Press Info:
With Rosa Anschütz’ LP Goldener Strom picking up widespread praise, BPitch presents the first instalment of remixes from Ellen Allien and Métaraph. The album will undergo a transformative process, with several remix packages reimagining Rosa’s stunning works due for release in the coming months.
Ellen sprinkles a little Allien magic on ‘Their Blood’. Piston-driven beats pulsate alongside a stirring backdrop of gnarly synth work and Rosa’s unmistakable voice.
Midway through, she incorporates a huge, melodramatic breakdown that sets the tone for the second half of this thrilling interpretation. In the past year, the prototype version of ‘’Their Blood’’ became an absolute festival staple among Ellen’s selection and a secret sensation for crowds all over the globe. In its final form, it is to be finally unleashed upon all.
Métaraph takes charge of the second remix, putting their unique spin on ‘Intuitive’. Potent drums slam down, while Rosa’s vocals and a cacophony of bright sounds and effects counteract to the powerful percussive arrangement and grizzly low end.
Release Date:
15th July 2022 (digital)
September 2022 (vinyl)
Format:
vinyl, download & streaming
Tracklist: 01. Lokier Disclosure
02. Etapp Kyle Moveon
03. AnD Happy In Major
04. Imchaos Alien Cry
05. Blush Response Confession
06. Shaleen Suction Of Relativity
07. Nur Jaber When I‘m Gone
08. Nene H OMG
09. Denise Rabe Psychic Survival
10. Deepneue Berliner Syndrom
11. Metaraph Dulcet Acridness
12. Rosa Anschütz Nectar
Press Info:
Ellen Allien and the We Are Not Alone collective are back with a second edition of the We Are Not Alone series. A 36-track compilation split into 3 parts, each consisting of 12 cuts, dedicated to the infamous We Are Not Alone event series and the best of Berlin’s underground techno talent.
Ellen Allien’s innovative party series We Are Not Alone was launched in 2016 and remains committed to inviting an exciting crew of artists to perform at the 36 hour events, now in a new home at RSO.BERLIN, where they returned with bang over 36 hours and 3 floors in May.
The We Are Not Alone compilation features artists that have played at the parties, as well as those who will join the line-up for future events. The 4th, 5th and 6th parts include music by Ellen and established names such as Thomas P. Heckmann, Dollkraut & DJ Europarking, Francois X, Phase Fatale and Etapp Kyle. Rising stars Nene H, Nur Jaber, Stephanie Sykes, Wallis and Métaraph. BPitch signings include Rosa Anschütz, Shaleen, Matasism and Uncrat.
For this instalment of the series, Ellen Allien collaborates with esteemed director and photographer Stini Roehrs for the multidisciplinary project ‘’AFTER DARK – Emotional States of Techno’’, consisting of a virtual rave film, book and exhibition produced by AKKURAT Studios, and the We Are Not Alone VA, which is to be released physically and digitally via BPitch.
The next We Are Not Alone parties take place at RSO, Berlin in July, August and October of this year. 22nd July, CSD weekend, is set to be a single night event on two floors. 20th August a We Are Not Alone floor during the RSO Club Festival and then we’ll be back for over 30 hours on 15th & 16th October. Watch this space.
Full Track Streaming:
Specials:
Rosa Anschütz – “NovaFuture Blog Exclusive Live Set”
Press Info:
“I follow the golden stream…” sings Rosa Anschütz in the title track of her new album, in a cold, clear, determined voice: “And now, I am following the golden stream. And I follow the golden stream.” Underneath, golden interference buzzes and splashes at first, while cold light lies over the “thick water.“ Followed by powerful beats setting in as the trumpet fanfares of the chorus herald victory over the elements. “Goldener Strom” is about the desire to drift; to surrender to the moment and about the movement of life. Simultaneously, the music portrays the will to resist the world and its currents – the currents that want to drive one somewhere they don’t want to go. How does one become an island in the current? How does one find the self-confidence that allows them to drift and enjoy the movement of life without being exposed to those currents? On the cover of the album, we see Rosa Anschütz in the vastness of a gray shimmering sea – in a blue dress, sitting on a blue Panton chair: symbolizing modernity that has now become historical – sovereignty over history and over art.
“Goldener Strom” is without doubt the most astonishing album of the season. It plays with hardness and tenderness, it narrates of the beauty of losing one’s self, as well as the happiness of a self-determined life and creation. It can be danced to, but one can also listen to it as a conceptual album; it is as full of beats as it is full of thoughts. Rosa Anschütz reinforces her enormously versatile vocals -ranging from a pleading breath to a cold New Wave speaking voice – with a relentlessly marching four-to-the-floor techno; but underneath it all, lay polyrhythmic deviations again and again. Clattering and trembling, deep basses digging into the ground, while shimmering veils of sound blow from above. Rosa Anschütz follows the traditions of Dark Wave and Postpunk, but carves deep notches of sound sculpture and romantic smoothness.
Rosa Anschütz was born in Berlin in 1997. She grew up in a secluded lake house with an enchanted garden. Her first instrument was the piano, later she learned the flute and trumpet and played in a Bigband. She listened to jazz and DJ Krush and started playing music in various rock bands while still at school, but she soon realized that the best way to pursue her artistic visions was on her own. She experimented with Garageband and uploaded her tracks to SoundCloud. That’s how she came to the attention of Max Kobosil, among others, the young DJ star from Berlin’s Berghain, who later also remixed her song “Rigid.“
Rosa Anschütz found her musical awakening in the world of electronic avant-garde and techno clubs. At 15, she went to Atonal Festival at Berlin’s Kraftwerk for the first time, she immersed herself in Berlin’s post-punk and industrial avant-garde scene, and later on, she danced at Berghain. Dancing in dark spaces, she says, had a mind-expanding effect on her: she loves letting herself drift and the moments when everything dissolves and boundaries shift. But she also quickly sensed the dangers inherent in this drifting: How does one come to create a good relationship with one’s own body when, in the crucial years of youth, one’s body consciousness is expanded and manipulated by all too many means? She left Berlin to study Transmedia art in Vienna. Most importantly, it was there that she began working with modular synthesizers – instruments which open up possibilities primarily by imposing limitations. Her first EP “Rigid” and her debut album “Votive” from 2020 were significantly influenced by her work with modular synthesizers.
On “Goldener Strom“, she has freed herself from this. She supremely uses all means of electronic music production and combines them with analog instruments, the flute, trumpet and guitar; in addition, she sings, speaks and breathes with her cold and confident voice. As on the previous albums, she recorded the songs with the Berlin producer Jan Wagner. It was important to both of them that everything they recorded was finished as quickly as possible.
They wanted to capture musical moments; if something worked, it was finished quickly; if they got stuck somewhere, the track was left and discarded. When producing, says Rosa Anschütz, this is the most important thing: that you don’t get slowed down. And that’s how it is in her art in general: it is about gathering and amplifying energy; it’s about condensing experiences, making a point, finding a conclusion for an image comprised of sounds and words, however fleeting they may seem. The stream of which Rosa Anschütz sings, and which she ignites in her music: that is also the stream of consciousness, the stream of experience; and what one experiences, is already over in the next moment. It is about catching the moment – and in the next moment, however, already not to look back.
“I follow the Golden Stream,” sings Rosa Anschütz, meaning: she follows the becoming and passing of things; but at the same time she offers – like an island – a resistance to the drift of time. “Goldener Strom” is a great pop album, full of melodies, aphorisms and beats that immediately catch your ear. At the same time, it is a manifesto of artistic sovereignty – precious and wise in our times of streamlined art.
Press Info:
A uniquely vibrant and multifaceted artist, Rosa Anschütz is perfectly aligned with the future-facing ethos of BPitch, where her new album finds a home. Rosa Anschütz’ professionalism and visionary outlook permeates through her broad catalogue of work.
Their Blood is driven by a gnarly riff, the cut juxtaposes Rosa Anschützs distinct vocals with a rugged instrumental. It represents the delicate balance between emotion and a visceral workout.
A stirring preview of whats to come on Rosa Anschützs LP, Their Blood acts as a taster of the multi-disciplined artists breath-taking new body of work
Press Info:
A votive. An object as an offering. An intention. A spell in physical form. Music as a form of invocation. Sound as clay. Moulded, sculpted, manipulated to embody said intention.Magick. Chaos. Turning sound into clay. Clay into earthen-ware. Literally.
“Making use of the term Votive opened a large room for interpretation for me.There is so much that I could argue with, which would be about me (atheism, queerness or feminism) in order to prevent misinterpretation. But I don’t want to limit the interpretation of it by explaining my own personal view.”— Rosa Anschütz
The debut LP from transmedia artist /vocalist/producer Rosa Anschütz is a collection of nine votives presented in sonic and ceramic form (every song has its sculptural equivalent). It’s the result of several years of daily rituals: word collages as incantations, audio sigils created by shaping electric voltages and casting sound into clay. «Votive» is also a highly charged space full of spirit/ emotion, a religious experience distilled from the ecstasies of an agnostic.
“I sang in choirs for a very long time and enjoy hearing multiple voices. I also love the reverb effect you get in a Church, I emulate this using effect pedals and plug-ins. I also use vocal loops like mantras. I can enter into self-hypnosis through singing.” — Rosa Anschütz
«Votive» was produced by Jan Wagner. It took three years for the initial sketches to punctuate in finished songs.The basis for themusicwas created using Rosa’s self-built modular synthesizer, which she describes as an entity full of personality that “reacts on my mood of the day.”The lyrics were distilled from her growing collection of decontextualised phrases, loose poems–oftenwritten on the move– and diary-like entries, obsessively collected over the years. During the production, these word-formations were intuitively combined with the modular soundscapes, and sculpted till they became holistic, well-balanced micro-universes.
“A synthesizer can literally absorb you. It not only has a range of sounds, but also its own personality. I’m constantly changing how I make use of it.” — Rosa Anschütz
Like the material found on last year’s «Rigid EP», these songs are a curious alloy crafted from a range of sonic vernaculars: experimental/noise, coldwave, techno and avant-pop. The space they evoke remains cool and dusky, both airless and cathedral vast. Spoken word pieces are woven in between spectral choral arrangements, the effect is that of hypnotic mantras. «Votive» is far from a neutral experience and there is a clear before and after, once you hear it.
