Tracklist: 01) Pleasure In Heaven (Drumcell Remix)
02) Pleasure In Heaven (Xhin Remix)
03) Pleasure In Heaven
Tracks 3 is digital-only.
Info:
Another limited edition picture disc with brand new remixes of the latest MOTOR single, taken from their recent milestone album “Man Made Machine” is coming out on CLRX. The featured vocalist on this fourth edition of the series is none other than Gary Numan, a true legend and another undisputed electronic music pioneer. He is equally known for his chart-topping hits in the 70s and 80s as for his signature sound of heavy synthesizer hooks and massively processed guitars who inspired countless acclaimed musicians of our time. MOTOR feat. Gary Numan “Pleasure In Heaven” is an encounter of two generations of gifted electronic musicians and could be considered a little piece of electronic music history itself.
For this challenging task the Singaporean dj/producer Xhin and the South Californian Drumcell, two cutting edge techno artists have been called on the remix duties and have delivered highly powerful and thrilling versions of this song. While Xhin uses Gary Numan’s vocals predominantly as atmospheric elements, enriching and enchanting the deep and driving track, Drumcell’s mix is almost like an alternative full vocal mix with a slow and mesmerizing yet raw and uncompromising approach.
Supremely honoring the innovative techno roots of MOTOR, both versions show a lot of the artist’s outstanding production skills and complement one another perfectly in their dissimilarity. Apart from the strictly limited collector’s item picture discs, CLRX4 is also available as digital downloads in all the popular online shops.
Listen:
Unofficial Video:
“Pleasure In Heaven (Original Mix)”
Info:
To celebrate the 30th release from leading independent UK Bass label, WIDE Records, we are very proud to present the latest offering from Debasser. This release follows on from other sub heavy classics such as “The Texas Bass Line Massacre”, “The Tingler”, “Quite Erotic” as well as the classics “Fat Girls” and the original UK Bass anthem, “Dark Smile”. Having made his way into the record boxes of some of the greatest DJs around, including the likes of Richie Hawtin, Dave Clarke and Andrew Weatherall, Debasser is back with yet another masterful blend of woofer shaking sounds to satisfy ya’ll below the belt.! !
Debasser original came to light back in 2002 with the critically acclaimed “Fat Girls” on Novamute, still to this day the track remains a favourite of Richie Hawtin and has featured in his current international EXIT playlist. The follow up track, “Dark Smile” was met with similar acclaim and credit and put Debasser well and truly at the top of his game. His output has continued on a number of labels around the globe including Seed, Balkan and Input-Output as well as his own WIDE Records, each time approaching music production with his unique twist of bass drunk and treble high. This along with his infamous live shows has gained him much respect within the electronic dance scene and crowned him the king of UK Bass. Described by journalists as “genre busting” and “approaching genius point”, Debasser has never rested on one specific sound but continued to move and developed however he sees fit so long as the lows keep rolling and the vibe keeps party. ! !
Captain Bass is the follow up to The Texas Bassline Massacre and sees Debasser treating his bass more like a comic book and less like a slasher movie, stepping away from the saw-wave-tastic indulgence of past and onto more of a beer swigging super hero dance floor filler. The release features along side remixes by Posthuman and Paul Blackford, both creating dance floor genius in their own inevitable style. The only question remaining is….just WHO IS Captain Bass?!
Actually the tracks are named “AÑA On The Basswalk”, “Henning Baer On The Basswalk” etc …
Info:
No one knows exactly how, or why it happened. We can only postulate. Perhaps it was rogue hydrogen atoms causing havoc again, or a particularly voracious wave of EM radiation hell bent on finding a good time. The point is, (in those days) such lude behavior was simply unacceptable: AÑA had become excited, too much so for the solar stiffs that swirled about her. And that System of hers—always buzzing around, refusing to share anything—it had to go. So both were exiled from that collision patch they called home, leaving AÑA and her System to wander the cosmos.
Some years passed. AÑA grew a little, but mostly she practiced her Basswalk—not this girly swooshy thing with your hips, but a real bolshy bovver boot stomp. After a while she got pretty good at it, she wanted to show her friends. Maybe they’d like to Basswalk too. Well, they couldn’t get enough of it—but no one did it quite like AÑA. Henning Baer’s had a bit more groove to it and this whole new tweaky hat element. Norman Nodge kept his pretty punchy, but all that time spent in Berghain had turned his Basswalk into a bit of a skulk. As for Musk, the boys inverted the whole thing of course—turned a disco trick, shifting the march down into more of a slinky house glide.
AÑA liked them all so much—and it was time Isolated System stopped being such a separatist—she decided to gather them all together to make Basswalker Part I. Now you can Basswalk too.
Press Info:
Finally, here comes the next special goody on Müller Records!
After Hawkinson published his first longplayer on this Berlin cult label, now in addition there comes 3 fantastic ‘KLAF’ remixes, all of them in quality beyond competition.
Massive, crystal-clear, rolling and very deep floor bombs who could not be more diverse.
But that’s also no wonder because he was able to join as Remixers with none the less than Funk D’Void, Bill Youngman & Steinmüller. After reading these names you don’t have to be a genius to know that together they combine a maximum of creativity and musicianship. Well, a production of extremely phat remixes, actually that needs no further comment.
Press Info (English):
While the Western world celebrates Jean-Jacques Rousseau’s 300th anniversary, Gudrun Gut, too, appears to be drawn “back to nature”. Yet what a misapprehension that would be. Although nature plays a major role on Gudrun Gut’s first album release since her outings with the Greie Gut Fraktion in 2009, “Wildlife” does not portray nature as a cosy ur-idyll, but rather as a realm filled with rough tenderness and its very own dangers. Nature is where the unforeseen might happen and new sights are set on the in- and exterior. In this spirit, “Wildlife” is no gesture of severance (“Okay, I’m off to the countryside!”), but rather one of biographical continuity via new means. After all, Gudrun Gut – in her guise as Berlin post punk activist, label owner, radio presenter or party promoter – has always been interested in gaps, niches and risky locations. Now, nature itself provides such a small and utopian niche; a place where “it” might happen in a very existential sense.
All of the album’s tracks took shape in Gudrun Gut’s Uckermark hideaway, an hour or two away from Berlin. During production, in autumn and winter, this landscape exudes an almost eerie calm, suggesting that the outside world’s hectic universe of data and projects is no more than a figment of our collective imagination. Gudrun Gut took this silence in her stride – it did not make her nervous, but free, focused and productive. The Uckermark’s woods, fields and meadows foster a unique sense of immersion (see cover), one that becomes tangible in Gut’s vocal performance: As if she was circling an empty centre, as if she grew apart from her being only to rediscover herself, Gut sings about those ephemeral states between enchantment and reverie.
At the same time, she is aware that beauty may be accompanied by emptiness and that even the most luscious garden may soon have to wither away. Far removed from hippiesque humanism, Gut’s natural states are much closer in spirit to the cool knowledge of punk and its successors: Her cover portrait, splashed across the recent new edition of the punk/new wave oral history “Verschwende deine Jugend” (Waste your youth), explicitly references this rich prehistory.
Gut’s music follows a similarly unrushed path; it is allowed to grow and ramify in its own time until it reaches the opulent abundance referenced in the haunting lyrics of the album’s 12” outtake “Garten”. With the sangfroid and serenity of three decades of active music experience, between completely ingenious and utter dilettante, Gut now ventures into a lavishly proliferating world of sounds and references. While the opener “Protecting My Wildlife” confronts us with jarring post techno minimalism, “Garten” soothes the ear with its charmingly shuffling electric romance. Soon enough, however, well-trodden paths are left behind: Gut’s reworking of “Simply The Best” turns this hackneyed mega hit into a staggering love ballad; a streaky guitar adds further distortion. “How Can I Move” seems to hide a trace of Armand van Helden in the underbrush; “Mond” flirts with subtle Detroit techno allusions. The distinctly dark “Tiger”, on the other hand, truly does sound like a veritable tiger leap into the past: Here, Gudrun Gut apparently digs below her own feet. Similarly free of nostalgia, “Erinnerung” looks back to the past with a string of words created in a lyrical back-and-forth ping-pong match between Gut and author Annika Reich; words that deal with ageing, among other things. We were all there at the time – but why do we all tell a different story? It is these biographical nuances that stand out when compared with Gut’s last solo album “I Put A Record On” from 2007. All tracks were mixed together with Jörg Burger at two studios in the East and West.
Time and again, the album exudes a lascivious and demanding intimacy that comes into its own on the fantastic “Frei Sein”. Here, the track turns a nursery rhyme’s playful naivety into an idiosyncratic anthem with African-inspired rhythms and a clicking animist ambient sound. “Frei Sein”, i. e. being free, is what Gudrun Gut is all about. To her, freedom goes far beyond the artistic realm. Like this album, it is the utmost promise “full of kisses” and “full of joy”. With only the odd bee sting to bring us back down to earth.
Aram Lintzel
Press Info (German):
Die westliche Welt feiert Jean-Jacques Rousseaus 300. Geburtstag und auch Gudrun Gut scheint sich „zurück zur Natur“ zu sehnen. Was für ein Missverständnis das doch wäre. Auf „Wildlife“, Gudrun Guts erstem Album seit den Veröffentlichungen mit Greie Gut Fraktion 2009, ist Natur zwar ein großes Thema, aber eben nicht als behagliche Uridylle, sondern als Welt rauer Zärtlichkeiten und eigener Gefahren. Natur ist der Ort, wo Unvorhergesehenes geschehen kann und neue Blicke nach innen und außen gerichtet werden. Es geht also nicht um eine Geste des Bruchs („Leute, ich zieh aufs Land!“), sondern im Gegenteil um biografische Kontinuität mit neuen Mitteln. Denn schon als Berliner Post Punk-Aktivistin, Label-Macherin, Radio-Moderatorin oder Party-Organisatorin war und ist Gudrun Gut immer an Lücken, Freiräumen und gefährlichen Orten interessiert. Die Natur kann so eine kleine utopische Nische sein, ein Ort, wo ‚es’ passieren kann, in einem ganz existenziellen Sinn.
Die Stücke des Albums sind in Gudrun Guts hydeaway in der Uckermark entstanden. Während der Produktionsphase in Herbst und Winter herrschte dort eine gespenstische Ruhe, bei der das Gefühl entstehen konnte, dass es das hektische Universum der Daten und Projekte da draußen gar nicht gibt. Die Stille hat Gudrun Gut offenbar nicht nervös, sondern frei, konzentriert und produktiv gemacht. Dass die Wälder, Felder und Wiesen der Uckermark eine ganz besondere Form der Selbst-Versenkung ermöglichen (siehe das Cover), merkt man schon daran, wie Gut ihre Texte vorträgt: Als kreise sie um eine leere Mitte, als werde sie sich selbst fremd und entdecke sich dabei neu, singt Gut von Zuständen zwischen Entrückung und Verzückung. Doch weiß sie immer, dass wo Schönheit ist, Leere sein darf, selbst der üppigste innere Garten kann manchmal verdorren. Mit kitschigem Hippie-Humanismus haben Guts Naturzustände jedenfalls nichts zu tun, viel eher mit dem coolen Wissen von Punk ff.. Das Gudrun Gut-Foto auf dem Cover der kürzlich erschienenen Neufassung der Punk/New Wave-Oral History „Verschwende deine Jugend“ erinnert ausdrücklich an die reiche Vorgeschichte.
Auch musikalisch wird nichts überstürzt, alles darf in Ruhe wachsen und im Überfluss vorhanden sein. Der Text der Maxi-Auskopplung „Garten“ berichtet eindringlich davon. Mit der Gelassenheit aus über 30 Jahren aktiver Musikerfahrung zwischen obergenial und dilettantisch hat sich Gut in eine verschwenderisch wuchernde Klang- und Referenzwelt gewagt. Der Opener „Protecting My Wildlife“ konfrontiert uns mit einem schepprigen Post-Techno-Minimalismus, „Garten“ ist eine charmant shuffelnde Elektronik-Romanze. Schon bald werden die bekannten Pfade verlassen, die Bearbeitung von „Simply The Best“ macht den abgenutzten Megahit zu einer taumelnden Liebes-Ballade, die verschlierte Gitarre sorgt für zusätzliche Verfremdungseffekte. Bei „How Can I Move“ meint man, Armand van Helden im Unterholz zu vernehmen, in „Mond“ leise Detroit Techno-Anspielungen. Wie ein buchstäblicher Tigersprung in die Vergangenheit klingt das düstere „Tiger“, Gudrun Gut gräbt hier unter ihren eigenen Füßen, so scheint es. Unnostalgisch zurück blickt auch das Stück „Erinnerung“, dessen philosophischer Text im Ping Pong-Verfahren mit der Schriftstellerin Annika Reich entstanden ist. Das Thema hat nicht zuletzt mit dem Älterwerden zu tun. Wir waren alle dabei – aber warum erzählt jeder etwas anderes von damals? Es sind solche biografischen Zwischentöne, die im Vergleich zu Guts letztem Soloalbum „I Put A Record On“ (2007) auffallen. Kongenial abgemischt wurden die Tracks gemeinsam mit Jörg Burger an verschiedenen Orten in Ost und West.
Und immer wieder ist da diese laszive und zugleich fordernde Intimität, die in dem großartigen „Frei Sein“ zu sich selbst kommt. Aus der verspielten Naivität eines Kinderliedes verwandelt sich der Track in eine spleenige Hymne mit afrikanisch anmutender Rhythmik und einem animistisch klackenden Raumklang. Überhaupt „Frei Sein“, darum geht es Gudrun Gut zuletzt immer. Die Freiheit, die sie meint, ist natürlich viel mehr als eine allein künstlerische. Sie ist wie dieses Album ein maximales Versprechen „voller Küsse“ und „voller Glück“. Nur dann und wann stechen uns die Bienen.
