quête:konstant

Earlier this year, Subwax Bcn made an important contribution to the electronic music community by having the timeless dub techno compilation Vibrant Forms II by Fluxion remastered and reissued. First released in the year 2000 on Chain Reaction, Earlier this year, Subwax Bcn made an important contribution to the electronic music community by having the timeless dub techno compilation Vibrant Forms II by Fluxion remastered and reissued. First released in the year 2000 on Chain Reaction, Vibrant Forms II is widely considered to be one of the greatest achievements in the genre. As it turned out, Vibrant Forms II became one of the last records to be released on Mark Ernestus and Moritz von Oswald's classic label - a suitable swan song if there ever was one. And that's it, right

Well not quite.

If one would search for Fluxion - Vibrant Forms III, Discogs would come up empty and Google would treat it as a misspelling. Until now.
Konstantinos Soublis, aka Fluxion, and Subwax Bcn have decided to pick up the banner and release Vibrant Forms III as a CD as well as four individual 12" records under 2016. It contains everything you could hope for and more: The massive, booming basses, the clicks and hisses, the atmospheric thunderstorms, the opium smoke-scented streaks of reverb and dub echoes. The warmth. Yes, above all else the warmth: Sometimes moist and dripping as in Safe Harbour, sometimes blisteringly dry as in Variant. It's no easy task, giving cold, dead machines warm breaths. And no-one quite does it like Fluxion.

The Reissue of Vibrant Forms II was an act of cultural preservation. It reminded us about the legacy of the Basic Channel label family, in which Chain Reaction played an important part. Without this legacy, the contemporary body of electronic music would look different and make very different sounds. With the Release of Vibrant Forms III, Subwax Bcn takes it one step further. Fluxion's Vibrant Forms III album remind us of the timelessness of truly great music, never mind the genre.

m Jahr 2022 sind I'LL BE DAMNED wieder am Start. Bewaffnet mit einem konstanten Fluss an Inspiration aus einer verrückt gewordenen Welt,
st die dänische Band angepisst von Politik, Religion, den Medien und der Gesellschaft im Allgemeinen. Das neue Album Culture" ist besser
strukturiert als die Vorgängeralben, sowohl was das Riffing als auch das gesamte Songwriting betrifft. Und dank der brillanten Produktion - mit
freundlicher Genehmigung des Produzenten Tue Madsen und seiner Antfarm Studios - hat der nordische Fünfer endlich das Potenzial erreicht,
das er auf seinen beiden Vorgängeralben und bei seinen explosiven Live-Auftritten versprochen hat.
Mit zwei neuen Mitgliedern, Anders Gyldenøhr (ex-Grope, ex-Hatesphere) am Schlagzeug und Mark Damgaard am Gesang, sind I'll Be Damned
musikalisch gereift, was zu einer ernsthafteren Herangehensweise an den Schreibprozess geführt hat. Dies zeigt sich in einem Album - nach "Road
To Disorder" (2018) und "I'll Be Damned" (2017) - mit weniger Humor, dunkleren und aggressiveren Riffs, gefolgt von explosivem Gesang und
Texten, die eher Themen wie Wut, Verzweiflung und Hoffnungslosigkeit als Sarkasmus und Ironie beinhalten. Die Thematik von "Culture" dreht
sich jedoch immer noch um den Hass auf Religion und Politik, aber auch um neuere Formen extremer kultureller Unterschiede.
Mit Einflüssen von Clutch, Down und Rage Against The Machine im Rücken vereinen I'll Be Damned einen kraftvollen, aber dennoch melodischen
und groovigen Schlag ins Gesicht mit lyrischer Schärfe und verbindenden Parolen - mit Haltung.

Mit dem kommenden Album ”Year Of The Dark Horse” beschloss The White Buffalo (auch bekannt als der
in Oregon geborene Sänger, Songwriter und Gitarrist Jake Smith), dass es nun an der Zeit sei, an vergangene
Erfolge anzuknüpfen - um einen frischen, aufregenden, manchmal auch etwas unkonventionelleren Stil und
Sound zu schaffen, der seine Musik weltweit an Ansehen hat wachsen lassen, unterstützt von wichtigen
Auftritten in der Welt des Fernsehens und des Films (z.B. ”Sons Of Anarchy” und ”Californication”).
”Year Of The Dark Horse” ist ein Album mit einem Dutzend musikalischer Facetten, individuell und doch
konstant im Fluss; ein Album, das lose auf dem Wechsel der Jahreszeiten und der Veränderung einer
Beziehung basiert; ein Album, das das gesamte Spektrum von Jakes Songwriting-Kunstfertigkeit zeigt, von
zurückhaltend bis energiegeladen. ”Year Of The Dark Horse” ist sein achtes Studioalbum und das bisher
unvorhersehbarste, einfallsreichste und rundeste Werk von The White Buffalo - überraschend, spontan und
spektakulär Genre-resistent.

Mit dem kommenden Album ”Year Of The Dark Horse” beschloss The White Buffalo (auch bekannt als der
in Oregon geborene Sänger, Songwriter und Gitarrist Jake Smith), dass es nun an der Zeit sei, an vergangene
Erfolge anzuknüpfen - um einen frischen, aufregenden, manchmal auch etwas unkonventionelleren Stil und
Sound zu schaffen, der seine Musik weltweit an Ansehen hat wachsen lassen, unterstützt von wichtigen
Auftritten in der Welt des Fernsehens und des Films (z.B. ”Sons Of Anarchy” und ”Californication”).
”Year Of The Dark Horse” ist ein Album mit einem Dutzend musikalischer Facetten, individuell und doch
konstant im Fluss; ein Album, das lose auf dem Wechsel der Jahreszeiten und der Veränderung einer
Beziehung basiert; ein Album, das das gesamte Spektrum von Jakes Songwriting-Kunstfertigkeit zeigt, von
zurückhaltend bis energiegeladen. ”Year Of The Dark Horse” ist sein achtes Studioalbum und das bisher
unvorhersehbarste, einfallsreichste und rundeste Werk von The White Buffalo - überraschend, spontan und
spektakulär Genre-resistent.

Mit dem kommenden Album ”Year Of The Dark Horse” beschloss The White Buffalo (auch bekannt als der
in Oregon geborene Sänger, Songwriter und Gitarrist Jake Smith), dass es nun an der Zeit sei, an vergangene
Erfolge anzuknüpfen - um einen frischen, aufregenden, manchmal auch etwas unkonventionelleren Stil und
Sound zu schaffen, der seine Musik weltweit an Ansehen hat wachsen lassen, unterstützt von wichtigen
Auftritten in der Welt des Fernsehens und des Films (z.B. ”Sons Of Anarchy” und ”Californication”).
”Year Of The Dark Horse” ist ein Album mit einem Dutzend musikalischer Facetten, individuell und doch
konstant im Fluss; ein Album, das lose auf dem Wechsel der Jahreszeiten und der Veränderung einer
Beziehung basiert; ein Album, das das gesamte Spektrum von Jakes Songwriting-Kunstfertigkeit zeigt, von
zurückhaltend bis energiegeladen. ”Year Of The Dark Horse” ist sein achtes Studioalbum und das bisher
unvorhersehbarste, einfallsreichste und rundeste Werk von The White Buffalo - überraschend, spontan und
spektakulär Genre-resistent.

”Omnium Gatherum” bietet mit seinen 16 Tracks ausweitläufigen Prog-Jams, schwindelerregenden PopNuggets, gummibeinigen Hip-Hop-Odysseen und reinen Thrash-Metal-Passagen sowohl für Gizzard-Fans als auch für Neulinge jede Menge Stoff zum Kauen.

Typischerweise verfolgen Gizzard-Alben ein einziges Thema oder einen Stil - zum Beispiel die Öko-Metal-Barrage von ”Infest The Rat’s Nest”, der New-AgeTrance-Pop von ”Butterfly 3000” oder die endlosen Garagen-Prog-Verrenkungen von ”Nonagon Infinity” -
ein Teil des Nervenkitzels von ”Omnium Gatherum” wiederum war für die Gruppe die Möglichkeit, neue Ideen zu entwickeln, ohne sich zu verpflichten, ein ganzes Album in dieser Richtung zu liefern.


Es ist der perfekte Einstiegspunkt für Neulinge und ein solider Leckerbissen für treue Fans. ”Omnium Gatherum” war als Kompendium unveröffentlichter Songs gedacht, die auf früheren GizzardAlben keinen Platz gefunden hatten, und schon bald schrieb und nahm die Gruppe neue Songs für das schnell wachsende Album auf. Die Tracks wurden im Gizz-Hauptquartier, aber auch in ihrem legendären, inzwischen verlassenen Clubhaus in der 253 Lygon Street aufgenommen.

Textlich sind die Themen vielfältig, doch die Sorge der Gruppe um das ökologische Wohlergehen des Planeten bleibt eine Konstante. Einige
Tracks kehren zu den Synthie-Psych-Visionen von ”Butterfly 3000” zurück, andere greifen die fiebrige Thrash-Metal-Attacke auf, die Gizzard auf dem 2019er Album ”Infest The Rat’s Nest” prägte.

Isabelle Duthoit - clarinet, voice Franz Hautzinger - quarter-tone trumpet Hamid Drake - percussion, frame drum, voice Michael Zerang - percussion, frame drum Two duos firmly anchored in improvised music - Duthoit/Hautzinger and Drake/Zerang - explore what ritual music can mean in the present time. They moan and groan, sigh and sing in the jungle of their soul. Melodies between tradition and contemporary music in all their extremes ventures forward into a poetry full of sound noises. CREDITS: Recording: live at Artacts - Alte Gerberei, St. Johan, March 7th 2020, by Charles Wienand & Markus Massinger Production: Konstantin Drobil, Hans Oberlechner, Franz Hautzinger Mix: Martin Siewert & Franz Hautzinger Mastering: Martin Siewert Artwork: Lasse Marhaug Photos: Cathy Mary-Houdin

KiNK is back with number six on his sometimes experimental, often exemplary, but always exciting Sofia outfit. The driving force of Clap On 2 are the tropes of acid and its numerology (101/202/303/). The opener Disco Spectrum shows why the sound rose from the shards of smashed mirror balls in Chicago – updated and optimized for today. Turbo – nomen best omen – takes it even further, faster and fiercer, while the theme song completes the pogo picture. Finally, Almond Break lulls you into a false sense of security (think yoga camps, namaste cults, kale drinks and Balearic sunsets), before it turns into a pagan ritual to complete this acid test. Remember: wo wants to own the future needs to conquer the past!

SOFIA: Founded by Strahil Velchev and Konstantin Petrov, Sofia is not only the physical location where this music was made, the city where they met and developed as artists, but also a paradox that is reflected in the art and music that comes from the place. Beautiful and ugly at the same time, clean and dirty, brutal as well as romantic, it’s a place where aesthetically seemingly incompatible styles come together in a twisted, yet unifying form. The photographs for the sleeves are made by influential local selector DJ Valentine, effortlessly capturing the local reality.

In 2020 Sunnyboys will celebrate 40 years since their inception (though a mere 12 years of actual existence) via a new release SUNNYBOYS 40 that brings together the first ever re-release of the band’s much loved 1980 eponymous debut 7” - featuring the original version of the classic Alone With You - alongside four new recordings culled from the archives of chief songwriter Jeremy Oxley.
Recorded over two days in October 1980 and released via independent Sydney label Phantom Records on December 31st the same year, the four songs featured on the EP were essentially the first songs Jeremy Oxley had presented to the band on his arrival in Sydney from Kingscliff just a few months earlier. Alongside Alone With You they included Love to Rule, What You Need & The Seeker.
The debut ‘yellow’ ep was an instant underground smash selling out its initial pressing of 1000 copies in just 2.5 weeks. A further pressing of 1000 would follow but then all further attempts of a repress were quashed when the ep master mysteriously disappeared after band signed to Mushroom Records in February 1981. The tapes having never been recovered these masters have been taken from the cleanest vinyl available and appear here for the first time ever outside the 7” ep format and that limited run of 2000.
Fast forward 40 years (as you do) and Sunnyboys are enjoying a renaissance rarely seen for any band from any era. In truth their popularity now eclipses what it did in 1980-1984 with each successive tour selling more tickets and faster than the tour previous. Why not then give the people new music?
Part 2 of Sunnyboys 40 was recorded between touring commitments in 2018 at Airlock Studios, Brisbane. Overdubs were added over the following twelve months at locations in Sydney & Brisbane and the mixing completed in the summer of 2019 by current in-demand producer Konstantine Kerstin. The idea being to tackle some material Jeremy had written for other projects post-1984 and to complete some unfinished business from back in the band’s original lifespan.

Can’t You Stop is a reworking of a song Jeremy recorded as The Fisherman in 1986. The short-lived trio were Jeremy’s immediate post-Sunnyboys band and the original version was released on the Waterfront label the same year. In this guise Can’t You Stop features an all new arrangement plus those trademark Sunnyboys harmonies.

Lovers (On Another Planet’s Hell) meantime, is a reworking of a track from the Sunnyboys third album Get Some Fun. The original version featuring a 4/4 beat often referred to as the “AC/DC beat” which never sat well with the band. The opportunity to readdress that all these years later proving irresistible. The added keyboards of Alister Spence and brass playing of Eamon Dilworth and young Nico Oxley (Peter’s son) also adding a new dimension to the original.

Strange Cohesion was actually written post-Get Some Fun in 1984 and was performed by the band regularly during their final tour. It would feature on the band’s swansong release, 1984’s Real Live but was never recorded in the studio. 40 gives the track its recorded debut and gives some small hint as to what Sunnyboys album no.4 may have sounded like.

Originally released as a solo recording back in 1991 under the banner Jeremy ‘Ponytail’ Oxley Way After Five shares perhaps the strongest relationship to the ‘40’ concept. Jeremy’s voice at times just a croak - a by-product of the life he has lead for much of last 40 years - adding further poignancy to the songs lyric; and it’s another Oxley classic.

And what better way to celebrate both the new release and the milestone anniversary than by doing what Sunnyboys do best - play live! And so Sunnyboys hit the east coast this February including first time ever shows in Torquay and for Sydney’s Twilights @ Taronga. Special guests Painters & Dockers will join Sunnyboys for the shows in Victoria while garage rockers Rocket Science will join the birthday boys in Sydney.
“We really didn’t think we would ever play again as a band. But wow, we have and we sure are having a bloody great time doing it.” - Peter Oxley

Rambal Cochet (aka St Petersberg’s Konstantyn Isaev aka Volta Cab) lands on Wrong Era with four electronic snapshots suited to the more robust dancefloor. Opener,Leptis Magna, builds and twists through subtle plateaus’ towards a storm of climactic strings that clear to reveal momentary elation. Elation becomes soundtrack suspense on Fabrizio Mammarella’s remix, stripping back the parameters (while bringing the rhythm to the fore), resulting in a driving, tunnel trancer. Enter The Infinite is a steady builder; each tweak charming you towards twilight’s dancing silhouettes. Cyrillic balearic vocal’s melodise The Hidden Magenta, which locks you in it’s groove’s exotic, growing, immediacy.

Seit anderthalb Jahrzehnten geht Jan Plewka (Selig) auf Tour und singt die Songs von Rio Reiser und Ton Steine Scherben. Die Shows mit der schwarz-roten Heilsarmee sind inzwischen legendär und begeisterten bereits abertausende Besucher bei über 200 ausverkauften Performances. Im September erscheint nun das Live-Album + DVD "Wann wenn nicht jetzt - Jan Plewka singt Ton Steine Scherben und Rio Reiser II", das bei den Auftritten auf Kampnagel in Hamburg aufgenommen wurde. Die Singles "Jenseits von Eden" und "Macht Kaputt was euch kaputt macht" sind bereits erschienen. "Mit 14 Jahren habe ich Ton Steine Scherben zum ersten Mal gehört. Seitdem bin ich ein glühender Verehrer von Rio Reiser, von seiner Musik, seiner Poesie, seinen Utopien. Seit über 15 Jahren bin ich mit diesem Programm nun schon auf Tour. Das ist die eine Konstante in meinem Leben." - Jan Plewka Der Traum geht weiter: Wenn Jan Plewka mit der schwarz-roten Heilsarmee auf der Bühne steht, um die unvergesslichen Songs von Rio Reiser und Ton Steine Scherben zu feiern, wird sehnsüchtig und zärtlich, gleichzeitig revolutionär und kraftvoll. "Wann wenn nicht jetzt" versammelt auf Doppel-LP / CD 17 Livetracks, die 2019 auf Kampnagel aufgezeichnet wurden und filmisch von Tom Stromberg festgehalten wurden. Die beiliegende DVD kommt mit fünf Bonustracks auf insgesamt 22 Stücke.

Beautifully presented translucent blue heavyweight vinyl LP, cased in 4 panel printed outer and inner sleeves.
Subexotic Records presents our first project with talented producer Onepointwo. Konstantinos Giazlas (aka Onepointwo) hails from Thessaloniki, Greece, and sites influences from the late 50s electronic experimental sounds, motorik,krautrock, lush shoegaze melodies and modern electronica. Talking about hiscreative outlook, Kostas says: "I continually look to emulate a musical journey into space, time, memories and frequencies". This journey is conducted with the use of minimal electronics, abstract and distorted shortwave radio signals, dystopian soundscapes, all carefully wrung out from criss-crossing digital and analogue sources, fused with a passion for heavyeffects and percussive sounds. Fashioned from a collection of tracks hitherto believed to be lost to a cruel computer malfunction, Synchronization was salvaged from a final reboot. No editing, no tweaking, no second chance - these tracks have reached terminal velocity. Luck is on our side, as what remains reveals a series of intricate yet powerful soundscapes, with finely wrought motifs that repeat and build to create Onepointwo's trademark shimmering psychedelic impact. His previous discography includes Keene (Poeta Negra) / SANS (Lotus RecordShop Editions) and various appearances & remixes on domesticlabel compilations. 2020 brought about 2 album releases on highly regarded cult UK labels Miracle Pond and Woodford Halse, garnering a slew of positive reviews, including warm praise in Electronic Sound Magazine.

Songs zu schreiben ist für Toby Whyle eine Selbstverständlichkeit, im Musikkosmos ist er seit langer Zeit ein bekanntes Gesicht. Neu ist die Erkenntnis, dass Songwriting für ihn einer der wenigen Wege ist, die grelle, schnelllebige Außenwelt auszublenden. "A Mood Of Its Own" ist der Anfang eines neuen Abenteuers, auf das sich Toby erstmals alleine begibt. Vorbehaltlos setzt er sich den Anziehungskräften von elektronischer Musik und Gitarrenpop aus, umkreist beide immer wieder knapp, lässt sich aber nie ganz fangen. Jeder Song folgt dabei einer eigenen Umlaufbahn, gewährt neue Einblicke in Tobys Gedankenwelten.

Der Titel "A Mood Of Its Own" entstammt einer Textzeile der ersten Single "No One Moves", mit der Toby gleich mal auf dem ersten Platz der Radio FM4 Charts landete. Der Song beschreibt eine Schreibblockade, die zweite Single "Quiet The Silence" begleitet das Auseinanderdriften zweier Menschen, "Pity" erzählt von Stolpersteinen und einem Neubeginn und "How It Feels" von der Suche nach Konstanten in einer schnelllebigen Welt. Auf seiner ersten Solo-EP zeigt Toby Whyle die volle Bandbreite seines Songwritings, lässt einen oft energiegeladen aber nachdenklich zurück. Gemeinsam mit Produzent Maximilian Walch hat Toby unterschiedliche Stimmungen eingefangen, auf das Wesentliche reduziert und eine verbindende Ästhetik geschaffen.

limited edition of 400 copies

From 1963 to 2014: "Peace Chant - raw deep and spiritual jazz" exhibits 51 years of music. A well matched anthology with sounds to dive into, hard rhythms to dance to and vocals to meditate on.

The Tramp Records crew has compiled 8 tracks in nice order and dramaturgy. Some tunes you might have never heard before unless you own one of the rare original vintage vinyl records. Peace Chant is released on two separate LPs with own catalogue numbers and on one CD. Some songs I can't get out of my mind.

These days Mabon Dawud Quintet from Ethiopia is on the trail of Mulatu Astatke. Tramp Records provides the first release of "Abeba" - a funky and stoic track in Amharic mother tongue sung by a high male lamenting voice.

Even more haunting is "Ain't Gonna Wait Too Long" by Thomas Meloncon. The self-taught guitar player recorded this protest song at the age of 20. Voice, guitar, congas and double bass are plenty enough for a heavily pushing song complaining that black man's slavery isn't gone after 400 years. Artist, poet and civil right activist Meloncon (alias Muntu Mwaminifu) wrote and directed theatre and radio plays. His works are collected at Texas Southern University in Houston. "Ain't gonna wait too long" probably is his earliest artistic outing, he just had left school in 1968.

The compilation concludes with a song by Now, a band no one outside Munich might know. "Easy Tune for Dancing" can be found on a record of cultural and concert location Feierwerk form 1990. It really was a surprise to hear the quintet of trumpeter Konstantin Kern and Klaus Pfister on sax playing Afro-Cuban jazz that easily and nonchalant. If Dizzy Gillespie turned up with his bent trumpet and Lalo Schifrin sat in like he did on "Gillespiana Suite" I wouldn't be astonished!

KiNK presents Home! This aptly titled EP is the debut release on the newborn label Sofia. Founded by Strahil Velchev and Konstantin Petrov, Sofia is not only the physical location where this music was made, the city where they met and developed as artists, but also a paradox that is reflected in the art and music that comes from the place. Beautiful and ugly at the same time, clean and dirty, brutal as well as romantic, it’s a place where aesthetically seemingly incompatible styles come together in a twisted, yet unifying form. The photographs for the sleeves are made by influential local selector DJ Valentine, effortlessly capturing the local reality.

Those pieces of a paradox also are reflected in the music. The typical fine-grit of KiNK’s production skills meets his love for the elements of surprise and the classic building blocks and plaster of house and techno to create something that is very much his own, while breathing the spirit of early days and pioneering times. Hinged just before and after peak time, the tracks on this EP are cohesive, made to last and rounded off by the contemplativeness of yet another collaboration with Rachel Row called „The Beauty“. The first of many to come. And as always: Remember the future!

BLIQ unveil a debut release by Greek producer Aphelion aka George Konstantoulakis (member of Equations Collective). "Volatile Radiance" sets the pace with otherworldly futurism, while "Cosmic Vibrations" completes the A-side with addictive bass notes & crystallised melodics. On the flip, legendary electro producer Silicon Scally (Carl Finlow) follows a menacing cyberfunk route, while Aphelion's original, concludes the release with an interplanetary rhythm track interpretation.

Shortly before the turn of the year 2017/18, my friend Jan Müller wrote me an e-mail: »Dear Martin, I'll send you the new album of my band ›Dirty Dishes‹ now. The album is titled ›Kabinett Von Papen‹. It is a concept album, which has the third-last government cabinet of the Weimar Republic as a subject. So, please tell me how you see it - whatever your verdict, I'll use it as an incentive to put my mind and body in the service of global pop culture even more so in the future«.

Dirty Dishes is founded in 2005 by Jan »Rasmus Engler« Müller (Tocotronic) and Rasmus »Jan Müller« Engler (MHerrenmagazin, Little Whirls, Ludger) when the two are bored during recording sessions for the second album of their group Das Bierbeben. Immediately, they write two pieces of music (»Bon Giorno«, which has alcohol and drug abuse as a subject, as well as »Drink a Coke«, a Brigitte-Mira-dedicated anthem for the caffeine-containing soft drink), which are released in the same year as a single under the title »Hurra...! Endlich Ferien!« on the label K.i.N.d.V. Two years later, the duo releases their debut album »Tea Is Not Our Cup of Coffee«. Here one can hear the first experimental and more conceptual works such as »Dirty Dishes as Goofy as Asterix«. The following albums (»Mit uns nicht!«, 2009, and »Von der raffinierten Kunst, jemanden in einen Tümpel zu stoßen«, 2013) juxtapose song and experiment. The first pure concept album, including now-permanent members ALEXANDER (Schrottgrenze, Station 17), Guido vom Flockenberg (Back On The Road), Isabella Stellmann (pedagogue) and Zopfus (ByteFM), is »Der Egel vom Tegel - Die kleine Rock-Operette der Dirty Dishes« (2010), followed by »Round about Ignaz Kiechle«(2013). The latter brings together songs that deal with significant events in the life of former Agriculture Minister Kiechle and were recorded freely improvised in just one recording session.

On the now-available »Kabinett Von Papen«, composed in monastic retreat, each piece is named after a minister from Papen's presidential cabinet (1.6.1932-3.12.1932) and represents them tonally and/or lyrically succinct.

Auf der Zielgeraden seiner 12-teiligen "The Golden Ravedays"-Serie holt Superpitcher den Rock'n'Roll aus dem Sack und zeigt Alice Cooper, dass er nur ein geschminkter Clown ist. Ein Tribalbeat schiebt das Stück konstant voran, während uns eine gruselige Stimmer versichert, dass wir hier Rock'n'Roll hören. "Shining" dagegen besticht durch die warmen Sounds und eine ausgeprägte Beatstruktur. Wir sind gespannt darauf, was das "The Golden Ravedays" Finale mit seinen letzten beiden Veröffentlichungen noch für uns bereit hält ...

stuttgart based new producer leif müller's debut release on mule musiq.
his best friend konstantin sibold brought these fantastic music to us.
"fantastique" on a side is chicago house oriented modern german house,
"holidays everywhere" on b1 is hypnotic tech house which reminds us the production of
roman flugel.
"leguan" on b2 is excellent collaboration with konstantin sibold.

Earlier this year, Subwax Bcn made an important contribution to the electronic music community by having the timeless dub techno compilation Vibrant Forms II by Fluxion remastered and reissued. First released in the year 2000 on Chain Reaction, Earlier this year, Subwax Bcn made an important contribution to the electronic music community by having the timeless dub techno compilation Vibrant Forms II by Fluxion remastered and reissued. First released in the year 2000 on Chain Reaction, Vibrant Forms II is widely considered to be one of the greatest achievements in the genre. As it turned out, Vibrant Forms II became one of the last records to be released on Mark Ernestus and Moritz von Oswald's classic label - a suitable swan song if there ever was one. And that's it, right

Well not quite.

If one would search for Fluxion - Vibrant Forms III, Discogs would come up empty and Google would treat it as a misspelling. Until now.
Konstantinos Soublis, aka Fluxion, and Subwax Bcn have decided to pick up the banner and release Vibrant Forms III as a CD as well as four individual 12" records under 2016. It contains everything you could hope for and more: The massive, booming basses, the clicks and hisses, the atmospheric thunderstorms, the opium smoke-scented streaks of reverb and dub echoes. The warmth. Yes, above all else the warmth: Sometimes moist and dripping as in Safe Harbour, sometimes blisteringly dry as in Variant. It's no easy task, giving cold, dead machines warm breaths. And no-one quite does it like Fluxion.

The Reissue of Vibrant Forms II was an act of cultural preservation. It reminded us about the legacy of the Basic Channel label family, in which Chain Reaction played an important part. Without this legacy, the contemporary body of electronic music would look different and make very different sounds. With the Release of Vibrant Forms III, Subwax Bcn takes it one step further. Fluxion's Vibrant Forms III album remind us of the timelessness of truly great music, never mind the genre.