December 15, 2017

Arnaud Rebotini - 120 BPM - Original Soundtrack LP

bec5543195 House music broke through in 1987, at the same time when AIDS arrived in France with the first contamination peak in gay and drug addict circles. In 1989, the founders of Act-Up Paris knew that both the fight against AIDS and triumphant house music should be joined together. Tracklist: VINYL SIDE A A1. 120 Battements Par Minute A2. Premiers Battements A3. Sean & Nathan la Nuit A4. Meltonpharm A5. Jeremie est Mort du Sida A6. Pride A7. La Parade SIDE B B1. Smalltown Boy (Arnaud Rebotini Remix) B2. Le Scanner B3. Le Premier Club B4. AZT DDI DDC B5. Le Pont B6. Sean & Nathan Short info: House music broke through in 1987, at the same time when AIDS arrived in France with the first contamination peak in gay and drug addict circles. In 1989, the founders of Act-Up Paris knew that both the fight against AIDS and triumphant house music should be joined together. From 1992 to 1995, the period covered by “120 BPM", house reached its most beautiful plateau even though techno was becoming dominant. “120 BPM” is a get-together moment through clubbing, this moment where fears are forgotten by dancing with one’s friends, what we called “the chosen family” at Act-Up. Boys and girls dancing in a club where the walls cannot be seen, flooded with simple light. This is their activist recess. Arnaud Rebotini, composing the soundtrack of Robin Campillo’s previous film, “Eastern Boys", is a recognized DJ, a composer and a kind man, which is for me the most important quality. Here, his work is marked by restraint of his love for house and after techno. I believe he deliberately withdrew himself in relation to the film’s power and the AIDS theme. 

 


 

November 29, 2017

Prins Thomas - Prins Thomas 5 (Gold Print,BPInner,2LP+ WAV+MP3) - New 2017 Album -

ptm001After the slightly more conceptual "Principe del Norte"album, "5" takes two steps forward and one step back
collecting a batch of tracks that was recorded right after it's preceder and in tandem with the recent "Square One"album with Bjørn Torske.
A "freedom"album of sorts, beyond the slightly misleading album opener "Here comes the band" there's a variety in these tracks tracing inspiration from 35 years (unhealthy)obsession with all things "good music" played enthusiastically.
"5" also marks the launch of my new label "Prins Thomas Musikk".

A run through the tracks with a couple of hints to titles and inspiration:

"Here comes the band"
A planned album of a fake band consisiting of me only was ditched. This is their only entry...
Very loosely inspired by "Bandwagonesque"era Teenage Fanclub

"Villajoyosa"
Melodic ideas hummed into a handheld recorded and specific notes about instrumentation scribbled down while on holiday in Villajoyosa in Spain turned into this little ditty when back in slightly colder Norway. 

"Bronchi Beat"
Made in bed during a rough patch of bronchitis. Heavily influenced by prescription cough medicine.
Orbe from Madrid made a dizzy techno version which comes out soon enough...

Athens (Outside Databank´s The title shoudl be spelled in Greek letters)
I find great inspiration in working on new ideas while travelling the skies. Partly inspired by a detour into the soundtrack of my early teens (Paul Hardcastle, Warp 9, Maze, Mtume...)this particular one was started on a bumpy flight home from Athens and later finished in my tiny M57 Studio(R.I.P.)

"Æ"
Another bronchitis-ridden idea. Slow and low is the tempo. Beat originally inspired by Brian Briggs "AEO", melodies beamed in from Wally Badarou.
"Æ"is the norwegian pronounciation of the A in Acid refering to the 303 screeches going through the "song"

"Ø"
By the title you might think I'm running out of ideas. Not sure what happened here and why...

"Lunga Strada"
The track that took me the longest to complete hence the "long road".  
Personal favourites The Pilotwings from Lyon sent over 2 ridiculously good and fun remixes which will
be released on a separate 10" 

"London til Lisboa"
Another idea made on a plane when I should have tried to catch some sleep. 
Direction steered by Plaid and Pat Metheny. Thank you for the inspiration

"Å"
Initially the final track AND then: scrapped idea for the alphabet soup of "Principe del Norte". 
Later evolved into what we have here. Comes with a really nice remix by Pional on a separate 12"

"Venter på Torske"
The final recorded addition to the album. Made while waiting for Bjørn Torske to reply on a text message...

"Aske Hermansen"
In all seriousness, this is probably as soppy as it gets with me. 
Tears into my computer keyboard, made on the road missing my wife and kids. 

Prins Thomas , Asker, Norway, Autumn 2017

 

November 22, 2017

Wolfgang Tillmans - Hamburg Süd/ Nee Iyaow Eow Eow (Kunstverein In Hamburg 2017)

fragile05CD includes a 35-minute sound installation audio piece, in DVD case, 48-page booklet. Publication is being released as part of the exhibition: Wolfgang Tillmans: There were 30 years between 1943 and 1973. 30 years from 1973 was the year 2003 at Kunstverein in Hamburg from 23 September to 12 November 2017. Recordings, sleeve and booklet by Wolfgang Tillmans. Tracklist: Tracklist: Hamburg Süd / Nee IYaow eow eow 1 Hamburg Süd part 1 2 MMMMM aah 3 Hamburg Süd part 2 4 HaHaHaHa 5 Hamburg Süd part 3 6 Nee IYaow eow eow 7 Hamburg Süd part 4 8 EEEEEEEhh 9 Hamburg Süd part 5 10 Device Control (intro) 11 Hamburg Süd part 6 Further listening: 12 It’s Completely Changed 13 Throw A View 14 Mmmmeehh 15 Hihihi hee 16 Soda Stream 17 Overdub (calm to chaos Jul28) 18 Morning Return 19 Make It Up As You Go Along 20 Device Control Info: Wolfgang Tillmans has devised a 35-minute sound installation as part of the exhibition. The installation takes the exhibition’s inner-city context as its starting point, and operates in conjunction with numerous photographs (from a variety of Tillmans’ work phases) and video works to transform the space into a single cinematic whole. The Kunstverein in Hamburg is now releasing the 35-minute sound work Hamburg Süd / Nee IYaow eow eow as a CD, accompanied by a 48-page booklet that features exhibition views photographed and designed by Wolfgang Tillmans. Electronic manipulations of Tillmans’ own voice, made to sound alternately choral, guttural and absurd, are mixed with a kind of sung evocation of the four directions of the compass - to which the exhibition hall is almost exactly aligned. To provide this counterpart voice, Tillmans invited the Hamburg-born and internationally renowned singer Billie Ray Martin. The alternating singing styles are embedded within long silent pauses, when visitors can hear noise from the two routes of traffic between

 

November 22, 2017

KUF - Universe

MACROM55LPKUF create emotion-laden dialogues across layers of time and dimensions of sound. Voices recorded in private are chopped up and brought out center-stage to sing with beats hammered out right here and now. Glowing synths push forward. Basslines rise to grab the melodic role of a track while a vowel is truncated and locked into a grid, driving the rhythm. Voices move within the frame of a sample, performed by hands pushing keys, guided by the ear, immersed in a trio session’s deep flow… A vortex of quirky hands, responsive ears and glowing circuits. Since Thomas A. Edison first recorded the human voice in 1877, the recording arts have changed music forever. Musicians have explored the endless possibilities of bouncing their input onto layers of tape, off the walls of an echo chamber or the circuitry of electronic helpers - technology that modulates, spatializes, shifts, divides or multiplies the work of human hands and mouths. An era of sampling offered a cubistic analysis of the recorded past and DJs took dancers onto intricately fractured time travels. This is the historic foundation that KUF keep probing. Just like the sampler and the DJ before them, they found new ways to re-allocate where machine and man stand when making music together. Most importantly, they turn the resulting friction into sparkling bursts of energy. ‘Universe’ digs deeper into the android vocal chords. The album offers sweeping melodies, different beats and persistent bass. Immerse in the intimacy of the voices, probably recorded in trains, backstage areas and at late night private parties during Berlin Lichtenberg warehouse rehearsals.

 

October 24, 2017

Extrawelt - Fear Of An Extra Planet

corlp041EXTRAWELT are back! Although in fairness, they were never gone. On the contrary, since their first release on James Holden’s Border Community Label dropped in 2005, Arne Schaffhausen and Wayan Raabe have been responsible for a plethora of classics including “Schöne Neue Extrawelt” and “In Aufruhr", their two seminal albums on Cocoon Recordings. The duo are one of the most booked live acts worldwide, commanding a huge fan base. Their performances are the stuff of legend, making them the absolute highlight at every club and festival they play. So it’s with great pride and respect, that we can announce the release of Extrawelt’s third album for Cocoon Recordings. “Fear Of An Extra Planet” completes the Cocoon trilogy and the excitement growing among their fans represents a new high in the history of EXTRAWELT! Musically, of course, there’s enormous pressure on EXTRAWELT to deliver, but this is dismissed with a playful disregard and they are clearly focused on the job in hand. The album title “Fear Of An Extra Planet” sounds cinematic, like some art-house science fiction film, without giving too much away. However, from the first seconds of the opening track “Superposition", the album title makes 100% sense and sets the scene for the rest of the trip. We are immersed in wide open spaces and invited to explore dark and dusky worlds that transport us back to their Border Community years. Timeless and elegant, “Superposition” perfectly captures the epic, dream like quality that made James Holden’s label so influential. Second up, “Gott ist Schrott” takes a much more minimalist approach with its retro 80s drum programming, monster bass lurking in the breaks and playful.

 

October 24, 2017

The Cyclist - Sapa Inca Delirium (2LP+Download)

hypeple10Having given us a taster of things to come back in September 2016, with the ‘Pressing Matters’ single, The Cyclist returns to Hypercolour with a brand new, full length album. And as the title suggests, “Sapa Inca Delirium” leans heavily on South American mysticism, not just musically, but in the visual imagery that the eleven-track album paints so well across its various tempos and rhythms. From the tropical burst of mood setting opener, “Go Back” to the steamy and pacey percussive flow of “Inhale/Exhale” which features regular collaborator Tanaya Harper on vocals, The Cyclist’s fourth long player is crammed full of intriguing atmospheres and soundscapes. “Antiexist”, with its down-tempo rolling snare fills and ethereal Gregorian chanting segues effortlessly into “A Blind Girl Drinks Ayawaska”, a suitably discordant and hallucinogenic skit that ensures the album flows into the more rhythmic cuts like “Skateboarding In The Jungle” and “Mirrors” (the second album cut to feature Harper on vocals). Even the traditional jazzier vibes of “When We All Break Down” featuring Joni are kept rugged and boisterous, with heavyweight bending bass, choppy breakbeats and FX’d ambience amongst the smooth jazzy chords and sweet vocal delivery. “Sapa Inca Delirium” is one of those albums that will reward on repeat listen, such is the diversity of style on show here, and the detailed and wide eyed curiosity offered up across the long player’s fifty three minutes.