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Launching its first compilation, Fastgroove Klub gathers astrong lineup of artists who share the same vision of high-energy, uncompromising techno.

This debut VariousArtists release highlights the essence of the label: rawintensity, fast-paced grooves, and a forward-thinkingapproach deeply rooted in the spirit of the '90s.

Featuring contributions from Felicie, Lars Huismann, Steve Redhead, Kabay, Fhase 87, and Vrov, the VAexplores a wide spectrum of styles while keeping thedancefloor at its center. Each track carries the distinctsignature of its creator, yet together they form a unifiedstatement that reflects the label's ethos: relentlessrhythms for unstoppable momentum.

With this first collective effort, Fastgroove Klub sets thetone for what lies ahead - a space where energy, passion,and uncompromising techno collide.

Inspired by Sam Kidel’s ›mimetic hacking‹ concept, Berlin-based composer Jasminev Guffond pipes opiated brass and woodwind motifs into a reverb chamber modelled on an Amazon fulfilment centre.

»Muzak for the Encouragement of Unproductivity« is a poetic inversion of Muzak’s traditional role in stimulating seamless productivity in the workplace. Beginning as a pre-radio music distribution network (1934, U.S.), Muzak was transmitted along electrical wires with the intention of being at once ubiquitous and indiscernible, always present yet easily ignorable. As a pseudo-science the aim was to capitalize on the potential of music to have a psychological effect on listeners, and with the goal of maximum productivity, was employed as a sonic disciplinary force in the work place.

Previously installed for Dystopia Sound Art Biennial (2024), at the Amazon Packing Station located before HAUNT-Frontviews in Berlin, Muzak for the Encouragement of Unproductivity sonically addresses utopic notions of seamless, efficient productivity, inherent to capitalist cultures, and their very real dystopic effects from labour exploitation to the impacts of over-production on the environment. This poetic inversion, further developed as an album, is not meant as a kind of melodic control but rather a reflective space in which to consider the benefits personally, globally and environmentally, of slowing down.

Reverb, essential to the Muzak aesthetic, is programmed (using convolution reverb) with the dimensions of the Berlin Amazon fulfillment centre, DBE2. Amazon fulfillment centers are global contemporary factories, promising a consumer utopia of next day delivery of almost any product imaginable. Inspired by Sam Kidel’s concept of »mimetic hacking«(1), the reverberation characteristics of the DBE2 facility perform a symbolic sonic break-in to the guarded Amazon fulfillment center, a trespass to the flow of production.

Guffond’s ambient Muzak with its drifting horn, clarinet and synth-like modulations is just too down-tempo for upbeat spending. If this is Muzak it is possibly Muzak for the end of the world, thoughtfully seeking transcendence through implied questioning after all avenues for shopping have been exhausted.

“With their debut record, the merry order of musically miscreants from Los Angeles bring you their eccentric, eclectic, electric Polywave experience” The core members are: Neight Trion (The Black Angels, The Shine Brothers), Rocky (Death Valley Girls), Jay Eraser (Grooms, Roya), Oh-Ra (?) and Malware (Dead Meadow). Recorded and mixed by Jason Simon at Tekeli-li Sound. Mastered by Howie Weinberg "World Destroyers’ Pleasure Club is a musickal order formed during the great plague of the 20’s in Los Angeles in thanks to a constellation of fortuitous alignments. In the midst of the isolation that connected all people across the globe, in that unsettling quiet, a vision was obtained of community, ecstasy and revelry. The vision took on a life of its own as the band found each other and continues to propel the unit forward in their journey toward its realization. When asked to describe their strange, mutant music some fans and even members have found it difficult to do so. For this reason they have chosen the term Polywave as their designated genre which they envision as including other forms of expression besides music, a tendency to be hyper-eclectic and bearing the distinguishing mark of a commitment to continual, intentional self-transformation. WDPC has performed at venues such as Permanent Records Roadhouse, Zebulon, Lodge Room and more, both headlining and supporting artists such as The Intelligence, The Black Lips and The Nude Party. Nicknamed The Mysterious Party Band, they’ve been told they sound like a “Gospel Devo” by DJ Al Lover (Fuzz Club Records), and drawn comparisons to Talking Heads, The Fall, Butthole Surfers and Peter Gabriel. As influences they cite artists as varied as Hailu Mergia, Psychic TV, Scott Walker, Fela Kuti and Red Crayola but these influences don’t necessarily reveal themselves sonically as much as resembling the spirit in which they were conceived. Artist Neight Trion, the principal songwriter, spends as much time on the lyrics as composing the music, aiming for both to be strong enough to stand on their own. Membership includes a revolving and evolving collection of instrumentalists and collaborative mimetic entities but the core members are Neight Trion, singer/keyboards (The Black Angels, The Shine Brothers), Rocky, bass guitar (Death Valley Girls), Jay Eraser, guitar (Grooms, Roya), Oh-Ra, drums (?) and Malware, synth (Dead Meadow). Hailing from all across the US and Europe their operations are based in the Los Angeles area. Armed with their eponymous debut released by Blow Your Mind Records based in Santiago, Chile, they’ll be coming to a town near you and preparing the way for the coming Polywave. This is only the beginning, the first stages of metamorphosis. They invite you to join them in their pursuit of the communal ecstatic experience

“Mt. Hadamard National Park” is the Hallow Ground debut by composer, programmer, and instrument designer Matthias Puech. Informed by mathematical and artistic approaches that aim to both contemplate on and control complexity, the eponymous five-part composition explores natural and mystical forces through what he calls “audio-naturalist noise”. The composition is complemented by two further pieces that follow similar concepts: “Suspension” emulates the chemical phenomenon of the same name, while “Imperceptible Life” hinges on the musical possibilities of stridulation. Over the course of the entire album, Puech’s singular take on electro-acoustic and electronic music creates unique sonic spaces as much as it pays its dues to the unpredictability of the world that we inhabit. Jacques Hadamard was a pioneer among physicists and mathematicians who, in the early 20th century, were puzzled by processes that are deterministic but hard to predict. The sounds, arranged in sweeping and tense dynamics, serve as multiple agents within a complex system. The synthetic flora and fauna created through the use of the composer-performer’s instruments feels uncannily familiar or even disturbingly hostile at times... This process is mirrored in aquatic yet tangible sounds as well as dynamics that slowly converge towards density before the composition ends on a quiet note. The 14-minute-long “Imperceptible Life” is based on a 2019 live performance first conceived as a full-scale test drive of some new electronic equipment Puech was designing at that time. It explores the musical potential of stridulation, the act of creating sounds by rubbing together certain body parts—in the insect world, a common means of communication. Again, Puech’s approach is neither purely naturalistic nor only mimetic. Rather, “Imperceptible Life” offers yet another artistic reflection on the theme of chaos and order, and how human perception and emotion relate to it.As a whole, “Mt. Hadamard National Park” thus not merely mirrors natural phenomena but transforms them in ways that are emotionally evocative: the complexity and apparent arbitrariness of Puech’s compositions reveal an underlying beauty that is equal parts haunting and comforting.

»Sull’Accordo Mimetico (On the Mimetic Chord)« dates back to the end of the 80’s. It was commissioned by the artistic director of the ParcoScenico Festival, held in Treviso, Italy. Since the area where artists and the public gathered after the Festival was located to a very busy street, Marco asked me for a sound installation that could work as some sort of a defensive barrier for the street noise. I suggested that my work, rather than hiding the noise, should aim to harmonize the disturbances coming from the street within musical structures and forms, without burdening or saturating too much the acoustic spectrum of the place. In this way, I thought about sonic veils, consisting of repetitive – but also light and discreet – harmonic-rhythmic structures. Since the Festival took place in a beautiful centenary park, I also integrated the music with natural sounds and animal calls, always as an attempt to bridge these sound events and the other materials that made up the composition. The human voice constitutes a central element in this musique d'ameublement project, as a constant source of memory of places and times – here with many references to traditional music for children.

A pearl of ambient electro-acoustic mimimalism with field recordings components in which the nostalgia of Maestro Tiziano Popoli shines through in painting landscapes that slowly change to be seen with the ears. Nocturnal, emblematic, Lynchian.

This is the first ever archival collection of material from the Italian Minimalist Tiziano Popoli, featuring fourteen previously unreleased recordings for installations, theater, and radio broadcasts spanning from 1983 to 1989. Featuring extensive use of the Yamaha DX7 synthesizer, TR909 drum machine, and early sampling techniques, these recordings trace the organic, hybridized elements of Italian experimental music as it convened in the hands of Tiziano Popoli and his friends, uniting elements of pop music, minimalism, and manipulations of found sound. Popoli's first album, Scorie, recorded with Marco Dalpane, is a highly sought after LP, and was finally repressed in 2018 by Italian label Soave. "Burn the Night / Bruciare la Notte: Original Recordings, 1983-1989" is a joint release between RVNG Intl. and Freedom To Spend, and was compiled from hours of material unearthed by Tiziano Popoli from his archives, and then meticulously remastered from original sources by Rashad Becker. The 2xLP and CD include printed inner sleeves and booklets with extensive liner notes written by Bradford Bailey, archival photographs, and ephemeral enrichment. RIYL: Philip Glass, Franco Battiato, Lino Capra Vaccina, Oren Ambarchi, RAMZi, Roberto Musci, Faust, CAN, Art of Noise, Durutti Column, Roberto Cacciapaglia.

“Experimental trio Giraffe crystalize time on ‘Desert Haze’, their new LP on Marionette. Giraffe is the musical project of Sascha Demand (guitar), Jürgen Hall (keys), and Charly Schöppner (percussion). Sascha Demand is a composer that comes from a contemporary and improvised musical background, collaborating with the likes of Ensemble Integrales and Vinko Globokar. Jürgen Hall works in electroacoustic experimental projects, theatre and film scores, with releases on Staubgold and Edition Stora. Charly Schöppner is known for his popular music releases such as Boytronic on major production companies in the 1980´s and composes for theatre, dance, and film scores. With only a couple of releases to date on the wonderful Meakusma imprint as well as an EP on Marmo, little is known about Giraffe. After letting go of other artistic projects, the trio now focuses solely on Giraffe by continuously searching for and finding their own unique language.

Sascha, Jürgen and Charly have quite diverse musical backgrounds, though morphing into Giraffe they tower into one single composer. Their music is a critical statement, not in a political sense but rather an artistic one. Being mindful about what it means to create and how to position themselves as artists nowadays (without the constant hassle of being en vogue and short-lived trends) shaped their rather rare and stoic artistic stance. It is refreshingly honest to see their expression develop so naturally.

On Desert Haze, they’ve created a vibrant and minimalistic tribal sound that feels inspired by the Saharan traditional music of the Tuareg, Jazz, and German psychedelic krautrock. Giraffe themselves also list the radical music of the Viennese School (Schoenberg along with his pupils Berg and Webern) as well as the Köln School with its early electronic experiments as their main influence and inspiration. More precisely the composition process and the organization of musical material within space and time, where a conceptual and intellectual approach melds with an experimental yet expressive sound searching method.

Side A focuses on the trios studio work; it is built around tone color and pitch analysis of resonating prepared guitar sounds. Through a unique mixture of free improvisation and a serialism "rule set”, they develop instrumental layers and structures to form their tracks. Side B sees Giraffe playing more freely with a reduced setup - representative of what you may hear when listening to them live.
Desert Haze, along with its track-titles, showcases an almost mimetic approach to art. The haptic music grabs the listener not as a passive recipient but as an active resonant body to vibrate through. One can almost feel the Elements, pressure and heat forming a diamond, hypnotic overtones ringing through windy caves, shamanistic rhythms conjuring up mysterious and ancient landscapes - where the constant cycle of sedimentation and erosion reveals structures of fragile beauty - always gentle to the hand’s touch and the mind’s eye.”

For her first single, the sublime title 'Loverboy' comes out as a big urban spleen, released in a space made of asphalt and artificial paradises. Groups like Hooverphonic or even Portishead play around this throbbing softness that is Loverboy, splashing about in the electronic lounge of the 90s.

The opener, 'Alien Lady' features a flute-driven solo backed up by a funky guitar riff that then transitions into a tropical beat and Tanja narrating the story of feeling a stranger in a big city, not understanding the social codes and clues 'I don't speak the language in the way that you know' while Worth to you is a dreamy, glitched-out hypnotic track which maintains an edge of mysterious sexuality and her signature sense of intimate detachment.

If the atmosphere coming out of Lomboy's work can be sometimes felt as prude and even shy, it certainly does not intend to hide with embarrassment the aphrodisiac scent that permeates it. On the contrary, this modesty perceived in the interpretation and in the production sensually envelops the different compositions, and imparts to this guilty pleasure the feeling of a stolen kiss. Warped Caress brings us to vertiginous heights and takes us into abyssal depths throughout the five tracks. This suggests at times a diegetic representation of this erotic world seen through the insolent prose and at other times a mimetic representation where each instrument plays an important part in every story told.

Philippe Hallais returns to Modern Love with a new album, the first under his own name following his label debut as Low Jack with Lighthouse Stories in early 2016.
It's by some distance his most important work to date, setting aside the squashed dancefloor productions of his Low Jack Alias for an album of emotive, indefinable ambient pieces.
After working through different subcultural musical languages as Low Jack, this time Philippe takes inspiration from the TV biopics of high-performance athletes for an album of exceptional
emotive impact; somewhere between pastiche, tragedy and electronic futurism.
Fascinated by the sports documentaries mass-produced by the US TV channel ESPN, Hallais transcribed and amplified its dramatic recipes. These form the material of tearful soap operas
which develop the same narrative ad nauseam; the rise to the top, the betrayal, decline, salvation, comeback and, ultimately, nostalgia and regret. The TV formatting reduces the life of these high level athletes to a generic tale, transforming them into impersonators of their own lives through extreme use of editing, slow motion and musical themes.
Divided into four sides (and eleven tracks) acting as parts in a greek tragedy, the album delves into the dislocations of the mythology of sports and its achievement in mass entertainment; whereby the hero becomes a dispensable and mimetic body. Hallais delves into this unusual portrayal of triviality and disaster, naivety and cynicism that make the real life and ordeals of the hero indistinguishable from their scripted form on TV.
This obsession with storytelling and the creation of bigger than life characters forms the narrative of 'An American Hero', a parable for our times.