Buscar:light

Chansons for the replicates. Hymns for the algorythmed. Operatic minimal wave. Spoken words. Otherworldly electronica. Oh pop, Oh techno. Oh Pose Dia. Now on R.i.O. simulating herself on an album full of weeping synthlines, melding melodies, unreeling theatre between the notes, camouflaging in fashion and rhyme. Impulsive, destructive, yet so perceptive, gently repetitive. “Simulate Yourself” is her second album since “Front View,” released in 2020 on Bureau B.

Now the Hamburg-based filmmaker, DJ and musician Helena Ratka, aka Pose Dia, brings a notion of digital archeology. Nine otherworldly chanting cold blooded Lieder and tracks, manic, longing for the real in the un- real. The matter of her poetic-abstract lyrics is rhizomatic, linking psychological “Suspiria” fantasy with sociology, media theory and all that never obsolete post-structuralism. Hyperreality for the hyped. Fully illusionistic. Wrapped in touching airs, drilling into cold waving Risiko spheres. X-mal rotating towards novel corners, shading light on old ones. Track make-up transforms into lacquered songs. Fog and fire. Night and light. Hairspray and cigarettes. Pose Dia transfers fine-tuned dissatisfaction to all those fully satisfied. Welcome to the other side of the Ocean.

Duality Trax first opened its books in 2020 with an EP featuring Radiant Love regular Fio Fa and a remix of the year contender coming from Lisbon’s Violet. Since then the label has become known for its acute attention to detail, giving each release the shine it deserves while avoiding disposable practices and challenging the industry through its dedication to duality and balance, whether that be sonically or surrounding gender identity. It’s really no surprise that one of house music's leading label ¦gures Tywi was destined to make an appearance. Having started the Haŵs imprint in his home city of Cardiff, the label’s wide-spread popularity began to gain the attention from some of the industry’s most respected heads and became a breeding ground for new artists to emerge. A shared love of music resulted in tracks being shared over time and eventually DUALITY6 was born. In what will be his ¦rst full length EP, Tywi continues to join
the dots between 90’s house, prog, breaks and trance, with a huge remix coming from Frankfurt-based artist Maruwa. Title track ‘Reality Checkpoint’ connects various styles with a modern take on progressive trance. Sonics feel as if they’ve been projected from space in a kaleidoscopic mind-warping ride, coupled with the producer's impressive ear for world building soundscapes. A child of the ‘90s, Maruwa combines her classically trained ear with the nostalgia of her upbringing in the remix; channeling early trance records and deep, chugging rhythms into a wave of euphoria ¦t for peaktime. It’s the ¦rst time the label has also delved head ¦rst intofull trance territory, turning the intensity levels up while paying homage to both label owner and artist’s early musical in§uences. The B side opens up with ‘Spellbound’ which feels like a guided tour around the cosmos, sat beside trusted travelers and embraced by everything-will-be-alright energy . The track’s interior is built around synths that feel both effortless and light as our tour guide brings us towards our ¦nal destination. The EP comes to a close with ‘Laws Of Motion’, building slowly with shades of leafy greens and deep oceanic blues as it gently brings us back down to earth.

Another vinyl and another electric debut as we introduce France's Casual Treatment to EarToGround. New to the label but an extremely well versed, well known prolific producer and DJ to our scene.

This powerful Extended Player effortfully delivers four bright cuts of razor sharp Techno. The two originals from Casual express a somewhat soulful experience of his production range with the use of immersive chords and shimmering female vocals backed by obsessive grooves and perfectly executed percussion.

To fully augment the experience exponentially two Portuguese leading lights of the movement deliver their own input to the release via two separate remixes. Vil enterers in with his unique rolling attitude to bring you a true peak time performance and completing the release Cravo lets rip with an intense, sharp, fast paced rework with his dark undertones.

A true essential 12".

More than a decade after the release of ´Land Lines', the mythical Humboldt County, California based duo of Brian Pyle and Merrick McKinlay reappears seemingly out of nowhere with 'Atheistsaregods'. With past releases on such cult-like labels as Root Strata, Weird Forest, Blackest Rainbow or Digitalis, Starving Weirdos were an indelible part of a sprawling and loose network of artists in Northern America whose DIY work ethic and extreme activity revolved around shoestring-budget constant touring, numerous limited editions on CDR, tape and vinyl and a relentless drive to push the boundaries of genre.

Out of that cauldron, Starving Weirdos stood out as one of the most persistent and visionary acts, developing a mind altering body of work that went from warm soundscapes through droney digressions, freeform improvisation and raucous noise summoned from a myriad of instrumentation and low budget processing - vocals, keyboards, violin, flute, percussion and an assortment of less identifiable sound sources. 10 years on their legacy remains a timeless and wildly under-appreciated one, but hopefully this new album will shine a light on their idiosyncratic approach. As time itself was never a constraint. This is music suspended outside of it.

Right from the start with the echoing percussion, dissonant keys and processed vocals of 'Haiku Nagasaki', 'Atheistsaregods' draws a continuous flux of psychedelic elevation that goes from the gloomy electronic motifs not unlike the early Cluster vibes of 'Invocation' into the dank percussive maze of the appropriately titled 'Barulho do Samba'. The self titled track induces a sense of post-apocalyptic vertigo via hallucinatory scraps of voice, suspended synth tones and reverberating field recordings, connecting into the droney mystics of 'Dudukahar (Reed Prayer)'. Coming full circle, 'For Vinny' brings back the echoing percussion amidst hypnotic cello lines until it drifts off into the unknown. With the same palpable sense of urgency, Starving Weirdos feel as vital as ever. And even if we didn't realize it we were in need of them. Welcome back.

The EP FACE II is a continuation of the Faces EP series, of which the first EP was released in october 2022. The basis here is also a literary fixpoint with KAFKAS VER- WANDLUNG.

the examination of the urban modern man has its origin in the album JAHRE and is now explored in more detail here. What happens to us in a time of digital transparency as a glass human of the city and night.

It starts with THE VOID, which was originally intended as a poem about being lost. We go out into the night, some to search, some to forget and some to never come back as the same again. On our journey we often take substances that we expect to make this journey easier and faster. the escape from ourselves and from our relationships to the environment and humans can‘t just be skipped. a fast way is always a dangerous way and often leads to an even bigger EMPTINESS.

In THE GHOST something appears to us late at night, it is like a shadow of the previous hours, something that has followed us on the streets and accompanied us un- discovered until we reached our home. We wake up and at first it is unclear whether we are dreaming.

In half-sleep the dimensions blur together and the whole polyva- lence of the different existences gapes open. We blink into the DARKNESS and try to recognize something, the light remains far away and yet we hear this piercing sound, which in the end leaves us only with ourselves. we are the spirit of the night, trapped on an old tape in the chest of nothing.

The next section THE MOON shows us the light in the darkness. The shadows and ghosts give way for a moment and the light flows through our veins and molecules. The poem describes our unspoken longing to follow the light, in the light our fears disappear and everything blurs into an unknown familiarity. We stagger back and forget the encounters with our inner DAWN.

In the light the ghosts disappear like childhood memories left behind.
The last chapter is written by THE DAWN, a stanza from the poem of the same name as a spoken reconciliation with the world. In spite of everything, we seek harmony and connectedness. No one wants to become an exile, even if we can‘t always bring it about ourselves. We love LIFE and we hear and feel everything around us, if we let ourselves ...

ALL LOVE
AMAS_DHE / AMAS_PHI

The entire musical spectrum of the label in one dancefloor-proven anniversary record.

Mastering by Kashatskikh Studio, Saint-Petersburg (RU).
Design & Illustration by Kirill Kashatskikh.

David Byrne & Fatboy Slim’s acclaimed 2010 album Here Lies Love receives its first-ever vinyl release to coincide with a new production opening on Broadway this summer. Here Lies Love is a double-disc song cycle – improbably poignant, decidedly surreal, surprisingly thought provoking – about the rise and fall of the Philippines' notorious Imelda Marcos. It was conceived by David Byrne; composed by Byrne and DJ/recording artist Fatboy Slim, AKA Norman Cook; and performed by a dream cast drawn from the worlds of indie rock, alt country, R&B and pop. Byrne's taste in collaborators is as imaginative as it is impeccable, including Cyndi Lauper (who recounts, to lighthearted disco beats, Imelda's courtship with Ferdinand Marcos), Steve Earle (as the power-hungry Ferdinand), Dap-Kings vocalist Sharon Jones (recalling Imelda's introduction into New York society) and Natalie Merchant (as spurned Imelda confidante Estrella, anticipating the onset of martial law). Along with vocals turns from such stars as Tori Amos and the B-52's Kate Pierson, Byrne works with rising indie rockers St. Vincent and My Brightest Diamond; New York chanteuses Nellie McKay and Martha Wainwright; and dance-music divas Róisín Murphy and Santigold. Byrne himself appears as the voice of imperialistic America on ‘American Troglodyte’, a send-up that wouldn't have seemed out of places in Talking Heads' True Stories.



Byrne originally envisioned this as a musical theatre piece, to be mounted in disco and nightclub settings, reflecting the globe-trotting Marcos' taste for such velvet-roped spots as Studio 54 and Regine's. In 2006, he performed work-in-progress versions to enthusiastic audiences at New York City's Carnegie Hall and the Adelaide Festival in Australia. While plans for a US theatrical production continued to evolve, he delivered this unique recording. The award-winning theatrical production eventually premiered at The Public Theater in New York in 2013, travelled to London’s National Theater for a sold-out run (2014–15), and was remounted at the Seattle Repertory Theater (2017).



Here Lies Love has an effervescent disco feel, redolent of Fatboy Slim's own dance-floor anthems, with warm undercurrents of the Latin rhythms that have percolated through Byrne's recent solo work. The sunny arrangements act in counterpoint to the reality of the Marcos' increasingly repressive regime, reflecting the imagined inner life of the glamour-obsessed Imelda. Explains Byrne, "For me, the darker side of the excesses are, for the most part, a matter of record. A lot of the audience is going to come with that knowledge already. What's more of a challenge is to get inside the head of the person who was behind all of that, and understand what made them tick." Byrne offers no judgment and avoids the obvious – there is no mention of Imelda's infamous shoe collection.



Many of Byrne's lyrics are, astonishingly enough, constructed from actual Imelda quotes, including the project's title, the words that Imelda, now returned to the Philippines from US-assisted exile in Hawaii, would like to have inscribed on her gravestone. In addition to his new liner note, Byrne illustrates the story with archival photos. In a detailed preface, he reveals what drew him to this subject and the bumpy route he took to launch the project and, ultimately, record this album. The booklet is indeed a page-turner, just as Here Lies Love is a wonderfully old-school album that rewards start-to-finish listening. Once again, Byrne – beloved as musician, thinker and bicyclist-about-town – reveals the breadth and singularity of his vision.



The new production of Here Lies Love will premiere at the Broadway Theatre in New York City. Performances begin June 17, ahead of an official opening night on July 20. Tony Award winner Alex Timbers (direction) and Olivier Award nominee Annie-B Parson (choreography) reunite with Byrne (concept, music, and lyrics) and Fatboy Slim (music) to bring Here Lies Love to Broadway, continuing a ten-plus year collaboration on the project. Tom Gandey and J Pardo contribute additional music. Here Lies Love is produced on Broadway by Hal Luftig, Patrick Catullo, Diana DiMenna for Plate Spinner Productions, Clint Ramos, and Jose Antonio Vargas. The staging at the Broadway Theatre will transform the venue’s traditional proscenium floor space into a dance club environment, where audiences will stand and move with the actors. A wide variety of standing and seating options will be available throughout the theatre’s reconstructed space. The producers of Here Lies Love said, “As a team of binational American producers – Filipinos among us – we are thrilled to bring Here Lies Love to Broadway! We welcome everyone to experience this singularly exuberant piece of theatre. The history of the Philippines is inseparable from the history of the United States, and as both evolve, we cannot think of a more appropriate time to stage this show. See you on the dance floor!”



David Byrne’s recent works include the launch of Reasons to be Cheerful, an online magazine focused on solutions-oriented stories about problems being solved all over the world (2019); Joan of Arc: Into the Fire, a theatrical exploration of the historical heroine that premiered at the Public Theater in New York (2017); The Institute Presents: NEUROSOCIETY, a series of interactive environments created in conjunction with PACE Arts + Technology that question human perception and bias (2016); Contemporary Color, an event inspired by the American folk tradition of color guard and performed at Brooklyn’s Barclays Center and Toronto’s Air Canada Centre (2015); Here Lies Love; Love This Giant, a studio album and worldwide tour created with St. Vincent (2012); and How Music Works, a book about the history, experience, and social aspects of music (2012).



Byrne curated Southbank Centre’s annual Meltdown festival in London in 2015. A co-founder of the group Talking Heads (1976–88), he has released eight studio albums as a solo artist and worked on multiple other projects, including collaborations with Brian Eno, Twyla Tharp, Robert Wilson, and Jonathan Demme, among others. He also founded the highly respected record label Luaka Bop. Recognition of Byrne’s various works include Obies, Drama Desk, Lortel, and Evening Standard awards for Here Lies Love; an Oscar, Grammy, and Golden Globe for the soundtrack to Bernardo Bertolucci’s The Last Emperor; and induction into the Rock and Roll Hall of Fame with Talking Heads. Byrne’s work as a visual artist has been published and exhibited since his college days, including photography, filmmaking, and writing. He lives in New York City. In addition to 2019’s cast album for American Utopia on Broadway, Nonesuch has released eight other David Byrne records since 2003, including 2018’s American Utopia studio album and two versions of his musical Here Lies Love.



















q C6. Please Don't feat. Santi White Santigold

Sounds Of The Universe | The 12" Singles, a deluxe collector's
edition box set, contains seven 12" vinyl discs presenting
singles--including Wrong, Peace, the double A-side Fragile
Tension/Hole To Feed--alongside B-sides, remixes, dub
versions and other recordings contemporaneous to Depeche
Mode's 12th studio album, Sounds Of The Universe, originally
released by Mute Records in April 2009.
Sounds Of The Universe | The 12" Singles offers a full range of
ear-grabbing mixes--radio, club, dub and more--of Depeche
Mode originals with three discs (Discs Two, Four and Seven)
newly compiled for this collection, bringing together B-sides
and mixes first released across CD and maxi-singles
contemporaneous to the album's release.
When it came time to record the Sounds Of The Universe
album, DM's classic core (Dave Gahan, Martin Gore, Andrew
Fletcher) returned to the studio to make their second album
with producer Ben Hillier, whose intuitive contributions to
their previous studio album, 2005's Playing The Angel, had
created new sonic possibilities for the band expanding
Depeche Mode's vision and repertoire while continuing their
tradition of issuing monumental 12“ singles.

Evelyn spreads her wings and prepares to fly. This is her first offering for the ESP Institute. On side A, 'Tremors' slams together a plethora of seemingly disparate rhythms, organic percussion, field samples, hypnotic chants and a relentless low end punch, that when in full-swing, works some seriously deep sorcery. Contrasting her pounding kick and rolling sub combo are a softer grouping of melodies, soft mallets and muted tones that lay subtly beneath the aggression, skillfully playing with a sense of spatial depth and room size. Its the kind of track that draws you in with meditative bars, concentric cycles that sit ever so slightly off-axis, inducing the mind and body to obsess and regulating its timing, and then drops you into a very intentionally arranged soundstage giving expansive space to explore. On the flip, 'Pregunta' continues this approach of natural versus industrial instrumentation. The consistent machine kick has a powerful but playful tone, the negative space between each stroke evoking a mighty gesture as its note bends in the decay. Set in 3/4, a community of live percussion successively adds and subtracts, each player’s imperfect attack accumulating into a mechanically smeared and addictive loop that toys with peaks a handful of times yet restrains any unnecessary climax for the betterment of a driving groove. Near the end, as the kick and various players mute and the base of the track is given a moment to breathe, its apparent just how layered the production was in the moments prior, as we’re suddenly at home, smitten with the wobbly and lopsided innocence of the foundational percussion. These two songs will push you headfirst into the light.

This July the esteemed scribe, proper DJ, and discreetly deft twiddler Bill Brewster, drops the latest instalment in his ‘After Dark’ series, for Late Night Tales.

A throbbing, louche and leisurely affair, groove is very much at the heart of this freestyle selection, a vibe which Bill de- scribes as “a basement, a red light and a sound system. Or, as the Beastie’s once rapped, slow and low, that is the tempo”.

There’s Hawaiian drum machine bossa balearica from Island Band, percussive afro post punk from Czech jazz singer Jana Koubkova, and breathy-bubbling-dubwise-slap-bass-soul from Debbe& The Code.

There’s also sultry deep house mood music from Lanowa, infectious bouncy jazz funk breaks from Canada High, and Nail’s life affirming re-edit of singer songwriter Gilbert O Sullivan’s electro pop gem ‘So What’.

Bill’s own studio skills are present and correct too, featuring an undulating bassy version of country troubadour Jeb Loy Nichols, reworked along Alex Tepper under their Hotel Motel moniker, and a chugged-up squelchy disco take on Khruang- bin, this time paired with Raj Gupta, as Mang Dynasty.

Chock full of exclusives, tracks are either completely brand new, or available digitally for the first time, whilst others are wallet-rinsing rarities if purchased elsewhere. Whichever way you slice it though, every tune is a highlight, working equally well as standalone nuggets, or within Bill’s fluidly cohesive mix.

Whether he’s taking the roof off a club with his unique selec- tion of deep and tough house music, enchanting a backroom with a genre-bending set of disco, Balearic, rock and hip hop or playing chillout music in a bay in Croatia, Bill Brewster is the man for all occasions.

In a former life, Bill was a punk rocker, a chef and also the co-editor of football magazine When Saturday Comes but has been a record nerd all of his life. He began DJing in the 1980s, but came into his own in the early 1990s, particularly during a two-year stint in New York running DMC’s office, where nights at the Sound Factory and hanging out with Danny Tenaglia gave him the musical grounding you can still hear in his music today.

Bill was also one of the founding residents at Fabric in London, a position he held for five years. There are few still playing regularly today that have his dedication, eclecticism and encyclopedic knowledge of music.

His parallel life is as a writer, and with his long-term part- ner-in-crime Frank Broughton, they have written four books together, including the acclaimed ‘Last Night A DJ Saved My Life’ (latest edition published last July), ‘How To DJ (Prop- erly)’ and ‘The Record Players’.

He has been working in the industry’s fringes for over 40 years including the running of various labels from Twisted UK and Forensic in the ’90s to Disco Sucks and Anorak in the noughties.

He is one of NTS radio’s new residents for 2023 and his ‘Low Life Loves You’ show is available on the first Tuesday of every month.

Nina Kraviz returns to Rekids with remixes of ‘Taxi Talk’ from David Löhlein and Sterac Electronics.

In the years since Nina Kraviz dropped some of her earliest music on Radio Slave's Rekids, she has become a bonafide global superstar. Founding two record labels трип (trip) and Galaxiid, she regularly headlines the world's largest music festivals and has continued to stay at the forefront of electronic music.

'Taxi Talk', initially released on Kraviz’s lauded eponymous debut LP in 2012, still stands the test of time with its spoken word vocals and smoky deep house grooves. Remixing the track alongside its reissue is Vision Ekstase founder and Lehmann Club resident David Löhlein who turns in a fresh remix, and Dutch techno mainstay Steve Rachmad, who unearths a remix made under his Sterac Electronics guise that had, until recently, been unreleased.

Löhlein’s remix sees the Stuttgart-based artist reach for his trademark ’snake sound’, delivering a sleek version flipped into a quick and urgent cut with pulsating synths and dynamic minimal drum funk. Sterac Electronics brings a distinctive sense of electric funk with a boogie-tinged remix full of colourful synths and hip-swinging drums that cannot fail to light up the floor.

Blending ambient, drone, krautrock, psychedelic, house music elements into a unique sonic universe... that's what Cloudland Canyon is known for! This American experimental music project led by Kip Uhlhorn comes with the release of their new self-titled LP on the always trustworthy Medical Records! The band continues to explore the boundaries of sound and space, taking the listener on a journey through lush soundscapes and immersive textures. Formed in 2002, Cloudland Canyon has released several critically acclaimed albums, including "Fin Eaves," "Lie In Light," and "An Arabesque."

Their recent releases have been produced by Sonic Boom from Spacemen 3/Spectrum. With each release, Uhlhorn has pushed the envelope of experimental pop music, collaborating with various musicians and producers to create intricate and otherworldly compositions. This time around Uhlhorn collaborated primarily with AI to generate and create a compositions that sound like they are meant for an alternate realm where both beauty and suffering are both present, but not at odds with one another. AI has helped Uhlhorn take one step further into the transfigurative looking glass.

The new LP, marks a new chapter in Cloudland Canyon's journey, expanding their sonic palette to include elements of techno and electronic music while still retaining their signature dreamy atmospheres. The album is a journey through a sonic landscape that is at once futuristic and nostalgic, evoking the feeling of driving down an endless highway into the sunset. Past musical collaborators have included some of the most exciting musicians working today, including Sonic Boom from Spacemen 3, Wayne Coyne & Kliph Scurlock of Flaming Lips, David Scott Stone of the Melvins, Unwound,& LCD Soundsystem, Dean & Britta from Galaxie 500 & Luna, and Jody Stephens from Big Star to name a few. "S/T" is a testament to Cloudland Canyon's ability to collaborate and create music that is both innovative and accessible. Whether you are a longtime fan or a newcomer to Cloudland Canyon's music, "S/T" is a must-listen for anyone interested in the possibilities of experimental music in the 21st century. With its combination of analog and digital textures, hypnotic rhythms, and expansive soundscapes, it is a journey you won't soon forget.

Joe Cleen is back with another slab of Disco Heaters! The Berlin native has had a handful of classic releases on SB that never leave DJs' record bags and we're treated to yet another collection that'll be just as essential.

As ever with Joe this knockout selection of tracks blurs the lines between edits and full reworks. A globetrotting affair with tracks from Korea, US & Canada... Mr Cleen is not holding back on the D.I.S.C.O factor with this vital 12”.

"We find ourselves venturing into the depths of a rugged terrain. In our hands, we hold stones and minerals, each possessing its own distinct texture, weight, and sonic potential. It is through the artistic touch and through the musical instruments that these earthly treasures, once dormant, are awaken to life." — Sara Oswald + Feldermelder

The 3rd collaboration of prolific cellist Sara Oswald and electronic musician Feldermelder evokes captivating sensations that oscillate between impending doom and hope. The albums' sonic journey is highly immersive, transporting the listener from one cerebral landscape to another. The transformative nature of metallic elements being integrated in sustained orchestral tones weaves the sonic tapestry, resulting in a captivating experience for the listeners. The organic sounding — reminiscent of minerals' timbres — brings a touch of brightness and a distinctive edge, while the orchestral harmonic structures lend a sense of grandeur and continuity. The origins of this music remain enigmatic, while the tracks of the album gradually unveil concealed aspects and the hidden truth.
One can step into a realm where melodies are reborn, as Sara Oswald's cello spins tales and emotions burst forth. Nature's eternal splendor intertwines with the essence of music, as she infuses harmonies with the soul of mountains. Vibrant hues come alive with delicate strokes, and cascading notes resonate with a select few. Feldermelder conjures profound echoes that swirl like ancient whispers of the earth's primordial past. He sculpts textures, from fragmented glitches to expansive atmospheres, that warp the fabric of reality. The two musicians merge together harmoniously, blending the acoustic and electronic worlds into a transcendent unity. This fusion of contrasting elements adds a unique and intriguing quality to the music. The cello's warmth merges with pulsating electronic beats, creating a symphony of contrasts and sonic upheaval. Each composition is woven in intricate layers, combining electroacoustic architecture with delicate precision. A subtle balance of chaos and control permeates the music as it meanders through the labyrinth of the mind. The soundscape unfolds like a grand tapestry, distant echoes murmuring like grains of sand.

Trained in baroque cello and advocating improvised music, Sara Oswald is the perfect match for sound artist and electronic musician Feldermelder. She plays solo, composes for film and theatre and collaborates with musicians like The Young Gods, Pascal Auberson, Sophie Hunger and Julian Sartorius. Feldermelder is a polymathic creative whose artistry spans composition, sound design, installation and code. He is co-founders of -OUS and part of Encor.studio, a collective of artists who specialise in creating immersive audio-visual installations. Through his work, he explores the idea of secrecy and its impact on our lives, using music and sound to create a thought-provoking and immersive experience for his audience.

2023 repress !

After his debut on PoleGroup last year with a track 'Hate' selected for the compilation release Unknown Landscapes - EP 1, Kwartz makes a proper return to the label with Form and Void EP. Hailing from Madrid, DJ and producer Kwartz started his career in 2011 and within fairly a short time he has developed and refined his own hypnotic, dark and enveloping techno. Amongst notable releases to date is his first vinyl EP Fenomen (2013), a joint release with Pole Group artist Exium on their Nheoma imprint.

Form and Void EP features two strong originals and two equally powerful remix supports from the label mates and core members of Pole Group, Reeko and Exium. The title track 'Form and Void' kicks off with straight forward 4/4 rhythmic groove that gradually builds up layer by layer in to the darker shade to meet the mysterious break, followed by heavy brooding bass tones slashing through the kick drums, deepening the atmosphere with the hollowing echoes. Reeko's remix elevates the dark mood of original while pumping in even more energy with rolling kick/hat combo and psychedelic swirling chaos of synth that intensifies throughout the entire length of the track.

'Breakage' on the flip side possess much more hardened groove, pounding out the drums packed with blinding force. Exium's remix takes the tension-filled doomsday feel of original to another level and gives a new dimension to the heavy merciless percussion by adding haunting howling echoes that growls like that of ghosts combined with more muted drums and subtle layers of stabs of kicks and effects.

Kwartz holds nothing back with Form and Void EP, delving in to the darkest and deepest realm of subterranean pulses that fit perfectly for the dance floor with dimmed light and big sound system.