out now: Schlammpeitziger – Ein Weltleck In Der Echokammer [Bureau B]

 

Artist:
Schlammpeitziger

 

Title:
Ein Weltleck In Der Echokammer

 

Label:
Bureau B

 

Cat#:
BB345

 

Release Date:
25th September 2020

 

Format:
CD, LP & digital

 

Tracklist:
01.
Weltleck

02.
Wohlwegewerk

03.
Tanzfußfalle

04.
Handicapfalter

05.
Hüftgoldpolka

06.
Every Dayhey

07.
Wurfhalm Wiggo

08.
Rappelvolle Leere

 

Press Info (English):
Schlammpeitziger is the alias of musician, illustrator and performance artist Jo Zimmermann. He has been an integral figure in the evolving sound of Cologne since 1992, releasing his surrealist lo-fi krautronica on imprints such as A-Musik, Pingipung and Sonig.

“Ein Weltleck in der Echokammer” is the tenth Schlammpeitziger opus and his second album to appear on the Hamburg-based label Bureau B. The first notes of the opening title track Weltleck instantly confirm that this is no run-of-the-mill record. Jo Zimmermann confounds expectations as he wraps the art-electro sound of Schlammpeitziger in otherworldly dub echo loops –a surprising, yet perfectly coherent development.

Jo Zimmermann elaborates on the new Schlammpeitziger sound: “Reggae expert Bettina Lattak is a good friend of mine and she has been telling me for years that there are dub and reggae influences in my music. I had never really given it much thought, but when I began to introduce these elements more consciously into my music, everything clicked into place quite naturally. I found it fascinating, completely free of any religious context, simply following the sound.”

Not that these eight sun-drenched tracks are exclusively in the realm of dub rhythm; they are also sprinkled with disco beats, beguilingly low-flying bass and dreamy, sweeping melodic arcs – everything for which we have come to love Schlammpeitziger. He launches us into outer space before bringing us back down to the prosaic dancefloors of earth.

Another new aspect is that Jo Zimmermann sings on three of the tracks, translating the whimsical, curious nature of the music into an equally unique vernacular. His verbal expansion of the enraptured cosmos illuminates the brightly lit world outside the echo chamber on “Handicapfalter”, referencing Kraftwerk’s “Spiegelsaal” like a steel drum Absurdistan. Elsewhere, “Every Dayhey” floats like a weightless rainy Sunday dub, a dull sensation of gentle melancholy seeping into the morning after a long, long night.

Stefan Mohr, the producer from Cologne, mixed the album as he did its predecessor. Zimmermann and his congenial colleague Ulrike Göken have once again crafted the cover art and created a video in visual interpretations woven from the same fabric as Schlammpeitziger’s music.

“Ein Weltleck in der Echokammer” is an album which offers answers to questions that nobody is able to ask. Dancing feet caught in a trap, lost in crowded emptiness or sucked into space through a leak in the world – only Schlammpeitziger can do the lot.

– Andreas Dorau

 

Press Info (German):
Schlammpeitziger ist die Kunstfigur des Musikers, Zeichners und Performancekünstlers Jo Zimmermann. Bereits seit 1992 prägt er mit seinem surrealistischen Lo-Fi Krautronica und zahlreichen Veröffentlichungen bei A-Musik, Pingipung und Sonig den Sound of Cologne entscheidend mit.

“Ein Weltleck in der Echokammer” ist bereits das zehnte Schlammpeitziger Werk und zugleich das zweite Album, das beim Hamburger Label Bureau B erscheint, doch schon nach wenigen Sekunden im Eröffnungs- und Titeltrack “Weltleck” wird klar, dass Jo Zimmermann mit allem anderen als einer routinierten oder erwartbaren Platte aufwartet. Der eigenwillige Art-Electro-Sound von Schlammpeitziger trifft auf außerweltliche Dub-Echoschleifen. Eine Entwicklung, die ebenso überraschend als auch naheliegend scheint.

Jo Zimmermann über den neuen Schlammpeitziger-Sound: “Eine gute Freundin von mir, Reggae-Expertin Bettina Lattak sagte schon seit Jahren: Deine Musik hat Dub- und Reggae-Einflüsse. Ich selbst hab’s selber nie so wahrgenommen, es hat aber beim einfügen in meine Musik sofort funktioniert. Für mich sehr interessant, ganz frei von allen religiösen Kontexten, allein dem Klang nach”.

Doch auf den acht sonnendurchfluteten Stücken finden sich nicht nur Dub-Rhythmen; auch Disco-Beats, betörend tiefliegende Bässe und die verträumten, schwurbelnden Melodiebögen, für die man Schlammpeitziger so liebt, die einen weit ins All hinaus tragen und wieder auf den Tanzboden der Tatsachen zurückholen.

Auf drei Tracks erklingt Jo Zimmermann erstmals auch als Sänger und übersetzt die Verspieltheit und Kuriosität der Musik in eine ebensolche eigentümliche Sprache, die den entrückten Kosmos verbal erweitert. So erwartet einen in „Handicapfalter“ die lichtdurchflutete Welt außerhalb der Echokammer wie ein Steeldrum-Absurdistan von Kraftwerks „Spiegelsaal“ während „Every Dayhey“ wie ein schwereloser, von sanfter Melancholie verhangener Sonntagsregenwetterdub an den Morgen nach einer viel zu langen Nacht erinnert.

Gemischt wurde das Album wie auch der Vorgänger von dem Kölner Produzenten Stefan Mohr. Untrennbar verwoben mit der Musik von Schlammpeitziger ist zudem die optische Umsetzung von Cover und Videos, die einmal mehr von Zimmermann und seiner kongenialen Kollegin Ulrike Göken verwirklicht wurde.

“Ein Weltleck in der Echokammer” ist ein Album, das Antworten auf Fragen liefert, die niemand zu stellen vermag. Ob verfangen in der Tanzfußfalle, in rappelvoller Leere untergangen oder durch das Weltleck hinaus den Weltraum gesogen – das kann wirklich nur der Schlammpeitziger.

– Andreas Dorau

 

Snippets:
soon

 

Full Track Streaming:
“Weltleck”

more soon

 

Videos:
“Weltleck”

“Every Dayhey”

 

Recommendations:
Schlammpeitziger’s “Damenbartblick Auf Pregnant Hill” on Bureau B
Schlammpeitziger’s album “Vorausschauende Bebauung” on Sonig
Schlammpeitziger’s album “What’s Fruit?” on Pingipung Records
Schlammpeitziger’s EP “What’s Fruit? (Remixes)” on Pingipung Records

 

Special:
“NovaFuture Blog Exclusive Mix”

 

Buy CD:
Tapete Records
Schlammpeitziger @ Bandcamp
Amazon
WOM
Juno
Flight13
MediaMarkt
Boomkat
Rough Trade
more soon

 

Buy Vinyl:
Tapete Records
Schlammpeitziger @ Bandcamp
Deejay
Amazon
WOM
Juno
HHV
Flight13
MediaMarkt
Boomkat
Rough Trade
more soon

 

Buy Digital:
Schlammpeitziger @ Bandcamp
Boomkat
Google Play
Boomkat
more soon

 

Commercial Streaming Services:
soon

 

Websites:
Schlammpeitziger
Bureau B

 

© Photo By Ulrike Goeken

out for a while: Polly Scattergood – In This Moment (Remixes Part 1) [Future Paradise]

 

Artist:
Polly Scattergood

 

Title:
In This Moment(Remixes Part 1)

 

Label:
Future Paradise

 

Cat#:
FTRPAR6DD

 

Release Date:
08th May 2020

 

Format:
digital

 

Tracklist:
01.
Red
(Maps Remix Edit)

02.
After You
(Polly-phonic Remix Edit)

03.
Red
(Maps Remix)

04.
After You
(Polly-phonic Remix)

 

Press Info:

 

Snippets:
@ Amazon

 

Special:
“The Femme Fatales Mixtape”

 

Related Release:
EP “In This Moment(Remixes Part 2)” on Future Paradise

 

Recommendation:
album “Arrows” on Mute

 

Buy Digital:
Amazon
iTunes
Boomkat
more soon

 

Commercial Streaming Services:
Spotify
Tidal
Deezer
Youtube Music

 

Websites:
Polly Scattergood

 

out for a while: Wrangler – A Situation [Bella Union]

 

Artist:
Wrangler

 

Title:
A Situation

 

Label:
Bella Union

 

Cat#:
BELLA984

 

Release Date:
28th February 2020

 

Format:
CD, vinyl & digital

 

Tracklist:
01.
Anthropocene

02.
How To Start A Revolution

03.
Machines Designed (To Eat You Up)

04.
Mess

05.
Knowledge Deficit

06.
Rhizomatic

07.
Anarchy Of Sound

08.
Slide

09.
A Situation

10.
White Noise

 

Press Info:
When Wrangler first formed like Voltron a decade ago, they had a very simple modus operandi. The clue was in their name. Ben ‘Benge’ Edwards (The Maths), Stephen ‘Mal’ Mallinder (Cabaret Voltaire) and Phil ‘Phil’ Winter (Tuung) would get together with a very select kit list of careworn analog synthesizers and vintage digital sequencers. Their task? To wrangle new music from the ancient equipment. These self-imposed restrictions helped produced two classic long players: LA Spark (2014) and White Glue (2016).

However the times have changed and so have Wrangler. The coming decade, which looks set to be dubbed the Terrible Twenties, may be the last time that bands actually get to release albums. Ecological collapse, climate crisis, food shortages and the disintegration of the fabric of society will mean that the slow devolution of the music industry isn’t even one of the main things that musicians (or anyone else) should be worrying about. So the trio have thrown everything into their third (but hopefully not their last) album. The result – A Situation out this month on Bella Union – is simultaneously their bleakest and funkiest release to date.

This collection of warm, reverberant, amped up tracks, that land somewhere between future music, synth pop, industrial dance, classic techno and rigid electro, captures the ambiguities of the group perfectly. Just as they use the ageing outmoded equipment that other people once chose to throw away in order to make tomorrow’s music, they are the paranoid group who (just about) dare to hope that things still might turn out OK. They cast a doleful eye across the hellscape of 2019 and state, if the end is truly nigh, then it’s never been more important to celebrate the little time we have left. And if a revolution to save ourselves is possible then we’re all in need of a revolutionary party, with a revolutionary soundtrack to match.

Even though their first two albums were released on Benge’s own MemeTune label he was unsure that he had the time and energy to release A Situation. The solution was staring them in the face however. In 2018 the members of Wrangler along with revered American musician, John Grant released Mr Dynamite on Bella Union, their debut as Creep Show. Label boss Simon Raymonde heard the tracks and loved them: Wrangler now had a new home. For Mal it almost feels like a family affair: “I was best friends with Robin [Guthrie] and Liz [Fraser] of Cocteau Twins and when Simon joined the group I got to know him really well. I was more from a club music background but I loved what the Cocteaus did.”

Phil adds that there’s no real need for them to define the difference between Wrangler and Creep Show, as the chemistry is completely different: “It’s not just John’s vocals but the way he plays synths and programmes rhythms is unique, so that music can’t help but have its own character. It’s the result of a four way democracy instead of a three way democracy.”

The album title A Situation is purposefully ambiguous perhaps referring to a job that needs doing or a nettle that needs to be grasped; perhaps referring to an unspecified event that is potentially either an opportunity or a threat. The mood is set by ‘Anthropocene’ which concerns the collapse and fall of human civilisation. As Mal points out: “If a future archaeologist digs down into the rocks they probably won’t find any human fossils, just a very thin layer of plastic and some rust patches. There’s an inevitability because the wheels have already been set in motion but that doesn’t mean we should ignore what’s going on, we should be taking care of things regardless. So this is about reaching out to other people before it’s too late rather than building walls.They’re the first fucking things that are going to fall down in the Anthropocene!”

‘How To Start A Revolution’ contains a different kind of warning. Mal says: “There was originally a little bit of irony in this track but if anything the world has become even scarier in the last two years. If you keep on pushing people there will come a tipping point and it will come back to bite you. There’s no irony left any more.” ‘Machines Designed (To Eat You Up)’ is about the fully-automated AI state surveillance that threatens us all. It looks like the future that Cabaret Voltaire warned us about over four decades ago is now finally here. Mal says: “It’s not my fault! I take no satisfaction at all in this stuff coming true. If it felt dystopian then, it feels more dystopian now. Wrangler are still questioning power but some of the tools of power have changed. I’m now fearful of Google in the same way I was fearful of Thatcher in the 80s.” Phill adds: “In the 70s and 80s if you wanted to have a go you could any weekend of the year but nowadays it’s harder to see who the enemy is and where they are. Come on out and have a go. Where are you hiding?” Benge concludes: “People are aware of the problems with Google, Facebook, 5g, social media, etc. but they’re woven into everything we do, so impossible to deal with.” Addressing the multiple failures of the internet ‘Mess’ originally had the more prosaic title ‘It’s A Fucking Mess’ which just about says it all. ‘White Noise’ is perhaps the bleakest track of all, based round a spoken word piece by Mal, inspired by a reflection on JG Ballard’s notorious and transgressive experimental novel The Atrocity Exhibition.

But Wrangler refuse to ignore the possibility of hope. The mirror image of ‘Mess’ comes in the shape of the copper-bottomed Kraftwerkian techno pop banger, ‘Rhizomatic’. In 1980, French philosophers Félix Guattari and Gilles Deleuze came up with the idea of complex connectivity between “nodes” which eerily predicted the way the internet would work. As Mal says: “It’s an uplifting song, simply because the decentralisation of technology is the one aspect of the internet that might save us.” On the track ‘Anarchy Of Sound’ the group call up perhaps their most unlikely influence to date: the ancient Greek mathematician Euclid Of Athens. Benge explains: “We’ve built weird things into this track called Euclid patterns.” Mal, who studied the history of rhythm for his PhD concludes: “They’ve been part of culture for millennia and explain African drumming as much as Elvis Presley.” But perhaps the most positive aspect of the album is hardwired into the DNA of the track ‘Slide’ simply because it stands on a continuum with the most uplifting of jacking Chicago house and the most utopian of New York garage.

Both sides of the coin – the dystopian and the utopian – are necessary for Wrangler to work. Phil sums it up the most succinctly when he says: “The heavier things get, the more I just want to jump around and have some fun.” John Doran, Wiltshire, 2019

 

Snippets:

 

Videos:
“Anthropocene”

“Machines Designed (To Eat You Up)”

 

Special:
Stephen Mallinder (Cabaret Voltaire, Wrangler) – “FBRGuestMix5”

 

Buy CD:
Bella Union Store
Wrangler @ Bandcamp
Rough Trade
Juno
Amazon
Bleep
more soon

 

Buy Vinyl:
Bella Union Store
Wrangler @ Bandcamp
Rough Trade
Juno
Amazon
Bleep
Deejay
more soon

 

Buy Digital:
Bella Union Store
Wrangler @ Bandcamp
JunoDownload
iTunes
Google Play
Beatport Classic
Bleep
Boomkat
TraxSource
more soon

 

Commercial Streaming Services:
Spotify
Deezer
Tidal
Youtube Music

 

Websites:
Wrangler
Bella Union

 

© Photo By Paul Burgess

out for a while: Kreidler – Flood [Bureau B]

 

Artist:
Kreidler

 

Title:
Flood

 

Label:
Bureau B

 

Cat#:
BB321

 

Release Date:
25th October 2019

 

Format:
CD, vinyl & digital

 

Tracklist:
01.
Eurydike

02.
Celeration

03.
Nesindano

04.
Flood I

05.
Flood II

06.
Flood III

07.
Flood IV

08.
Flood V

 

Press Info:
EURYDIKE – CELERATION – NESINDANO – FLOOD I – IV – FLOOD V – the song titles of the new KREIDLER album.

FLOOD is the frame, though it is a permeable one. ANDERS CLAUSEN and HENRIK OLESEN have placed a feather on the cover and written A SHIP OF NO PORT on the inner sleeve. Movement frozen in luminescent yellow. Green-grey liquefaction. Nature and construct, fluttering. A ship of no ports, not wanting to dock anywhere. Or everywhere: a ship of many ports – openings, open access, outstretched arms. Welcome! This dance is yours!

THOMAS KLEIN, ALEXANDER PAULICK, ANDREAS REIHSE and DETLEF WEINRICH assembled in Düsseldorf in winter of 2018 for recordings, and then continued with further sessions in Berlin. Starting with around a dozen sketches, the band produced eight pieces, including FLOOD I – IV and FLOOD V, an ensemble of five songs that – in LP terms – fills the entire second side of the album.

But let’s start from the beginning. Side One – still speaking in LP terms – begins pleasantly enough with the gentle roll and slight murmur of EURYDIKE. Borrowed from Greek mythology, the title refers to the pretense of affection as a means of abandonment. Painting scars onto the skin, using self-deception and lies, walking over corpses to flatter stones. We don’t need to mention HIS name here, and anyway, the gender is variable. The song is called EURYDIKE: the wistful saxophone, the bass notes, the slight trembling in the sound all speak of her awakening from dis–illusion –from grief that the backward look is no assurance of striding forward together, but only a vis–a–vìs intent to put the other out of the picture then fill it with his own poisonous glory. The song depaints how EURYDIKE transforms her enforced departure into victory, with the quiet certainty that she will never be forgotten.

»Hvis man mildner hjertet i rette tid/ Og ikke vil dæmme op for den rasende strøm med vold«
(A&W, Prometheus.nu, Okeanos Scene, Betty Nansen Teatret, Copenhagen)

CELERATION, the second piece, seems to accelerate. But if we listen closely, the pace of EURYDIKE is actually maintained. The tone becomes sharper, the rhythm creaky, the rolling more energetic, the sequence calls for a sacrifice. Wind breaks off, snare strikes, a melody rises out of a dark rumbling, ghosts circle over the city, a heavy yellow freight train rumbles past

»You can’t stop running water«
(The Neville Brothers, Sons & Daughters)

A shimmy, a scuttle, a quarter step: NESINDANO. The voice we hear is KHOES, alias Nesindano Namises; the language we hear is Khoekhoe / Damara. A gong, a CR-78 joins, a clicking, a flicker, words flutter, a bass booms, the voice rises up to the hookline, an FM synthesizer picks up the pieces and carries them along, percussion rattles. Agit-Pop! a pronunciamento to dance with the powers, a dance against power: »sida huada, ti a, sa « = all of it is ours, mine and yours! A shimmy, a scuttle, a quarter step, a bow. FLOOD.

“I won’t be entertaining guests / When my house is flooded mess”
(Mashrou’ Leila, Falyakon)

Shall we speak of floods where the river overflows in abundance, while one person’s shortage becomes another’s surplus. FLOOD I – IV is not about modesty or humility. It calls for always demanding the maximum – of oneself and for oneself – which also means to give, and that each may set their own limits while respecting others, accepting them and helping where help is needed.

»Wir sitzen alle im selben Boot«
(D.J.)

RICARDO DOMENECK takes on FLOOD II while looking out over the sea in Brazil, his feet in the sand for a few minutes, recalling a conversation with a geologist: how every single grain spans a space of millions of years. Crushed from stone, purged of rock, washed down by mountains, times and tides. The language we hear is Portuguese. FLOOD I – IV Synthesizers, strings, rusty percussion, guitars enter into dialogue, a collaborative negotiation, a swelling and descending, a showering in transparent layers, banging on shore, heads are rolling, liquefying hierarchies not structures. FLOOD IV is a dance that flows into FLOOD V, taking with it its instrumentation and mood, and moving it into a state between an easy-elegiac thoughtfulness and a concentrated contemplation. In appearance, FLOOD V bends back toward EURYDIKE, but this circle is not closed, it expands, opening wide in all directions, and offers opportunities to dock, to keep going.

KREIDLER, this four-headed hydra of a continental pop music that captures Bach, Disco, Postpunk, Club and Krautrock in varying proportions with an elegant lightness. On FLOOD the band playfully expands its approach with two renowned voices. We hear language, information. And even though we may not understand them at first, we sense that these are words of weight. An emphasis on what KREIDLER has always been about: the movement of the body – hand in hand with that of the mind.

V. Luxemburgo

 

Full Track Streaming:

 

Video:
“Eurydike”

 

Recommendations:
Andreas Dorau’s “Aus Der Bibliothèque” on Bureau B
Schneider TM’s “Guitar Sounds” on Bureau B
Karl Bartos’ “Off The Record” on Bureau B
Palais Schaumburg’s “Palais Schaumburg” on Bureau B
Schneider TM’s “Construction Sounds” on Bureau B
Schlammpeitziger’s “Damenbartblick Auf Pregnant Hill” on Bureau B

 

Buy CD:
Bureau B Shop
WOM
Juno
Rough Trade
more soon

 

Buy Vinyl:
Bureau B Shop
WOM
Juno
HHV
Rough Trade
more soon

 

Buy Digital:
Kreidler @ Bandcamp
iTunes
Google Play
more soon

 

Websites:
Kreidler
Bureau B

 

out for a while: Stolen – Fragment [MFS]

 

Artist:
Stolen

 

Title:
Fragment

 

Label:
MFS

 

Cat#:
MFS7177

 

Release Date:
January 2020

 

Format:
vinyl, CD & digital

 

Tracklist Vinyl:
A1.
Chaos

A2.
Neutral Life

A3.
Enter The Gap


B1.
Why We Chose To Die In Berlin (Mark Reeder’s Dying To Be Dancing Mix)

B2.
Turn Black (Mark Reeder’s Back To Black Mix)


C1.
Frozen Song


C2.
Copy Shop (Mark Reeder’s Copycat Mix)

C3.
Vampire Lovers

D1.
The Loop Sin


D2.
From The Future

 

Tracklist CD Japan:
01.
Chaos

02.
Neutral Life


03.
Why We Chose To Die In Berlin
(Mark Reeder’s Dying To Be Dancing Mix)

04.
Enter The Gap

05.
Copy Shop
(Mark Reeder’s Copycat Mix)

06.
Vampire lovers

07.
Frozen Song

08.
Turn Black
(Mark Reeder’s Back To Black Mix)

09.
From The Future

01.
The Loop Sin

01.
Chaos
(Takkyu Ishino’s Denki an Dis Remix)

01.
Choas
(A-Bee’s Tokyo FAQTORY Remix)

01.
Chaos
(Mark Reeder’s Downtown in Chinatown Remix)

 

Press Info:
Fragment is the new album by STOLEN. It is a mystical ride through Oriental time and space. Seriously psychedelic sci-fi themes are wrapped around post-punk rock, while the energetic, driving techno club sounds will keep you on your dancing feet. It will absorb you.

 

Listen:
@ Youtube Music

 

Videos:
“Chaos”

“Enter The Gap”

 

Recommendations:
album “Children Of Nature” by Alanas Chosnau & Mark Reeder on MFS

 

Buy Vinyl:
MFS Shop
Piccadilly Records
Amazon
more soon

 

Buy CD Japanese Edition:
MFS Shop
Amazon JP
HMV
more soon

 

Buy Digital:
iTunes
Amazon
more soon

 

Commercial Streaming Services:
Spotify
Youtube Music
Tidal
Deezer

 

Websites:
Stolen
MFS