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SCHIZOPHRENIA CREW (remark: later renamed to Antagonist Field) is proud to present a new EP from the Germany-based artist ‘Peryl’. Musical Universe between Industrial Techno & Electronic Body Music.
His EP is characterized by a unique, dark and mesmerizing atmosphere; something you’ll definitely find back. Peryl closes the gap between techno, post-punk & EBM. His obscure expression of music heralds in a postmodern chaos.
With “Lust”, the young and upcoming producer peryl is releasing his second ep on shizophrenia crew Peryl is impressively proving once again, that his musical developement did not stop.
The tracks “Du & Ich” and “Female Distance Control”, which are appearing in an very ebm-ish garment, will be massive first-class dancefloor-monsters. Oppressive kicks, electrifying synths and driving vocals are doing the rest.
With “Killing Routine”, the third track of this ep, mood is changing into an thrilling darkness, in which tension is nearly tangible.
“Soaked” rounds out the ep with subtle drones and is loaded with ambient tunes. This track will take you to a journey through feelings whose existence you did not even noticed until then.
“so wie die Dinge sind, erscheinen sie manchmal nicht”
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Spoiled Drama reemerges exhibiting their darker side on “This is Our Mission”, their debut on the label embodiment of Berlin’s Fleisch collective. The five track EP exhibits a unique range and dexterity, blurring lines between the realms of techno, EBM, acid and electro with a touch of maladjusted pop and post-punk. From the anxious beat and shimmering tones of “Another Death Experience” to the ritualistic war drums and heavily distorted vocals of “Kisses Are Out of Fashion”, expect to feel dizzied, unnerved, yet beckoned to move. The eponymous track closes out the EP in an undeniably Drexciyan fashion, low-pitched vocals emerging from watery depths in lush sweeping pads and dissonant melodies. A mission accomplished with style.
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The first single is the album’s central piece: Already Dark is distinctly post-industrial in composition, commenting in its seven minutes on our accelerating world of face recognition, big data, species extinction, mind hacks and human uploads. It is a psycho collage about a world, where everything seems to be simulated and programmed – digital capitalism, polar icecaps, hypertransparent individuals dazed by systems and total alienation by artificial intelligence. Already Dark an anti-utopian hymn for a posthuman transition into digital slavery. The mechanical beat pulsates and marches, complex acoustic and synthetic sounds melt into each other and shape this powerful but vulnerable construct which swells and swells – just till everything implodes in the peaks of a (post)brutal noise nirvana. In it´s eclectic and transformative artistic language Already Dark defines the main-coordinates of Bad Streams vision of future-facing songwriting and progressive sound design.
Press Info (English):
Swallowing air and farting it out, that’s the main life skill of the weatherfish. But what’s best about him is his evocative German name: Schlammpeitziger. When German electronic artist Jo Zimmermann launched his solo career in the early 1990s he chose to be identified with this creature living in the flat muddy waters of the European and Asian plains. Unlike the fish, Schlammpeitziger’s early reputation was built on his inventive use of cheap Casio synthesizers and composite nouns, such as Erdrauchharnschleck, Burgfensterrhythmuskuckloch, Freundlichbaracudamelodieliedgut, Spacerokkmountainrutschquartier or Augenwischwaldmoppgeflöte, to name but his first five albums. This here is his eleventh, and while Schlammpeitziger’s art has moved on, true to his nature it does contain some colourful references to farting.
As one of his many celebrity fans, Jan St. Werner of Mouse on Mars, knows all about the ins and outs of Schlampeitziger’s work:
When I first met Schlammpeitziger he shouted across the room: “Incredible, the young Andreas Dorau!” Was this strange man in possession of some extrasensory abilities of visual time radiation? Could he see things and beings that nobody else was able to detect? His congenial companion, Uli the Bear, pinched my cheek so as to convince himself that I was a real person. It must have been a sort of initiation ritual. I was x-rayed by two shamans of multiple association, and from that point onwards it all went off: Living, shouting, forest, dancing, music, without dogma or stage directions, a vibrating melancholy mythology that was entirely new to me was incessantly being extracted through filter sweeps and claps. French fries were as much a part of it as synthesizers, farts, earthworms, iPads, pubic hair and fish (by the way, Schlammpeitziger knows all of the domestic species by their full names).
In this forest of mysteries, his schematic, fastidiously executed drawings function as explanatory systems that are funny but at the same time complex and occult. They map out a non-physical world that is being triggered by events in the common world, but initially only takes shape in Schlammpeitziger’s perception by means of impressions buffered in Schlamm-RAM and decoded in quick succession using enormous flows of incoming and outgoing catalytic energy. From time to time, the world around him will experience these moments of transportation in an intense way. Schlammpeitziger will then declaim out loud abstract or explicit formulas that have been tapped from a parallel world to be disgorged into the here and now. Like his paintings, these formulas appear similar to seismographic studies: invisible vibrations are recorded and translated into new alphabets. Constellations of parallel worlds that bear names such as “Wuthaltebucht” or “Hydraulicmeistershalbtagstanz”, but which you can also simply behold and put up on your wall because in the end what Schlammpeitziger produces is proper art. Everybody should have at least two of his works at home because his art is the kind that will protect you from being constipated with reality.
In his search for inspiration Schlammpeitziger is the eternal pedant, following up the most inconspicuous leads to find different ways of making sense of reality. A magnetist’s curiosity drives this folklorist of the self deep into the thickets of the world. Where others get caught up in well-worn symbolisms or cling to new age rituals with their drones and flickering lights, Schlammpeitziger is taking it easy. He turns his toes inwards, rotates his hips and beams light signals up into the dark. Jo Zimmermann has the primal funk, a beat that can thread anything together. That certain clap, the short gaps between accents, not to mention the physicality of the bass taking care of the lower levels. In all of this, Schlampeitziger’s own movements are an invitation to join his parade of mysteries. When the train comes to a stop the doors open so wide that anyone who is present will come on board as if they were mesmerised. And once the train leaves the station, trees, earthworms, wild women and mirror balls alike will go into a mad spin as if they’d only just unleashed. Hydraulicmeistershalbtagstanz.
The fact that, following releases on Entenpfuhl, A-Musik, Sonig and Pingipung, Schlammpeitziger’s new album is coming out on another great German idiosyncratic label such as Bureau B should not be overlooked by historians. Asmus Tietchens, Monoton, Conrad Schnitzler, Harmonia, Neu!, Richard Wahnfried, Der Plan, Schlammpeitziger, it all goes together perfectly. For those looking for a future that doesn’t reach back into the past but is searching for access to engrossment, Schlammpeitziger’s radiation therapy of sound should be just the ticket.
Press Info (German):
Luft schlucken und sie wieder auszupupsen – das ist die Hauptbeschäftigung des gemeinen Schlammpeitziger. Als der Elektro-Künstler Jo Zimmermann seine Solokarriere in den frühen 1990ern startete, entschied er sich für diesen Namen – Schlammpeitziger, eine Kreatur, die in den schlammigen Gewässern des europäischen und asiatischen Flachlands vorkommt. Im Gegensatz zu dem Fisch begründet sich sein Ruf allerdings auf der innovativen Nutzung billiger Casio-Computer und zusammengesetzter Nomen wie zum Beispiel diesen: Erdrauchharnschleck, Burgfensterrhythmuskuckloch, Freundlichbaracudamelodieliedgut, Spacerokkmountainrutschquartier oder Augenwischwaldmoppgeflöte – um nur seine ersten fünf Alben zu nennen. Diese Platte nun ist seine elfte, und während Schlammpeitzigers Kunst sich weiterentwickelt hat, ist er sich doch auch treu geblieben, zum Beispiel in ein paar lebhaften Referenzen zum Pupsen.
Einer seiner vielen prominenten Freunde, Jan St. Werner von Mouse on Mars, über die Besonderheiten von Schlammpeitzigers Werk:
Als ich Schlammpeitziger zum ersten Mal traf, schrie er durchs Zimmer: “Unglaublich, der junge Andreas Dorau!”. Beherrschte der fremde Mann Zeitvisionsstrahlung, sah er Dinge und Wesen, die niemand anderer wahrnehmen konnte? Seine damals wie heute kongeniale Begleitung, Uli der Bär, kniff mir in die Wange, um sich vom Echtheitszustand meiner Person zu überzeugen. Es war wohl eine Art Initiationsritual. Ich wurde von zwei Kölner Multiassoziationsschamanen durchleuchtet. Ab da ging es los, leben, schreien, Wald, tanzen, Musik. Ohne Dogma, ohne Regieanweisungen. Mit Filtersweep und Clap wurde unaufhörlich aus einer für mich völlig neuen, schwingend melancholischen Mythologie geschöpft. Pommes kamen hier ebenso vor wie Synthesizer, Fürze, Regenwürmer, iPads, Schamhaare, Fische (Schlammpeitziger kennt übrigens alle Heimischen beim vollen Namen).
Seine schematischen, akribisch ausgearbeiteten Zeichnungen, fungieren in diesem Mysterienwald als Erklärsysteme, die lustig sind, aber genauso komplex und okkult. Sie kartographieren eine Welt des Unphysikalischen, die durch die Ereignisse der allgemeinen Welt gertriggert wird, sich aber erstmal nur in seiner Wahrnehmung abbildet. Eindrücke zwischengespeichert im Schlamm-ram und sukzessive ausgewertet, mit enormer katalytischer Energiezu- und abfuhr. Die Umwelt erlebt diese Transformationsmomente bisweilen intensiv mit. Schlammpeitziger gibt laute Formeln von sich, abstrakt oder explizit, die in der Nebenwelt gezapft und in der hiesigen Welt ausgespuckt werden. Wie seine Bilder, gleichen diese Formeln seismographischen Studien: unsichtbare Vibrationen werden aufgenommen und in neue Alphabete übersetzt. Parallelwellenkonstellationen, die Namen wie Wuthaltebucht oder Hydraulikmeistershalbtagstanz tragen, die man aber einfach auch anschauen und sich an die Wand hängen kann. Schlammpeitzger produziert nämlich richtige Kunst, von der jeder unbedingt ein bis zwei Exponate im Haus haben sollte, denn sie schützt vor Realitätsverstopfung.
Bei seinen Inspirationsrecherchen geht Schlammpeitziger stets pedantisch vor, mit detektivischem Ehrgeiz spürt er selbst unscheinbarsten Hinweisen auf eine andere Deutungsmöglichkeit der Wirklichkeit nach. Seine magnetistische Neugier treibt den Idiofolkloristen ins Dickicht der Welt. Wo sich Andere aber in abgekauten Symbolismen verheddern oder sich mit Dronemusik und Flackerlicht an esoterische Rituale klammern, bleibt Schlammpeitziger locker. Er dreht die Füße nach innen, läßt die Hüfte kreisen und beamt Leuchtsignale ins Dunkel. Jo Zimmermann hat ja nicht nur einen unglaublichen Afro, er hat auch den Urfunk, den Beat, auf den er alles auffädeln kann, den Clap, den kurzen Abstand zwischen den Akzenten, plus Körperbass für die tieferen Ebenen. Schlammpeitzigers Bewegungen sind dabei eine Einladung, in seine funky Mysterienparade mit einzusteigen. Wenn der Zug anhält, gehen die Türen so weit auf, dass jeder Anwesende wie hypnotisiert mit einsteigt. Und wenn der Zug losfährt, drehen sich Bäume, Regenwürmer, wilde Frauen und Discokugeln wie entfesselt mit. Hydraulikmeistershalbtagstanz.
Dass Schlammpeitzigers neues Album nun mit Bureau B, nach Entenpfuhl, A-Musik, Sonig und Pingipung auf einem weiteren grandiosen deutschen Idiosynkratenlabel erscheint, soll für die Historiker nicht unerwähnt bleiben. Asmus Tietchens, Monoton, Conrad Schnitzler, Harmonia, Neu, Richard Wahnfried, Der Plan, Schlammpeitziger, das alles passt sehr gut zusammen. Wer eine Zukunft ohne Rückgriff, sondern Zugriff auf Entrückung sucht, der liegt mit einer Schlammpeitziger Soundbestrahlung genau richtig.
Press Info:
Monnom Black is proud to present BODY MUSIC – the new album from legendary electronic artist,Thomas P. Heckmann!
Thomas P. Heckmann is a man who needs little introduction. The German producer has flexed his prowess across all shades of electronic music, but it’s his contributions to EBM-Techno, Acid, Industrial and Experimental that has earned him his notoriety, and it was in 1994 when he dropped an acid-tinged ‘Amphetamine’ as DRAX LTD. II that shot him into being recognised as a power to be reckoned with.
For the production of BODY MUSIC, Heckmann has utilised 30 years worth of acquired knowledge to create a hard-hitting album which bears all the grit Heckmann is renowned for. Harmonising analogue and digital wares to create an utterly immersive album over the course of 14 tracks.
Tracks such as Provide the Future, Bloody Vacant and Zeitmaschine are prime examples of how TPH can bring forth his charismatic productions into the contemporary techno climate, whilst sealing each track with his signature stamp. His vast knowledge of modular and analogue syntheses teamed with his ability to build tension proves optimal in BODY MUSIC’s storytelling. The album’s mission statement is simple: “Connecting the future with the past.” Tracks such as EBM3 start off where Thomas left off back in the early 2000s – sequels to EBM1 and EBM2.
The LP will be presented over three slabs of vinyl, with the album covering significant ground in techno, EBM, acid and electro (and many chasms in between). BODY MUSIC is a prime example of why TPH has remained so in demand and relevant over the years – and now more than ever Body Music will be made available on Triple Vinyl, CD & Digital. A 3-track EP album teaser will be released in February 2018, and will be followed by the full triple LP in March 2018.
