Release Date:
03rd September 2012 (vinyl)
17th September 2012 (digital)
Format:
limited color 12", 12" & digital
Tracklist: 01)
Future Acid
02)
R-Byte
03)
Mem
Info:
KILLEKILL 009 comes from ALEX CORTEX again. A techno personality that shouldn’t need no introduction.
We are happy and proud to release some of his vintage material recorded in the years 1998-2000, raw and substantial.
With FUTURE ACID the A-Side features a bomb acid track recorded live at the legendary HD800 club in Mannheim, which displays the raw power of Alex’ live sets.
The B-Side features R-BYTE, a minimalistic Chicago-style stomper and MEM, a hood-like abstract and minimalistic techno piece.
KILLEKILL is a Berlin based record label and a crew promoting music events since 2008. The events at Berghain Kantine, Suicide Circus and Horst Krzbrg are focussing techno, house and electro – often with an experimental twist. A wide range of artists such as ABE DUQUE, SANDWELL DISTRICT, TIM EXILE, OTTO VON SCHIRACH, CRISTIAN VOGEL and many, many more have played for KILLEKILL nights.
The KILLEKILL label is being approached the same way as the events: challenging music of daring artists – with a focus on techno, house and electro but with an open ear for sounds off the beaten track. Releasing artists so far have been ALEX CORTEX, BAD COP BAD COP, BILL YOUNGMAN, SNUFF CREW, NEIL LANDSTRUMM and CASSEGRAIN & TIN MAN.
Info:
ADMX-71 is the conceptual downtempo electronic music project of well known NYC techno/industrial artist Adam X also known as Traversable Wormhole.
The first album of ADMX-71 was entitled “Luminous Vapors”, released 2009 on the legendary German industrial and experimental cult label Hands Records. After a hiatus the project returns with the latest full length endeavor entitled “Second System”. Available on CD & Limited Hand Stamped 2X12″ vinyl on the newly reactivated Sonic Groove Experiments imprint.
Below the streets of New York City lies the largest network of subway lines in the world. It is a massive system, with the longest line running 31 miles. The majority of the system was built in the first three decades of the 20th century. During this time many areas in New York City were yet to be developed. As construction on the system slowed down in the late 1930s, the building of new homes and businesses in the underdeveloped areas continued to grow on a fast pace. Up until now many of these neighborhoods have been left completely void of any near distant subway service. Already in the late 1920s city planners recognized the dire need to set up mass transportation, City engineers laid out a massive proposal to create a “Second System” of subway lines which would connect the neighborhoods through the already pre-existing first built system. The proposal called for the development of 200 miles( =312 km) of new tunnels and elevated train lines spreading across the entire city. During the construction of the first part of the subway system, engineers already thought ahead about “Future Expansion” and built “Provisions” into it. Such provisions were uncompleted tunnels, “Shell Stations” like the “South 4st Connection” and other unfinished constructed oddities which added more flexibility in future planning.
As building the First System was still ongoing, America was pulled into World War II. This halted all construction plans. The connections of the lSecond System became nothing more than “Elevated Dreams”. When the war ended five years later city planners changed their course of direction. They decided that building an automobile infrastructure was more important for the City of New York than one for urban mass transportation. Thus, most of the “Second System” would become nothing more then a mapped out idea. The majority of the plan ceased to be built. Leaving already built provisions as nothing more then wasted unused space.
In the mid to late 1980s ADMX-71 was a mischievous youth who liked going into the subterranean world of the New York City subway system to paint his name across subway cars. Often on these tunnel dwelling missions he would come upon parts of the “Second System” unsure of what purpose it served. He would ask himself and/or friends: “Why would this tunnel turn to a dead-end? Why is there an abandoned subway station underneath a pre-existing station that has no logical connection? …”
Many years later his questions would be answered as he came upon information about the plans of the “Second System” He was completely fascinated by discovering this failed massive construction project. Often contemplating during his journey by subway how different the system would be if it had been constructed.
Inspired by his youthful tunnel explorations and his discovery, ADMX-71 takes his lasting visual impressions and translates them into an audio montage.
Rhythmic noise of subway cars resonating around a curve next to a “Bell Mouth”. While the train passes a compressed whoosh of air reverberates through the tunnel as the traffic light mechanism turns to red. A human element of sound appears inside “The Winfield Spur” as faint voices echo from the active station nearby. Somewhere in the dark above other urban city life noises emanate through ventilation gratings. Natural ambience takes hold in the “Uncompleted Remnants” as water flows openly through a drainage ditch like a small running brook in the countryside forest. While searching for “The Mystery at 76st” a train sits idle in the dark for its over night sleep. Its motorized compressors randomly discharging air drones through the tunnel.
ADMX-71 takes inspiration from these visual and audio elements and connects the dots to those lines that never been built.
10) The Nighttripper
Tone Explotation (Planetary Assault Systems Remix)
11) Charlton
Black Slong
12) Architectural
Looking Ahead
13) Mark Broom
Vault 5
14) Ctrls
Socket
15) Chancellor
Roundabouts
16) Tim Taylor & DJ Slip
New York Minds
17) El Gato #9
Coefficient Of Friction (Monty Luke Back Catalogue Remix)
18) Radioactive Man
Nastyradio
19) Xosar
Rainy Day Juno Jam (Legowelt Remix)
Tracks 01, 04 and 13 are previously unreleased.
Info (English):
Berghain resident Norman Nodge presents the sixth installment in the club’s mix series. Since 2005 Norman has played the Berghain floor once a month and has become an integral part of the Berghain crew. In the meantime he has produced several releases under his own name on Marcel Dettmann’s MDR Label and on Ostgut Ton.
As a DJ he combines classic Detroit and UK techno with Chicago house and a lot of new material, never afraid to go for the more unusual sounds, away from current trends and always putting a mixture of softer and harder styles into one set.
Norman knows how to create a journey and so it’s not surprising that his Mix for Ostgut Ton is also built from many different elements. Classic Tracks like Jeff Mills’ “Keeping Of The Kept” feature alongside the work of younger producers like Patrick Gräser. His “From Foreign Territories” is one of three exclusive unreleased tracks on this mix. Nodge also remembers that established artists like Keith Tenniswood as Radioactive Man are still producing powerful music today and includes a few recent tracks from such well established names.
Showing that his palette of taste goes far beyond what you might expect to be the typical Berghain sound, much lighter tracks like Legowelt’s remix of the incredible “Rainy Day Juno Jam” by Xosar are also included. With probably the most varied tracklisting for a Berghain Mix CD yet, Norman Nodge is convincing us with his courage to try new combinations.
The Mix starts off mellow with Birds Two Cage, who’s behind this moniker stays secret, the exclusive track, “Gase”, enters with warm ambient washes and is followed by a percussive shakedown from Oni Ayhun, taken from his second release on OAR. Redshape has become a regularly booked visitor at Berghain/Panorama Bar, his live sets there are always impressive and his remix for Mokira is a welcome mood settler before the mix really kicks in with Patrick Gräser’s exclusive track. The Hauntologists and Staffan Linzatti continue as the pressure rises, until it reaches peak-time atmosphere when the Jeff Mills track is launched into the mix.
What follows is a Berghain set that is dark but jacking, punishing beats are interlaced with grooves to move your body, Silent Servant, DJ T-1000, a Planetary Assault Systems remix for The Nighttripper and the Charlton track are all excellent picks, perfect for Norman Nodges DJ-style. Architectural’s “Looking Ahead” moves the mix into a different direction that is rich in dark atmosphere and simply penetrating. The left of centre attitude is continued with Mark Broom’s exclusive track “Vault 5”, continuously pushing until Ctrls and Chancellor allow us to freak out. After such a work out maybe a hint of rap vocals is the only logical way to go and so Tim Taylor & DJ Slip are called upon to fulfill their duties to powerful effect. Not satisfied to leave it at that, Nodge moves on into more playful and tripping territories, El Gato #9 picks us up as the ground slips from under our feet and in mid-flight Radioactive Man takes control and reconnects with the blissful start of Norman’s mix. Xosar then is that little bit of something extra and beautiful that we have come to expect from Nodge.
All in all the Mix, which was recorded live at Berghain, is a perfect reflection of the Norman Nodge way of djing and also a document of what you can expect to hear from a resident at the club.
Info (German):
Berghain-Resident-DJ Norman Nodge präsentiert die sechste Mix-CD in der Serie. Seit 2005 bespielt Norman Nodge monatlich den Berghain-Floor und ist zu einem wichtigen Bestandteil der Crew geworden.
Mit eigenen Veröffentlichungen auf Marcel Dettmanns MDR-Label und auf Ostgut Ton pendelt er zwischen zeitlosem Techno-Funk und waghalsigen Abstraktionen und konnte sich so als Produzent mit eigener Handschrift empfehlen.
Als DJ kombiniert er klassischen Detroit- und UK-Techno mit Chicago-House und viel neuem Material, gerne auch eher ungewöhnliche Sounds, die sich nicht an angesagten Stilrichtungen orientieren. Das Konzept von “Zuckerbrot und Peitsche” ist ihm dabei auch nicht unbekannt. Im Mix dieser CD treffen Klassiker wie Jeff Mills’ “Keeping Of The Kept” auf aktuelle Sounds, wie zum Beispiel Patrick Gräsers “From Foreign Territories”, einer von drei bisher unveröffentlichten Exklusiv-Tracks auf der CD.
Nodge setzt voll auf Vielseitigkeit, so stehen zum Beispiel experimentellere Tracks wie Legowelt’s Remix des wundervollen “Rainy Day Juno Jam” von Xosar neben neuen Tracks von bekannten Techno-Größen, wie Keith Tenniswood, der als Radioactive Man den Track “Nastyradio” beisteuert. Mit dem bisher wahrscheinlich breitesten Spektrum an Stilen auf einer Berghain Mix-CD überzeugt Norman Nodge mit seinem Mut zu neuen Kombinationen.
Der Mix beginnt sanft mit dem Exklusiv-Track “Gase” von Birds Two Cage. Es bleibt im Dunkeln, wer sich hinter diesem Pseudonym verbirgt, so dass die Musik ganz allein für sich sprechen kann. Dieser weichen Ambientdecke folgt Oni Ayhuns hyperaktiver Percussion-Track von seiner zweiten EP auf OAR. Redshape, der im Berghain/Panorama Bar längst zu den öfter gebuchten Gästen zählt und dort eine Vielzahl exzellenter Livesets gespielt hat, verstärkt anschließend das Gefühl konzentrierter Ruhe zu Beginn der CD mit seinem Remix für Mokira, bevor Patrick Gräser mit seinem Exklusiv-Track den Mix entschieden forciert. Es folgen The Hauntologists und Staffan Linzatti, die den Druck aufnehmen und steigern, bis mit dem Jeff-Mills-Track Peak-Time-Energie erreicht wird.
Was folgt ist dunkler, spannungsgeladener Techno und zwingende Grooves: Silent Servant, DJ T-1000, ein Planetary Assault Systems Remix für The Nighttripper und Charlton repräsentieren allesamt exzellent,worum es Nodge beim Techno hauptsächlich geht. Architecturals “Looking Ahead” schlägt dann eine andere Richtung ein. Es wird atmosphärischer und Mark Brooms Exklusiv-Track treibt die abseitige Stimmung weiter, die im Anschluss durch Ctrls und Chancellor “à la Techno” ihre Klimax erreicht. Nach so einem Workout erscheint die Andeutung von Rap-Vocals gar nicht so abwegig und Tim Taylor & DJ Slip liefern mit ihrem slammenden Track genau das.
Bevor es langsam dem Ende der CD zugeht, schlägt Norman einen weiteren stilistischen Haken und wendet den Mix ins Verspielt-trippige. Bei El Gato #9 verlieren wir langsam den Boden unter unseren Füßen, Radioactive Man fängt uns aus freiem Fall, übernimmt die Kontrolle und schlägt eine Brücke zum entspannten Anfang der CD. Als letztes i-Tüpfelchen dann gibt es noch den wundervollen, im besten Sinne eigenartigen Track von Xosar im Legowelt Mix – genau das gewisse Etwas, mit dem Norman seine Sets immer wieder zu etwas Besonderen macht.
Dieser Mix – live im Berghain aufgenommen – spiegelt Norman Nodges DJ-Verständnis perfekt wieder und gewinnt Techno darüberhinaus überraschende Facetten ab. Gleichzeitig ist er ein vielseitiges Dokument dessen, was von einem Resident des Clubs erwartet werden darf.
Mute will release 4 remastered Plastikman albums at the beginning of September.
Richie Hawtin aka Plastikman is today—superstar DJ, mastermind of the Minus label, entrepreneur, technological innovator and techno pioneer.
Mute was founded by Daniel Miller in 1978, and since then has signed and developed some of the world’s most influential recording artists – including Depeche Mode, Nick Cave & The Bad Seeds, Yazoo, Goldfrapp, Erasure, Moby and Richard Hawley – and become home to a crop of emerging talent and recent signings such as Josh T. Pearson, Big Deal, Beth Jeans Houghton and S.C.U.M. Whilst maintaining a firmly eclectic roster, from the earliest days of The Normal, Fad Gadget and DAF through to the techno era with artists such as Plastikman / Richie Hawtin and Speedy J, and to the present day with hybrid electronic artists such as Yeasayer and S.C.U.M, the label has always been a champion of electronic music. Mute also looks after a catalogue of seminal electronic artists such as Can and Cabaret Voltaire.
