrod Lieberman on Drums to create an album celebrating the ecstasy of being able to drink and perform together again, freed from the anathema of the last years. The band has evolved considerably since their beginnings ten years ago as an Agean-influenced part of the local Balkan Swing scene; the most significant addition being the deployment of “The Hardest Working Man in Tropical Music” Alex Figueira as musical director for this album. His scorched fingerprints are unmissable throughout the extended psychedelic breakdowns and percussive overdubs that make “Back to the Taverna” such a dynamic offering.

Cherry Bandora have always been a very personal band; collecting songs from nearby cultures and history and blending them into their own experience by developing new arrangements or lyrics, just as musicians from those times would have. Lorena delights in expressing herself away from her mother tongue or providing modern lyrics for an updated feeling, as she does to the beloved Turkish standard, “Rampi Rampi”. In this interpretation she uses her native Hebrew in a saucy lockdown-delivery-guy romance... This track also features Baris Öner from local Turkish rock band Kara Delik on his signature flanging Saz.

Singing in Greek, English, Turkish and Hebrew was also a natural choice on the album, representing the “multikulti” area of Berlin that the band lives and records in. These languages would all be heard on the street as they walked to record in the analog Studio Wong in Kreuzberg.

“As descendants of Mizrahi Jews (Jewish migrants from non-European countries), growing up listening both to Beatles and Umm Kulthum, playing in jazz music departments in high school, and now living in Kruezkölln, we basically pay tribute and revive this shared heritage in the context of the global music scene of today” says Lorena.

The opening track, The Sound Of Baglama, is an interpretation of the anthemic Tsitsanis homage to the tavernas and sweethearts of Thessaloniki. It lays the ground for what to expect from Cherry Bandora’s exceptional live performances, featuring effortless switch-ups between surf rock choruses and laid-back verses dipping into Persian disco funk. This song will be accompanied by a tour-collage “found footage” style film clip in production at this
time.

Cherry Bandoras show their dedication to the bit with a rousing English version of the canonical rembetiko tune Dimitroula Mou. This amour song, popular with generations of female singers, is accompanied by real studio plate smashing, a ritual which sealed their final session for the album. 2 bonus tracks are included on the digital release, both a little more raw from the band’s home studio: the reeling dervish Rubi Rubi (which will be released as a second single with a video clip) and the emotionally dense and hypnotic slow burner Esý.

The album will be released digitally and on vinyl as a collaboration between Rebel Up Records (Belgium) and Rumi Sounds (Berlin) on Friday 3 november 2023 and is a prime example of what a raunchy, open minded and tireless bouzouki band can do as they hit their prime.

An extensive highlighted review will appear in Songlines magazine #135 December issue and the track ‘Benimde Canim Var’ will be featured on their free compilation. Also radioplay on Radio Campus France playlist (allover) during November and December.

Pieces well and truly picked up by a who's who of collectors and selectors, the TD team follow Bobby Snacks' super smash with some seriously synthy slices from good buddies Miserymix.

A collaboration born behind the Piccadilly Records' counter, Miserymix is the dark disco alias of Goth Spice (Kohl AF, dressed in black and armed with nonpliments) and Mushy P (a toothy and goofy Talking Drummer). Based a mere 192 away from Senor Snacks in the thriving metropolis of Levenshulme, this pair of disco delinquents share a penchant for pingers, Prosecco and the lesser known corners of Europe's 80's club sound.

After a mysterious appearance on one of Duca Bianco's brilliant V/As, Miserymix drop their debut EP on Drum Chums, aiming directly for the dance floor.

The Italo-noir of 'Sexy Cowboys' gets the set off to a sleazy start, its seductive synths and strangled guitars riding throbbing bass and leather-clad percussion right into the darkroom, where the yelping vocal echoes over the creak of a swing. Miserymix push the tempo for the pacey disco pump of 'Proverbial S.O.B.', a peak-time stomper dubbed senseless for the perfect tops-off groove. Subtle kalimba, cut up vocals and orchestral hits find every sweet spot atop the one note bassline, while those airy piano chords steer us straight into the sublime.

Kicking off the flip is the uber-anthemic, endorphin-laced and mid-paced dancefloor destroyer 'E Motion'. Our disco duo spend plenty of time on the foreplay, teasing every ounce of ecstasy out of the nuanced perx, rolling bassline and sparkling synths before unleashing some flawless Francophone vocals on the way to a colossal chorus. Smouldering like a Propaganda club mix, this Europop obscurity has been upgraded into an accidental pill tune of perma-gurn proportions - this one is a road-tested dance floor sure shot.

Indulging the afterglow, Miserymix sign off with the superb synth pop of 'Name Game'. Stomping drum machines play host to an insistent bassline and some slinky keys, while the cucumber cool Euro vocal serves cabaret camp and maximum vamp.

Remember folks, the TD crew (drum)rolls deep...

100% Drum Fun Guaranteed!

Provocative post-punk from Israel's undercover goth prince. Megira's lone album with the Modern Dance Club showcased a grimier, more driving vision of his brand of trashy no wave. Spread across 31 tracks and two LPs, Love Police schizophrenically mixes industrial soundscapes, surf ditties, hardcore, swamp pop, bubble grunge, screaming, ecstasy, and enough fuzz to warrant a needle check.

Provocative post-punk from Israel's undercover goth prince. Megira's lone album with the Modern Dance Club showcased a grimier, more driving vision of his brand of trashy no wave. Spread across 31 tracks and two LPs, Love Police schizophrenically mixes industrial soundscapes, surf ditties, hardcore, swamp pop, bubble grunge, screaming, ecstasy, and enough fuzz to warrant a needle check.

12 track Studio from Peter Kernel released by On The Camper Records

You can listen closely to singer- songwriter Julian Saporiti's lyrics, which juxtapose true stories of struggle from throughout Asia and its diaspora with Saporiti's own reckoning with intergenerational trauma.

You could also let the majesty of Saporiti's songcraft wash over you, his captivating melodies cloaking those themes in a veneer of hope and ecstasy. But the deepest storytelling happens at the sonic level, as sounds drawn from across the Eastern hemisphere mingle freely with distinctly American instrumentation - banjo and koto, lap-steel and guzheng - while electronically manipulated field recordings of rushing water, chirping birds and other natural sounds ground us in the now. Adventurous and affecting,' Empire Electric' offers a vision for a new kind of folk music, one that tells unorthodox stories through unorthodox means and finds new pathways through our tangled roots.

Die Nachauflage von SOULFLY "Totem" erscheint als silberne LP.

Zu Beginn des neuen Jahrtausends erklärte der Rolling Stone: "Soulfly scheinen für die Ewigkeit gebaut". Mehr als zwei Jahrzehnte, unzählige Welttourneen und ein Dutzend Alben später scheint diese Prophezeiung wahr.

Als Ikone des Undergrounds, Wegbereiter des extremen Metals, Krieger der Dritten Welt und Anführer eines vielfältigen und engagierten Stammes überlebt Max Cavalera nicht nur, sondern gedeiht, indem er ein Killer-Riff nach dem anderen raushaut. Dieselbe Stimme, derselbe Körper und derselbe Geist, die Soulfly 1997 ins Leben riefen, beschwören auch heute noch unfassbar schweren Lärm herauf, der auf dem zwölften Soulfly-Album "Totem" zehn Scheiben monströser Musik abwirft.

Occasionally, you find music outside the commercial mainstream, outside of everything – the music of visionaries, eccentrics, inventors, loners, the keepers of secrets, the path-finders. Moondog, Daphne Oram, Harry Partch are from this mould. And so too is Lori Vambe.

New on Strut, the first ever reissue of Vambe’s privately pressed original albums from 1982, Drumland Dreamland and Drumgita Solo. A self-taught drummer, inventor, and sonic experimentalist, Lori Vambe is a unique figure in British music. Creator of his own instrument, the drumgita (pronounced ‘drum-guitar’) or string-drum, Vambe intended to create a kind of music that had never been made in order to pursue access to the fourth dimension.

Vambe was born in Harare, Zimbabwe and his father, Lawrence Vambe, was a noted Zimbabwean journalist and author. Moving to London in 1959, Vambe immersed himself in the Brixton squat movement of the early 1970s, teaching himself to drum and creating a short-lived performance group, The Healing Drums of Brixton (Vambe, the sculptor Alexander Sokolov and outsider musician Michael O’Shea). Vambe later had a dream-vision involving a feeling of ecstasy while playing an unknown instrument that extended from his own umbilical cord; the instrument would manifest itself as the drumgita. In 1982, he privately produced a pair of home recordings, the diptych set Drumgita Solo and Drumland Dreamland, releasing them on his own label Drumony. On these records, he rejected any commercial aesthetic and employed tape effects, temporal shifts, reversed sound and overdubbing to investigate space-time and access the fourth dimension. Combining layered drums with the rhythmic throb of the drumgita and, on Drumland Dreamland, an improvised piano performance by Brazilian concert pianist Rafael Dos Santos, the albums are both hypnotic and perturbing.



Both albums were cut at Portland Studios by Chas Chandler and stand as a concealed monument of Black British experimental music. 500 copies of each record were originally pressed, and both were released together. The albums were never performed live.



For this first ever reissue of Drumland Drumland and Drumgita Solo, Strut presents the two albums in their original artwork, housed in a deluxe slipcase including an additional 8-page 12”-sized booklet featuring unseen photos, liner notes and an interview with Lori Vambe by The Wire magazine writer Francis Gooding. Both albums are fully remastered by The Carvery.

Blue Dolphin was a wild, iridescent punk band from Austin, Texas circa 2016. Over the course of a year, they created a buzzing, liberatory sound, a dark blood mix of melodic ease and existential gloom. This pairing suggests monuments like ’Peace?’ or ‘Is This Real?’ but Blue Dolphin found this path all on their own, through trust and reliance, that practice space unity that the best bands build simply through the joy of playing with each other.

Emboldened by this connection, the band birthed memorably fractured, brisk music full of daring and revelation.

At times, the songs barrel along as if the band is struggling to keep their instruments under control, an unrestrainable, breathless frenzy of notes. Other times, they take on a pensive ache, a weighted despair. Every time they form a perfect skeleton for Sarah Sissy’s vocal shove. The songs will squall and sway, reach overload, rattle half to death, and yet the moment Sissy begins singing they snap into a focused beam, a bulldozing, clear-eyed force.

‘Robert’s Lafitte’ is a rush of darkness, resilience, mystery and bliss, exactly what you’d want from a record named after Texas’s oldest running gay bar, and a band maybe named after the indescribable freedom of ocean life or maybe named after a type of ecstasy.

The LP contains the entire recorded output of Blue Dolphin, including all three self-released tapes and four previously unheard songs.

Members of Blue Dolphin have played in other bands like C.C.T.V., Chalk, Mystic Inane, Chronophage and NOSFERATU.

For fans of Silver Abuse, Chalk, Twelve Cubic Feet, Chronophage, C.C.T.V., Mystic Inane.

Includes poster / insert.

Jonny Benavidez, the sweet-spoken soul virtuoso, is back with his latest 7" double-sider drawn from the album "My Echo, Shadow and Me". Backed by Cold Diamond & Mink's mesmerizing grooves, Jonny delivers another extraordinary musical voyage.

The top side, 'Do What You Wanna Do,' intertwines his golden voice with a steady dance groove, the determinate message getting wings under Jonny's majestic command. Flipping the record reveals 'Your Last Song,' a heartfelt bluesy downtempo soul gem that will leave an indelible mark on the hearts of those who appreciate the power of soulful melodies.

This record showcases Jonny's distinct sound and evolving style blending a firm understanding on the origins of his craft with a contemporary touch. Prepare to be transported to a world of soulful ecstasy as Jonny Benavidez continues to enchant with his undeniable style and unwavering passion.

The inaugural release on cult eyewear label Kuboraum's new music platform, SALÒ is a mystifying fusion of noise, prog rock and psychedelic music that attempts to imagine a "dreamy and decadent" Roman renaissance. It's the brainchild of multidisciplinary artist Emiliano Maggi, who links with Mai Mai's Toni Cutrone, Wildmen's Giacomo Mancini, producer Cosimo Damiano and musician, writer and critic Stefano Di Trapani to distill a wellspring of poems, fairytales, anecdotes and mythologies - drawing on mythological symbolism, medieval theater and rural iconography - into an oozing celebration of art, ecstasy and extravagance.

teely Dan's gold-selling third studio album Pretzel Logic, charted at No. 8 on the Billboard 200 and restored the group's radio presence with the single "Rikki Don't Lose That Number," which became the biggest pop hit of their career and peaked at No. 4 on the Billboard Hot 100. The 1974 album was produced by Gary Katz and was written primarily by Walter Becker (bass) and bandleader Donald Fagen (vocals, keyboards). The album marked the beginning of Becker and Fagen's roles as Steely Dan's principal members.

They enlisted prominent Los Angeles-based studio musicians to record Pretzel Logic, but used them only for occasional overdubs, except for drums, where founding drummer Jim Hodder was reduced to a backing singer, replaced by Jim Gordon and Jeff Porcaro on the drum kit for all of the songs on the album. Steely Dan's Jeff "Skunk" Baxter played pedal steel guitar and hand drums.

Pretzel Logic has shorter songs and fewer instrumental jams than the group's 1973 album Countdown to Ecstasy. Steely Dan considered it the band's attempt at complete musical statements within the three-minute pop-song format. The album's music is characterized by harmonies, counter-melodies, and bop phrasing. It also relies often on straightforward pop influences. The syncopated piano line that opens "Rikki Don't Lose That Number" develops into a pop melody, and the title track transitions from a blues song to a jazzy chorus.

Other standout tracks include "Any Major Dude Will Tell You," a reflective ballad with lush harmonies, and "Parker's Band," a playful ode to the jazz great Charlie Parker.

Lyrically, the album explores themes of nostalgia, lost love, and the struggles of the creative process. In "Barrytown," the band reflects on their early days as struggling musicians, while in "Through with Buzz," they offer a biting critique of the music industry and the pressure to conform to commercial expectations.

One of the defining characteristics of Pretzel Logic is its use of unusual chord progressions and unexpected musical twists and turns. The band's intricate arrangements and skilled musicianship are on full display throughout the album.

Rolling Stone praised the album, calling Steely Dan the "most improbable hit-singles band to emerge in ages."

"When the band doesn't undulate to samba rhythms (as it did on 'Do It Again,' its first Top Ten single), it pushes itself to a full gallop (as it did on 'Reelin' in the Years,' its second). These two rhythmic preferences persist and sometimes intermingle, as on 'Rikki Don't Lose That Number,' which jumps in mid-chorus from 'Hernando's Hideaway' into 'Honky Tonk Women.' Great transition." — the review said.

AllMusic gave the album 5 stars, with reviewer Stephen Thomas Erlewine noting that "instead of relying on easy hooks, Walter Becker and Donald Fagen assembled their most complex and cynical set of songs to date." Dense with harmonics, countermelodies, and bop phrasing, Pretzel Logic is vibrant with unpredictable musical juxtapositions and snide, but very funny, wordplay.

The album's cover photo featuring a New York pretzel vendor was taken by Raeanne Rubenstein, a photographer of musicians and Hollywood celebrities. She shot the photo on the west side of Fifth Avenue and 79th Street, just above the 79th Street Transverse (the road through Central Park), at the park entrance called "Miners' Gate."

After a brief battle with esophageal cancer, Walter Becker died on September 3, 2017 at the age of 67. Steely Dan has sold more than 40 million albums worldwide and were inducted into the Rock and Roll Hall of Fame in March 2001. VH1 ranked Steely Dan at No. 82 on their list of the 100 Greatest Musical Artists of All Time. Rolling Stone ranked them No. 15 on its list of the 20 Greatest Duos of All Time.

This stereo UHQR reissue will be limited to 20,000 copies, with gold foil individually numbered jackets, housed in a premium slipcase with a wooden dowel spine.

Overall, Pretzel Logic is a standout album in Steely Dan's discography. The album's blend of catchy hooks, complex arrangements, and thoughtful lyrics has made it a favorite among fans of classic rock and pop music.

The life-affirming energy at the heart of Sven Väth‘s recent album Catharsis is revisited, reanimated, and remixed by some of the most exciting names around, closing the circle on a superlative burst of
recent work that has not only given us the epic original LP, but also the extraordinary compilation What I Used To Play.

Roman Flügel, Benjamin Damage, Robert Hood, Planetary Assault Systems, Mano Le Tough… do we need to go on? This hand-picked list of luminaries have answered the call and certainly don’t disappoint, each fusing their signature sound with Sven‘s DNA to create a wild, uncompromising companion piece to the original album.

True to form, the running order is very much rooted on the dance floor, Silvi‘s Dream, revisited by Damiano von Erckert, explodes like a Balearic sunrise. Dreamy strings with a touch of Detroit create a lovely atmosphere while the beautiful piano sound goes right into your heart and appears as if you could feel the warm sun on your skin. Roman Flügel’s acidic rework of What I Used To Play is a homage to the 80s and the early sound of electronic music which creates nostalgic feelings and offers a greatly produced retro soundscape à la Kraftwerk. Staying close to the original, but with the perfect amount of spin, it’s a symbiotic interplay of synthetic bass pads, and a tiny bell melody. Robag Wruhme’s cranking minimal funk takes us down The Worm-hole. A concise interference sound builds
up sustained tension, tangled but structured, deep and yet driving. Robag took over the deep and dirty rhythms of the original perfectly and delivers a versatile piece. This opening salvo oozes quality and
sets things up perfectly for the electrified celebration of hi-octane technology come.

Jonathan Kaspar‘s growling interpretation of We Are provides a melancholic atmosphere with fascinating percussion parts. Zaps shoot through the air like small laser pistols while we let ourselves
be carried away by the bass, the frisky vocal stutter effect is the icing on the cake. Speeding things up, the euphoric trance that engulfs Krystal Klear’s epic version of Feiern. Expansive strings increase up
to ecstasy and guide us to a love-filled unity. This remix is sure to be an excellent peak-time smasher for the open-air season. On to a wild ride of pure techno with Benjamin Damage, who delivers a dry and uncompromising Berlin Techno version of Mystic Voices. Harder pace but the string synthesizer harmony brings light to an otherwise gloomy environment. Next up is Luke Slater’s PAS Deep Heet Mix to add a retro nineties vibe to proceedings on Nyx. Entering a rough space with gigantic clap impacts, we are blessed with straightforward Techno. Shimmering and spooling, this groove hits the
mark. Then, as if it was ever in doubt, Sven‘s lofty place in the techno firmament is underlined by a peak-time contribution by non-less than Detroit legend Robert Hood. Unmistakable, you must recognize the signature Robert Hood drive on Butoh. Chord stabs fulfill the Detroit feeling with offtaking string elements and high-energy vocal transformations. It’s a warm embrace that triggers emotions. Planetary Assault Systems then blasts things ever deeper into the cosmos on a second outing of Nyx. Reduced and to the point but of course, true to form, with powerful tribal percussion parts and intensive cutting hi-hats.

From there on in, the collection gradually re-enters the atmosphere, burning with a phosphorescent, melancholy glow. Harald Björk extrapolates Being In Love into a hypnotic groove for the early hours. A playful and atmospheric electronica interpretation to soothe our souls due to disharmonious synth pads and a dreamy deformation of the original melody. Mano Le Tough harnesses the ethno-rhythms
and brooding energy of Catharsis into a low-slung, tribal stomper. Anomalous organ parts ring out and link up with a trance-like sequence, summer feelings arouse as you feel like you can almost smell Ibizan air. The collection comes full circle with a second equally seductive interpretation of Silvi‘s Dream by Florian Hollerith. Stripped-down and hypnotic, the homage to Sven's girlfriend Silvi is extended as a reverence to Sven himself. Sven's profound vocal clearly infuse time and space and leave a forever-lasting memory of love.

By accident or design, it somehow leaves us with the reassuring sense that, although this specific part of the journey may be drawing to a close, the mission of the man behind it all most definitely isn't.

written & produced by: Sven Väth & Gregor Tresher

Three years after the original release date of Caterina Barbieri’s career defining album Ecstatic Computation, the Italian artist reissues the record on her newly found own label light-years.

Caterina Barbieri is an Italian composer who explores themes related to machine intelligence and object oriented perception in sound through a focus on minimalism. Ecstatic Computation revolves
around the creative use of complex sequencing techniques and pattern-based operations to explore the artefacts of human perception and memory processes by ultimately inducing a sense of ecstasy and contemplation. Computation is turned from being a formal, automatic writing technique into a creative, psychedelic practice to generate temporal hallucinations. A state of trance and wonder where the perception of time is distorted and challenged.


Equally nervous and ecstatic, the fast permutation of patterns can create a state where time stands still whilst simultaneously being in motion. Is this propulsive music moving forward or backward? As
long as the perception of the present is constantly enhanced and refreshed in an endless sense of loss, re-discovery and the search for self-orientation this question lies mute aside the thrilling and perplexing moment of the matter at hand.

Three years after the original release date of Caterina Barbieri’s career defining album Ecstatic Computation, the Italian artist reissues the record on her newly found own label light-years.

Caterina Barbieri is an Italian composer who explores themes related to machine intelligence and object oriented perception in sound through a focus on minimalism. Ecstatic Computation revolves
around the creative use of complex sequencing techniques and pattern-based operations to explore the artefacts of human perception and memory processes by ultimately inducing a sense of ecstasy and contemplation. Computation is turned from being a formal, automatic writing technique into a creative, psychedelic practice to generate temporal hallucinations. A state of trance and wonder where the perception of time is distorted and challenged.


Equally nervous and ecstatic, the fast permutation of patterns can create a state where time stands still whilst simultaneously being in motion. Is this propulsive music moving forward or backward? As
long as the perception of the present is constantly enhanced and refreshed in an endless sense of loss, re-discovery and the search for self-orientation this question lies mute aside the thrilling and perplexing moment of the matter at hand.

From the city of Tampere, Finland, comes Type-303 with a brand new EP ”Näsinpuisto” on a new local label VERRAZZANO. This time we take a detour from his usual acid sounds and head to the park for summer vibes.

Taking inspiration from early 90’s Italo house and balearic scene, ”Näsinpuisto” EP gives four sunny, mysterious and long drink fuelled cuts to cheer up the thirsty crowd.

Opening with a lovely haunting flute melody, ”Is It Magic” asks the question if there is some special magic in northern summer days, and the answer is fairy whistling YES! Part nostalgic and part forward looking, the song is relaxing house par excellence.

Second track ”Sexy Sax” sounds something like it was meant for fashion shows in Milan, or to be played at terraces with international tasteful clientele. With solid bass, sophisticated rhythms, sax melody and sea-breeze sounds, 90’s N.Y. house vibes are evident.

”Garden Of Love” is a playful tune that might be playing in the background when you stumble upon a secret garden in the park. The question is dare you enter in? Because Ecstasy comes to those who dare to step out of their comfort zone.

Lastly ”Summer Nights” is a relaxing late evening tune, ending the summer day journey with reassuring sounds in the after glow. Still with enough punch to work great either as set starter, or when you want to chill the dance floor.

Verrazzano calls you to enjoy summer, love and friendships!