Press Info:
CRISTIAN VOGEL (tresor/nu future…) returns with his 14th studio album THE INERTIALS in june on Berlins Shitkatapult Label. Simultanously Shitkatapult releases a 12” vinyl featuring two club tracks (ENTER THE TUB, LUCKY CONNOR) from the album plus 2 unreleased bonus tracks (DECONSTRUCTIONS, VOIDSTER) to feed and please and beware the club tradition of this outstanding producer. As usual Vogel delivers high end sound and productions of great efficiency, dark poems from the high end. Besides the usual actual and hyped stuff these tracks re-new Cristian Vogel´s art of noize and beat. Cold beauty of clear music.
Release Date:
21th May 2012 (vinyl)
04th June 2012 (digital)
Format:
12" & digital
Tracklist: 01)
Carnal
02)
Visitor
03)
Sear
04)
Rest
Info:
For our next release, we have a very special cooperation to show off with: CASSEGRAIN & TIN MAN !
CASSEGRAIN are Greek-British producer Alex Tsiridis and Berlin/Vienna based composer and producer Hüseyin Evirgen. With a well developped sensitiveness the duo designs futuristic and dark techno soundscapes with a strong experimental touch.
TIN MAN is another outstanding artist and the second half of this collaboration. With his releases on Cheap Records, Global A and the Sähkö-sub label Keys of Life he proved well, how easily he can switch between strong classic acid and abstract, postmodern songwriting.
The tracks that resulted from this very special collaboration, are exactly what you might expect: An ideal and unique combination of modern dark techno as it comes from labels such as prologue or stroboscopic artefacts and classic acid. Some of them aim directly at the dancefloor, some come along rather dreamy and spaced out.
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.
Press Info:
Mote030 is the second remix package to reinterpret Planetary Assault Systems’ seminal record ‘Function 4’. Originally released on the influential Peacefrog label in 2000, Luke Slater now hosts ‘Function 4’ on his Mote-Evolver imprint and invites three of the finest minds in electronic music to tease the original apart and reconfigure it anew: Lucy, Marcel Dettmann and Shifted.
Lucy opens the record with a structural re-imagination of ‘Function 4’ where the beats become broken and the layers dense. Amid hisses and snarls Lucy skilfully reweights the elements and splinters the vocal, giving rise to a stunning, hypnotic atmosphere.
Marcel Dettmann, who appeared on the first episode of the remix package, is back with a new agenda. His ‘Base Dub Remix’ revels in swung beats, taking the material and submerging it into a space that is deep and aqueous, with euphoric results.
In Shifted’s hands ‘Function 4’ becomes galvanised. Shifted takes it hard, ratcheting the pace up-a-gear and accelerating into industrial terrain. Persistent and pernicious, this track sounds less like it was made by human hands and more like the product of a complex industrial process.
The record closes with Lucy once again rethinking ‘Function 4’. He mines the twisted beats of the original and moves them into hybrid dub territory. And in spite of the pounding bass line, the track manages to reach out into the realms of ecstatic ambience.
This package sees Lucy, Marcel Dettmann and Shifted highlighting the disparate facets of ‘Function 4’. The EP contains industrial, broken beat, dub and ambient elements; a multiplicity of ideas to move not just the body but also to provoke the mind.
Press Info (English):
Compiled by one of Panorama Bar’s key residents Nick Höppner, the 12-Inch sampler for “Panorama Bar 04” mix CD perfectly illustrates both the club’s sound and Höppner’s DJ style. All four previously unreleased exclusive tracks are stand out productions selected by Nick Höppner: Canadian ex-pat The Mole immediately sets the groove with the funky bassline of “Hippy Speedball”. The track combines a classic deepness with upfront experimental percussion. Steffi’s Klakson collaborator Dexter turns up the bass drum and melodies on “X7D” for an uplifting detroitish house cut straight out of the Netherlands. Englishman Matthew Styles adds some deep techno feelings to the 12” with his production “Liquid Sky”. He combines a dubbed out sound with a vocal sample that keeps it well within the house mood of the EP. The Jon McMillion track “T-Station”, which also opens Nick Höppner’s “Panorama Bar 04” mix CD, takes it even deeper; a new kind of a smooth roller with half whispered male vocals, a killer distorted synthline and – unexpectedly – some people screaming at each other somewhere in the background near the end of the track. McMillion puts Seattle firmly on the map, topping off a perfectly varied mini sampler.
Press Info (German):
Zusammengestellt von Panorama Bar Resident Nick Höppner, repräsentiert der 12-Inch Sampler für die “Panorama Bar 04” Mix CD zum Einen den typischen Panorama Bar Sound, zum Anderen aber auch Höppners ganz eigenen DJ-Stil. Alle vier vorher unveröffentlichten Exklusiv-Tracks wurden von Nick für die Mix-CD ausgesucht: Der in Berlin lebende Kanadier The Mole rollt mit “Hippy Speedball” zu Beginn einen unwiderstehlichen Groove mit einer funky Bassline aus. Der Track kombiniert eine klassische Deepness mit experimenteller Percussion. Steffis Klakson-Kollege Dexter schraubt auf “X7D” die Bass Drum und Melodien hoch und liefert einen upliftenden House-Cut inclusive Detroit-Reminiszenzen direkt aus den Niederlanden. Der Engländer Matthew Styles steuert der 12” im Anschluss eine eher deepe Techno-Note bei. Dabei jubelt er seinem Dubtechno-Sound noch ein paar Vocal-Samples unter, so daß sich “Liquid Sky” elegant in die House-Vibes der EP einfügt. Der Jon McMillion Track “T-Station”, der auch Nick Höppners “Panorama Bar 04” Mix-CD eröffnet, legt sich selbst nochmal etwas tiefer und kommt smooth aber unkonventionell mit einem halb geflüsterten Vocal und einer verzerrten Synthline auf den Punkt. McMillion zeigt, was Seattle zu bieten hat und rundet diesen abwechslungsreichen Mini-Sampler perfekt ab.
Content USB stick: 01)
Full 84 minute stereo soundtrack – choice of 24bit wav, 16bit Apple Lossless, FLAC or 320 kbps mp3
02)
3 x ‘A Strange Hour 2′ reconstructions – stereo audio – choice of 24bit wav, 16bit Apple Lossless, FLAC or 320 kbps mp3
03)
Extended trailer for ‘A Strange Hour In Budapest’ – approx 5 minutes : 1080p HD mp4
04)
24 page Blu-ray Art booklet including additional spreads – PDF format
05)
Over 100 x high res Recoil live photographs and film stills
06)
Project wallpapers for smartphone, iPad and computer screen
Info:
On June 1st, in conjunction with Umatik Entertainment, Recoil will release the concert film ‘A Strange Hour In Budapest’ on Blu-ray. This is a full HD production with 5.1 surround sound & stereo audio mixed by Alan Wilder and Paul Kendall.
‘A Strange Hour’ was presented during 2010 & 2011 in 52 cities across the world as part of the ‘Selected Events’ tour to celebrate 25 years of the Recoil project.
Directed and edited by Attila Herkó, ‘A Strange Hour In Budapest’ will be delivered as a Blu-ray only format, presented in two editions: a ‘Red edition’ black case with twin-option reversible cover, and a limited DVD-sized deluxe digi-pack. Each contains a 16-page booklet packed with information & photo manipulations by Ákos Szénási. With the first 1000 copies individually numbered, both editions feature extra promotional films & live projections.
Pre-order NOW via the Recoil Official Store (http://www.store.recoil.co.uk). All on-line orders are dispatched with an exclusive code to receive downloadable extras such as a PDF art booklet with extra spreads, a soundtrack sampler, Recoil ‘live’ photographs and project wallpapers.
Following endless requests to release the stand-alone soundtrack for ‘A Strange Hour In Budapest’, also available is a special edition Recoil USB stick which has been custom-designed with 8 gigabytes of memory and has assets pre-loaded. The stick is finished in stainless steel with Recoil’s Blu-ray catalogue number printed along the edge and comes in a white magnetic seal box.
Alan Wilder’s years in the music industry have seen him go from studio assistant to session keyboard player, but it was his 14 years as a member of Depeche Mode where he really honed his skills. With his attention to detail in the studio, Wilder pushed the boundaries even within the restrictive climate of commercial pop. As an antidote to the demands of the Mode, his studio project Recoil was born in the mid-eighties. Two albums were released: ‘Hydrology’ (1988) and ‘Bloodline’ (1990) both giving an indication of his expanding horizons. After his departure from Depeche Mode in 1995, Wilder resurrected Recoil full-time and has since released ‘Unsound Methods’ (1997), ‘Liquid’ (2000) ‘subHuman’ (2007) and ‘Selected’ (2010).
During his Recoil tenure, Wilder has worked with a varied selection of vocalists including Diamanda Galás, Joe Richardson, Douglas McCarthy (Nitzer Ebb), Nicole Blackman, Samantha Coerbell, Toni Halliday (Curve), Maggie Estep, and more recently Shara Worden and Linton Kwesi Johnson.
Says Alan: “The idea to take Recoil out on the road evolved during the release of ‘Selected’ in 2010. The events were not so much ‘live’ band but more art installation featuring stripped down, edited sections from many Recoil remixes and alternative versions. For the presentations, I managed to gather together filmmakers from as far as Russia, via the Czech Republic and Hungary, all the way to Argentina.
One of the most memorable moments of the entire tour came about, strangely enough, through adversity. Who can forget ‘Eyjafjallajökull’ and the major headaches and logistical nightmares it caused? Back in April 2010, the Icelandic mountain awoke, spewing its contents into the stratosphere and reaping havoc on the very same day Recoil was due to fly from London to Budapest. After an eternal struggle via airports, train stations, traffic jams, manic phone calls and confusion all round, 12 hours after leaving home my team and I found ourselves back on my own doorstep having got precisely zero kilometers towards the Hungarian capital. The last resort and only option was to drive (in my own car) through the channel tunnel and no less than 7 countries from West Sussex to Diesel club, Budapest – a journey of some 21 hours non stop. Word got around (while others were canceling shows left, right and centre) that, against all the odds, we were on our way – and when we arrived with about 1 hour to spare, what greeted us was one of the most vociferous and appreciative crowds on the whole tour.
To cut a long story short, we wanted to come back, not least to finally see a little of this beautiful city, but most of all to play once again to the warm Hungarian public. The second Budapest presentation and last of 2010 was held in the beautiful newly-renovated Szikra venue. To celebrate this end of year special show we decided to install an extra large fully professional cinema screen and projector. The screen measured a giant 8 x 5 meters and covered the entire stage area.
The performance was filmed using the latest high-definition technology in order to capture the event in its full glory. For this (with the help of the local promoters), the team from Umatik was recruited, headed up by director Attila (‘Atus’) Herkó, and in a similar way to the stage projections, we worked remotely on the editing – I gave feedback to rough edits which Atus sent to me whilst Paul Kendall & I simultaneously worked on the surround sound mix, and everything was refined from there. I think you will agree Attila’s film is stunning and offers a captivating and exhilarating document of ‘A Strange Hour’.”
Videos:
Trailer
Teaser
A Director’s View
The Print House
Public Screening:
01st September 2012 Bio Roy, Gothenburg (Sweden)
21th September 2012 Moods im Schiffbau, Zurich (Switzerland)
28th September 2012 Toldi Mozi, Budapest (Hungary)
29th September 2012 Kino Lucerna, Prague (Czech Republic´) more dates e.g. in Berin (Germany) to be confirmed
