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Hello, this is newsletter 048 from dense promotion Berlin.


[CD N&B Research Digest] B. FLEISCHMANN and HERBERT WEIXELBAUM present DUO 505  – Late
[LP/CD morr music] COBRA KILLER – 76/77 [CD/LP Monika Enterprise] FRANK BRETSCHNEIDER – Looping I-VI [CD 12k] JULIAN FANE – Special Forces [CD Planet Mu] KAMMERFLIMMER KOLLEKTIEF – Hysteria [CD Quecksilber] KLAUS FILIP / RADU MALFATTI / MATTIN / DEAN ROBERTS – Building Excess
[CD GROB] MAX EASTLEY / DAVID TOOP – Doll Creature [CD Bip-Hop] MINIT – Now Right Here [CD/LP Staubgold] MÜLLER_MÖSLANG – boom_box [CD GROB] OUTPOST – Time-based Landscapes [CD Institute for Transacoustic Research] PETER SZELY – Welcome To My World [CD mosz] RADIAN – Juxtaposition [CD Thrill Jockey] SWOD – Gehen [CD/LP City Centre Offices] TAYLOR DEUPREE & CHRISTOPHER WILLITS – Mujo [CD Plop] THE BEANS – Bassplayer [intr_version] THE GO FIND – Miami [CD/LP morr music] TRANSFORMER DI ROBOTER – Metal Kings [CDEP deco 008] V.A. – BiP_HOp Generation [v.7] [CD Bip-Hop] V.A. – AMµNITION [CD Planet Mu] YANNIS KYRIAKIDES / VEENFABRIEK – The Thing Like Us [CD Unsounds]

please reply if you’re interested in presenting or reviewing any of the releases
in this newsletter. and please check the territory specifications below.

>>> >>> >>>

[CD N&B Research Digest NBRD-07]

The first duo CD by Borisov & Nikkilä is another anti-solipsistic look by these
authors at their surroundings past and present. To paraphrase the title of
Borisov’s latest solo album “Polished Surface Of A Table”, this is a gaze from
the imaginary space between the seemingly solid table-plate and the lacquered
surface on top of it, complete with stains and acoustic disturbances that
distort the perspective.
Borisov’s Russian texts (translated into Russian in the CD booklet) scan the
panorama of his everyday life, moving rapidly from “a vagabond from Dagestan” to
“bio-underpants” and Soviet hospital life to oblique reminiscences of European
demi-monde, creating in the process compact psychological snapshots and surreal
verbal cascades in which multiple meanings border on complete dissolution.
The music, inextricably linked to the texts, could be interpreted the same way.
It looks at the commonplace forms of rock song, free improvisation, muzak,
“smooth jazz” and noise with the purpose of turning the viewpoint around and the
structures inside out. Through
improvised guitar and percussion, digital and low tech noise editing,
deconstructed muzak and recited vocals “Typical Human Beings” aims to be the
sound of zoom-adjusting standard perspective into an impossible position and
broken forms functioning as if nothing happened.
Alexei Borisov, who lives in Moscow, and Helsinki-based Anton Nikkilä have been
recording together since 1994 and performing sporadically as a duo since 1998.
2004 marks a surge in both of their common activities. The studio tracks on
“Typical Human Beings” were recorded in both Moscow and Helsinki, and the four
live tracks were recorded in Russia and Estonia. Norwegian Trollofon Festival
advertized their concert in May 2004 thus: “super-unique electronica with a
futuristic Baltic Sea as the lowest common denominator”.


[LP/CD morr music 046] -> promo only in FR, Scandinavia, Eastern Europe

The Duo 505 is actually the brainchild of a restless hipster from Vienna. His
name is Wolfgang Kopper and he is a regular face on the Gurtel, an area in
Vienna, where lots of clubs, venues, musicans and artists settled down over the
last decade. It was here that he noticed two completely different musicians, who
had one thing in common, though: their hatelove for Roland’s MC-505, better
known as simply the Groovebox.
One of the musicians is Morr Music’s first ever recording artist B. Fleischmann,
who, at that point, was still completely ignorant of his future partner in Duo
505, Herbert Weixelbaum. Herbert is a classically trained guitar player who at
first didn’t want to play anything else but classical music from the baroque and
renaissance period. Somewhere on his way to adolescence, Weixelbaumchanged his
mind and started to spend uncountable hours with friends in a dark rehearsal
room, he rarely even left for concerts. After all he made it out of there to
move to finland, where he lived quite a while without doing any music at all.
Returning to Vienna,
Weixelbaum tried to reanimate his basement band, but quickly had to learn that
Herbert and his mates were talking about music much more than they were
producing it. He took this as a hint to go solo. A guy at the shop where
Weixelbaum used to buy his guitar strings, introduced him to the Groovebox
shortly after and even made him apply to a Groovebox competition. After
Herbert had performed to a jury of Djs, they judged him by saying things like:
„too depressive“, „he doesn’t use the Groovebox like it should be“, or even
„You’re doing music for sundays!“ Weixelbaum took these as compliments and felt
confident enough to buy the Groovebox he initially only lent from the shop.
Both Herbert and Fleischmann want to rock!
But in a pop way and within the technical limitations of their Grooveboxes,
which makes their music Lo-HiFi, or was it Hi-LoFi? Anyway, their debut achieves
the impossible by being a mildly melancholic, yet through and through life
affirming feel good record.
Thanks to the hipster from Vienna!


COBRA KILLER – 76/77 [CD/LP Monika Enterprise monika 38] -> no promo in DE, ES, IT, Benelux

COBRA KILLER say that they want to heal with their music.
And looking at their audiences it soon becomes clear just what is meant by that.
They have the effect of medicine on their listeners – and their fans anyway.
Nobody can escape the grip of scarcely dressed Gina V. D’Orio and Annika Line
Trost, drowning themselves in red wine and throwing their songs into the faces
of the audience. They are loud and hot and definitely take any location captive.
COBRA KILLER have no time for posers. They are a reaction against the dullness
of early electro stage shows. Their stage presence has always been as over the
top as their sound. Every Cobra Killer concert is an attack on the calculated
excess of the music business.
COBRA KILLERs new album “76/77” sounds hot and highly energetic – 60s
feel electronic rock with subversive lyrics and sharp breaks. They worked with
artists such as the Devastations, Patric Catani (Mund auf Augen zu +
Ledercouch), T. Raumschmiere (Let’s Have a Problem), Erik D. Clark (I Like it
When…), Thomas Fehlmann (High is The Pine) and Rashad Becker (from dublates &
mastering). The two girls sampled, programmed and screamed and here we have
their masterpiece: 76/77


FRANK BRETSCHNEIDER – Looping I-VI (and other Assorted Love Songs)
[CD 12k 12K1028]

12k is very proud to announce a new release by one of electronic music’s most
unique and well known artists, Frank Bretschneider. Bretschneider is a founder
of Germany’s art/music collective Raster-Noton and has released some of the most
engaging albums of the decade. Following last year’s Gold (raster/noton) and the
stunningly good Aerial Riverseries (Whatness, 2002), Looping I-VI (And Other
Assorted Love Songs) is Bretschneider’s 2nd 12k cd, following Rausch (2000) and
appearances on 12k’s critically acclaimed compilations. Looping I-VI shows a
change in direction from Bretschneider’s
characteristic bouncing and rhythmic minimalism. He took it upon himself as a
challenge to create a more sparse and demanding album built with slowly evolving
loops and subtle changes over time. Taking inspiration from his current
immersion in science fiction novels Looping I-VI plays out very much like a
story, unfolding over 42 minutes. Despite the 12 tracks on the cd the music
flows seamlessly, slowly, and creates two distinct “chapters” marked by a sonic
hit and a brief moment of silence. Looping I-VI is a work that rewards complete
listening, from start to finish, following Bretschneider’s sonic fiction through
his world of clean tonal elements and loop architecture.


JULIAN FANE – Special Forces [CD Planet Mu ZIQ091] -> no promo in UK, Benelux

The astounding debut album from Vancouver’s 21 year old Julian Fane. Usually you
wouldn’t expect an album of this diversity to come from someone so young, but
that fact also gives this disc it’s freshness and vitality.
One minute it’s vocal songs in the epic style of The Flaming Lips, Radiohead or
Sigur Ros, the next it’s noises and bleeps a la Aphex, Lali Puna or Fourtet.
It’s not surprising then that Julian is “into anything that resonates with me
emotionally; from Neutral Milk Hotel to Dntel to Godspeed You! Black Emperor to
The Smiths or Cannibal Ox.”
“Special Forces” is an album that sounds like it’s as much an electronic record
as one played on acoustic or real instruments. Julian explains, “Often times
something that sounds synthesized started life as an acoustic sound. A lot of
the strings are real but have been processed to such a degree they sound
An amazingly accessible album (for Planet Mu anyway) of epic songs and exotic
atmospheres that will not fail to connect emotionally with everyone…


KAMMERFLIMMER KOLLEKTIEF – Hysteria [CD Quecksilber 7] -> promo only in UK, France, Benelux, Scandinavia and Eastern Europe

Re-release of this long-deleted Kammerflimmer Kollektief classic feat. 15min+ of
new studio recordings.
An assemblage of intriguing electro/acoustic elements, “Hysteria” is the newest
offering from Karlsruhe’s Kammerflimmer Kollektief. Incorporating samples,
analog synths, and a plethora of stringed instruments (including an acoustic
jazz ensemble), “Hysteria” taunts the fine line of control between abstraction
and realism, with a beauty that’s stunning at times.
Kammerflimmer Kollektief began as the one-man experimental excursions of Thomas
Weber. Trapping ambient noise, live and synthetic drums, guitars, strings,
upright bass and keyboards into interlocking rhythmic explosions, Weber expanded
the group to a live six piece in 1999 and has been brilliant and busy ever
since. From their Karlsruhe, Germany home base, this ensemble effortlessly
blends experimental electronic elements and moody free-form jazz to stunning
effect. File under: cosmic country.


[CD GROB 651]

“Improvisation is a tool for the discovery of new ways of communicating at the
cracks of the unexposed,” wrote the young Basque musician and composer mattin in
the liner notes to his CD he produced together with Mark Wastel, Vault. An self
conception that finds its adequate expression on his first release for GROB.
Building Excess was recorded on July 4 last year in the legendary Vienna studio
of Christoph Amman (Absinth (GROB 435) was also recorded here as were numerous
other recordings of the Vienna scene from Radian to Werner Dafeldecker). mattin
had a stipend and was able to stay in Vienna for a longer period of time. The
strength of this recording, its stringency, is indebted to this longer stay for
the most part: the music doesn’t seem “spontaneous” or “surprising,” but rather
as if a group was playing together that had developed a common vocabulary over
many years. Of course, this quartet is not a working band, since the interests
of the musicians are too different. The common act of reflection, however, is
audible. Although very little happens, the listener always hears a tension. It
may be the smallest possible tension, but it is one. Therefore the piece –
Building Excess is made of one long improvisation – does not sound disparate.
There is something that holds the few tones together, which seem simply thrown
together: a common pulse, a common effort. Building Excess contradicts all the
(conventional, “classical”) rules of collective improvisation and yet the piece
is exactly that: a collective improvisation. Radu Malfatti, the earlier free
jazz trombonist (see the recording from 1979, Sven-Åke Johansson‘s NMUI, GROB
650) and current composer of radical new music, certainly inspired this
recording decisively with his aesthetic of stillness, yet he does not dominate
it. That too is an expression of this special collective effort.
mattin plays computer feedback(s), Klaus Filip, an enormously important
programmer in the Viennese scene, plays digital electronics, Radu Malfatti the
trombone and Dean Roberts, known for his records for Erstwhile, Mille Plateaux
or – recently – Kranky, can be heard on the guitar.


MAX EASTLEY / DAVID TOOP – Doll Creature [CD Bip-Hop bleep25] -> no promo in UK, ES, IT, FR

Doll Creature is the third album release in thirty years by sound
sculptor/musician Max Eastley and composer, author and sound curator David Toop.
Their first record together, New and Rediscovered Musical Instruments, was
released in 1975 on Brian Eno’s Obscure label; their second, Buried Dreams,
released in 1994 on Beyond, was voted third placed album of the year, behind
Portishead and Massive Attack in the 1994 Wire critics’ poll, and described in
Melody Maker as ‘The scariest ambient record ever. An album beyond your
disturbed imagination.’ Doll Creature is a further exploration of the mysterious
zones in which Eastley’s mechanical sound sculptures, instruments with a life of
their own, are transformed within the computer by David Toop’s additions and
The spatial dimension has changed again from the first two albums, being even
more a marker of the differences between human and machine actions, computer
space and physical space. The cover image shows a little doll who lost his way,
then found himself in a halfway state between doll and child, wandering through
a post-apocalyptic landscape. His body is bulky enough but those arms and arms
need more than one dinner. His outlook is positive. At least he has the boots
for the job.
Minoru Hatanaka, curator at Tokyo’s ICC, has written these notes about Eastley
and Toop: ‘By creating maps of sound as performance in Toop’s terms, they are
trying to create a mysterious imaginative landscape through sound, a narrative
that takes form within our emotions through the unvisualizable phenomenon of
sound. When the delicate micromotions woven out of the highly minimal movements
of Eastley’s whirling sound machine evoke further images and beckon us into that
narrative we are likely to find animistic emotions awakened somewhere inside our


MINIT – Now Right Here [CD/LP Staubgold 53] -> promo only in UK, France, Benelux, Scandinavia and Eastern Europe

From digitally deconstructed “songs” to expanded electro-acoustic works, Minit
explore and extend the sonic and musical thresholds of acoustic instrumentation,
producing hypnotic sonic habitats which transform over time in subtle and
hallucinatory ways. From fragile harmonic and melodic intonations to towering,
ecstatic drones, erratic fragmented rhythms and electrical disturbances, Minit
explore the psychedelic moment within trance-like listening states when all the
sonic parts begin to slip in and out of cohesion. It is these moments that
gently fracture “listening” and signal what is rich and unusual and experimental
about Minit’s whole musical project.
Minit is Jasmine Guffond and Torben Tilly formed in Sydney in 1997. They use
electronic, digital, sampling and mixing technologies to manipulate recorded and
“found” sound and to transcend conventional instrumental approaches to musical
composition. Minit are currently living and working in Berlin.


MÜLLER_MÖSLANG – boom_box [CD GROB 649]

Boom Box is one of the first recordings of Norbert Möslang after the break up of
Voice Crack, his legendary Duo with Andi Gühl which lasted a good 30 years. It
was performed in October 2001 in Cologne’s Loft with Günter Müller.
Back then Voice Crack still existed, and Möslang’s gig with Müller would seem to
be something frivolous. Would it work? To perform in another duo? Without the
trusty colleague? Obviously Norbert Möslang and Günter Müller didn’t care much
about these questions. boom-box is not about how much or how little it sounds
like Voice Crack. Not only, because Günter Müller – drummer, percussionist and
live electronics performer in the last ten years – brought along a complete
instrumentarium (with this in mind, one could just as easily ask how much or
little this recordings has from Müller’s other recordings?). The focus has
shifted – with Voice Crack we did not only hear improvisation, but rather the
sound of manipulated, half-kaput, destroyed or decoded electronic devises from
everyday life. On boom-box, Möslang also plays his cracked everyday-electronics,
but their tonal surroundings is a different one. It is a wide, ethereal tonal
ambience, the structures are lucid, the music is transparent. Again and again
there are foregrounds and backgrounds, individual tonal configurations stand out
clearly and distinctly, specific sounds are repeated, thus creating a scaffold
through which other sounds are elegantly woven.
Since the early 90’s, Müller and Möslang have played with all the greats of
electro-acoustic improvisation: with Otomo Yoshihide, Jim O’Rourke,
Borbetomagus, Jérome Noetinger, Lionel Marchetti, Keith Rowe, Erik M., Toshimaru
Nakemura. The two count as (voluntary/non-voluntary) co-founder of this scene.
In the presence of these impressive musical biographies, boom_box is not a
summary, it’s not a “concentration on the essential,” but rather something new,
a next step and a very elegant one at that.


OUTPOST – Time-based Landscapes [CD Institute for Transacoustic
Research tres 004]

founded in 1998 the institute for transacosutic research concentrates on the
invention and  definition of the term “transacoustics”, which researches the
theory that by permanently changing the auditory angle and continually
reinterpretating conventional manners of hearing, the borders of the acoustic
and the audible can be expanded beyond the threshold of perception.
in the magnetic probability fields of micro- and macro-sounds resides the last
outpost of an observable reality. from this starting point the projection and
distillation of an imaginary region, a conceivable vastness with digital and
analogue sound processors, was attempted in several test arrangements.
outpost presents intermediate results of this acoustic and visual expedition
into a territory of incertitudes. the members of the institute for transacoustic
research explore this expansive area for it’s potential space between past and
possible futures.
marked by a rigid scientific approach, they build a space for sonic
architectures. a game using the terms and structures of science and transfusing
these into sound.


PETER SZELY – Welcome To My World [CD mosz 003]

Born 1969, Peter Szely is living and working in Vienna/Austria. Better known for
his sound installations, works for radio art, sound interventions in public
spaces (in cooperation with Christof Cargnelli, the artist group viennese
lounge, Andres Bosshard, Christoph Hinterhuber, Elisabeth Penker, Gelatin,
Schumacher/Clavadetscher, etc.), Peter Szely is coming up with ‘Welcome To My
World’ on Mosz introducing himself as composer of subtle pop sounds in the wide
field of electronic music.
Szely has been working as a sound architect creating sound environments for
theatre, concerts, performances and interventions/installations in public
spaces. ‘Welcome To My World’ is regarded by the artist himself as a dense
result of his previous work put into new shape and dramaturgy. It fits perfectly
in the tradition of Mosz’ releases for it is also melodic and rhythmic.
The album contains recordings of acoustic and electric guitars which were
digitally processed, recordings of acousmatic surround sounds – interpreted as
objet trouvé and polythythmic structures, arranged with open source software.
As Szely used to work and perform with multichannels his attempt was to use this
way of working for the CD as well. this results in a range of quite delicate and
subtle pieces and soundscapes.


RADIAN – Juxtaposition [CD Thrill Jockey thrill147] -> promo only in DE and Eastern Europe

Since the release of Radian’s second album, Rec.Extern (Thrill Jockey, 2002),
Vienna’s bustling music community has grown to be one of the most vibrant in the
world. Radian and it’s members have taken on a leading role in this scene and
are bringing attention to it the same way Sigur Ros brought the spotlight on
Reykjavik, Iceland. The bulk of preperation for both the electronica and
standard instrumention on Juxtaposition took place in Radian’s Vienna studio.
The band first collected and created sounds of different sources – mostly
instruments like drums, bass, guitar vibraphone, and marimbaphone. They then
recorded these instruments in unusual ways, like ‘microrecording’ the sound
sources through synthesizer patches. Next Radian carefully arranged these
electronics to work within their performances on live instruments of drums, bass
and synthesizers. Finally Radian brought their complete electronic arrangement
to Chicago’s Soma studios where John McEntire recorded the drums and bass. These
parts were added to the electronics according to Radian’s arrangements. A
painstaking and time consuming process, but one that offers the listener many
Juxtaposition is an aptly named album because the melodies and the motion are
created not only by a simple melodic line, but by the placement of those lines
within a contrasting framework. From the album’s opening track, “Shift” and into
“Vertigo” and through “Nord”
you’ll be immediately taken with how accessible Juxtaposition is for an
“electronic” record. It’s well crafted tunes offer infinite depth and flow.
Headphones and high volume encouraged!


SWOD – Gehen [CD/LP City Centre Offices Towerblock 021] -> promo only in FR, Scandinavia, Eastern Europe

Swod is the recording project of Oliver Doerell and Stephan Wöhrmann, two
accomplished musicians who met in Berlin sometime in 1991. Oliver plays guitar,
bass and all manner of electronics – he is also a long-time family member of
City Centre Offices having recorded an album and an E.P. under the “Dictaphone”
moniker in between composing and performing musical pieces for theatre,
installations and film
over the last few years. Stephan plays piano and drums, arranging an almost
neo-classical structure within a recording that already sounds ghostly and
Translated as “go”, “Gehen” represents a labour of love from two musicians
experienced in the art of seductive and evocative music making. Having first
worked together producing live soundtracks to silent movies, Oliver and Stephan
tread a delicate board of
crystalline piano cascades and the sort of subtle electronic tinkering you can
barely recognise or absorb in one sitting. It’s fitting that the pair are so
used to tailor-making their harmonious shards of sound to moving imagery,
“Gehen” evokes a plethora of half
forgotten films and life experiences offered up in glimpses in the back of your
mind. If you can imagine a sitting specially programmed by film directors Théo
Angelopoulos or Krzysztof Kieslowski, or the music of Eric Satie, Ryuchi
Sakamoto or Keith Jarret’s “Köln
Concert”, you’ll have some idea of what to expect.



Deupree and Willits unite again in their second collaborative release. Mujo
builds on the duo’s growing process which was initiated on “Audiosphere 08”,the
acclaimed Deupree/Willits cd released by Sub Rosa in late 2003. Mujo develops
their collaborative and living
process of generating music, and locates new paths and branches of sonic
Mujo is a Japanesse word that means constant change, or transience. Inspired by
ideas and principles of wabi-sabi, Willits and Deupree set out to generate a
music that celebrated the beauty of things imperfect, impermanent and
incomplete. This music holds an elusive fragility. There are structural elements
in constant flux, forms with
cracks, melodies tickled with beautiful imperfections, phrases incomplete and
broken. The music seeps, and wanders, remaining gaseous and solid all at once.
The albums duration seems to trace a line, or flow from from light to dark,
external to internal.
Built upon a series of loose jams and guitar improvisations, the music has a
fresh under-produced and natural quality to it. Live collaborations were
recorded in Deupree’s brooklyn studio in late fall 2003 and spring 2004, times
of natural change and transformation. fragments and whole recordings of thoses
sessions were subject to further processing in Willits’ San Francisco studio and
in Deupree’s 12k headquarters. Mujo is the continued exploration of what will
surely become a long and influential collaboration between these two unique
sound artists/musicians. Their work highlights each artist’s own unique
aesthetics but more importantly creates a third, unique voice, that is not just
a simple sum of their two sounds.


THE BEANS – Bassplayer [intr_version intr013] -> no promo in UK

Vancouver based the Beans have emerged as one of the premier post-rock groups in
Canada since their formation in 1995. Along with kindred spirits such as
Godspeed You! Black Emperor, Do Make Say Think and Broken Social Scene they°òve
helped to bring attention to Canada°òs vibrant left of rock scene. Influenced by
artists as diverse as Lamonte Young, Terry Riley, Neil Young and Dirty Three,
their epic instrumental compositions are as breathtakingly beautiful as they are
imaginative and intricate. Their fifth album, Bassplayer, is a riot in soft
focus – a tumbling, complex series of instrumental shards. An album as delicate
as it is dense, Bassplayer is a revelation.


THE GO FIND – Miami [CD/LP morr music 047] -> promo only in FR, Scandinavia, Eastern Europe

The go find, Morr Music’s latest signing, is a one-man band from Antwerp,
Belgium. The face and the voice behind it belong to 28 year old Dieter Sermeus.
He could easily become 2004’s Indie posterboy, and not just because he knows how
to use a guitar and an iBook to create beautiful popsongs for late-nite cruising
on highways and grooving to on makeshift living-room dancefloors.
Three years ago, Dieter Sermeus started to play around with electronics. It took
some time until he was able to satisfy his own expectations towards a balanced
combination of good songwriting and sophisticated, electronic production. At
this early stage, Styrofoam, already a good friend of Dieter’s for several
years, helped him out by teaching him the basics of electronic music production.
Some of the songs on the go find’s debut album date from this period, but
they’ve been worked on and improved over and over again. In the last few months
before finishing „Miami“, Dieter got into the pleasant habit of meeting up with
Arne every Wednesday morning, to have a few capuccinos and discuss the go find’s
music. More often than not, they would then disappear into Arne’s studio in
order to put all those new ideas in practice and rework Dieter’s songs time and
time again.
Due to the close exchange of ideas between the go find and Styrofoam, a certain
musical resemblance between the two projects came almost naturally. They even
support each other when it comes to taking their music to the stage. But where
Styrofoam always tends to take an introspective look inside, The go find takes
the other route by being positively extrovert. Sermeus presents himself as a
very self-confident songwriter, whose catchy, yet sometimes melancholic popmusic
bypasses the brain and hits the heart
directly. His songs feature the bitter sweetness of some of The Postal Service’s
tracks on the one hand. On the other, they also bring to mind the subtle glow,
The Notwist presented on „Neon Golden“. The go find occupies the intersection of
both bands, which Dieter refers to as being highly influential to him.



TRANSFORMER DI ROBOTER – Metal Kings [CDEP deco 008] -> no promo in France

Transformer di Roboter bring us a unique attitude in digesting Pop music and
Transformer believes that Heavy Metal hits between 1986 and 1993 have their
place in bubble-gum culture.
It is not hard to guess that Johannes Malfatti and Alex Kloster from Berlin
played in Metal bands as teenagers. In 1994 Alex and Johannes joined their two
rival bands together to form a super all-star band that would later explore
different shades of Grind Core as well as keyboard Pop so straight forward, you
would not believe believe your ears if they would let you hear it. This attitude
is still alive in Transformer di Roboter today, while the
“Metal Kings” ep, is a tribute to formulaic music. The first recording sessions
under the name of Transformer di Roboter where cover songs of Metal classics
re-arranged into George Michael-Samba Pop, or Sinatra Lounge Bar Jazz. It is not
so much nostalgia or irony that drove the work on “Metal Kings”, but rather a
craving for a simple and clear concept/formula. This work between 2001 and 2003
was as trouble-free as taking Pantera, Slayer, Sepultura and Metallica and doing
good old cover songs using General-Midi sounds and aesthetics that will remind
people of arcade-games starring fast red convertible cars and blond hair waiving
around in the passenger seat.
Without spending too much energy on analogies between pixels and sound bit
depth, burn-outs and guitar solos, Transformer is happy about the result and
thrilled to be able to present a new ep that contrasts the other kind of
boy-group sound responsible for much of the previous and upcoming releases.


V.A. – BiP_HOp Generation [v.7] [CD Bip-Hop bleep 24] -> no promo in UK, ES, IT, FR

A New design for the first chapter of the second series. Minimal moves for
listening pleasures… Almost 80 minutes of exclusive music by:
TAYLOR DEUPREE (US), inhabits New-York and founded 12K records in 1997 : a
center for minimal, digital music. In collaboration with Richard Chartier,
Deupree started the LINE sublabel to further question the ideas of minimalism.
Deupree has issued music on Sub Rosa, Mille Plateaux, 12K…
EMISOR (AR), After years performing in the underground arts world in Buenos
Aires, Leonardo Ramella started his Emisor project in 1998. He has released 5
albums since then…
FONICA (JP), Keiichi Sugimoto and Cheason live in Tokyo. Keiichi is also a
member of Minamo and runs the Cubic Music label. Cheason designs most of the
artwork for the plop label —
FM3 (CN), a Beijing-based collective of computer and classical musicians, fm3
focuses on digitally distilling ancient Chinese folk tradition into an organic,
meditative, minimalist soundscape —
GHISLAIN POIRIER (CA), Montreal native Poirier released two critically-acclaimed
full-lengths on experimental labels 12K and Intr_version. Recently his work
appeared on Chocolate Industries.
JANEK SCHAEFER (UK) Janek trained as an architect at the Royal College of Art,
emerged as a sound artist and composer, and lives and works in London. He has
releases on FatCat, Hot Air, Staalplaat, Sirr, Sub Rosa and runs AudiOh!


V.A. – AMµNITION [CD Planet Mu ZIQ095] -> no promo in UK, Benelux

Low dealer price sampler cd for Planet Mu Records. A mindblowing 80 minute mix
by Mike Paradinas (µ-Ziq) showcasing the wild variety the label has to offer.
From the neo-classical electronica of Lexaunculpt to the lo-fi glitch-hop of
dDamage. From the strange atmospherics of The Gasman to the mentalist breakcore
of Shitmat and Venetian Snares. From the Jungle of Remarc and Bizzy B to the
fucked-up gabber techno of Hellfish and Rude Ass Tinker (aka Mike Paradinas).
This is a journey that none can afford to miss at this price. Features exclusive
tracks by Venetian Snares, Shitmat, The Gasman, Lexaunculpt and Ambulance.


YANNIS KYRIAKIDES / VEENFABRIEK – The Thing Like Us [CD Unsounds 09u]

This CD is a presentation of the music that was conceived for the 2002
ZTHollandia-VeenFabriek production “SPINOZA: I am not where I think myself to
The music on the CD is in two parts, based respectively on the definitions of
the emotions from the 3rd part of Spinoza’s Ethics, and on a letter he wrote
about free will. This piece was staged on location in the old ABN bank
headquarters in The Hague and by De Singel in Antwerp.
The sound world is made up of voice, harpsichord, percussion, raw wave based
electronic sounds, and live sample manipulation of the singer and actors voices.
Intricate polyphonic layers of voices are combined in a sound world
predominantly electronic, where the voices have an interactive affect on each
other through live computer processing.
This is a work that opens up new territory in music-theatre in the use of
digital sound techniques to  create sensual spaces that move from the very
intimate to the large scale architectural.
alto: Ayelet Harpaz , harpsichord: Anne Falbourn, percussion: Tatiana Koleva,
voices: Carola Arons, Bert Luppes, live electronics: Yannis Kyriakides 4 -page
digipak with 24-page booklet



TORTOISE [Thrill Jockey] 01/07 NL – Groningen, Swinging Groningen
02/07 NL – Den Hague, New Forms/Static X
03/07 FR – Nantes, Scopitone
04/07 BE – Werchter, Rock Werchter
05/07 FR – Paris, Le Trabendo
06/07 LX – Esch-zur-Alzette, Kulturfabrik
07/07 DE – Düsseldorf, ZAKK
08/07 NL – Amsterdam, Paradiso
09/07 DK – Aarhus, Voxhall
10/07 PL – Warsaw, CDQ
12/07 AT – Wien, Szene
13/07 HR – Zagreb, Tvornica
14/07 IT – Prato, Anfiteatro Pecchi
15/07 IT – Ferrara, Piazza Castello
17/07 DE – Ferropolis, Melt Festival
18/07 DE – München, Muffathalle
19/07 DE – Karlsruhe, Zeltival
20/07 DE – Darmstadt, Centralstation
21/07 DE – Berlin, Museumsinselfestival (with Lambchop)
22/07 DE – Hamburg, Fabrik

HYPO [Active Suspension] 13/08 FR – Guingamp
14/08 FR – festival Astropolis - – Centre d’art
Passerelle – 14h/19h – Brest (F) + Mils…

ENCRE [Active Suspension] 15/08 FR – Quai François Mauriac, Paris (F) + Toumani Diabate

THE VEGETABLE ORCHESTRA [Transacoustic Research] 03/07 ES – Off-Festival, Valencia
07+09/07 UK – Henley-Festival
08/07 UK – Cadogan Hall, London

THILGES 3 [Staubgold] 03/07 ES – OFFF Festival, Valencia
24/07 AT – Attersee
04/09 DE – @ Suite in Parochial, Singuhr Hörgalerie in Parochial, Berlin
30/09 AT – Sargfabrik, Vienna (+ Asim Al Chalabi feat. Zohreh Jooya)
02/10 AT – Remise Bludenz(+ Asim Al Chalabi feat. Zohreh Jooya)
22/10 AT – Porgy & Bess, Vienna (+ Eyvind Kang)
23/10 AT – @ Musikprotokoll im Steirischen Herbst 04 with Open Music, Dom im
Berg, Graz (+ Eyvind Kang)

PAUL WIRKUS [Staubgold] 16/07 DE – Duesseldorf, Waage (with Trinamik)
19/07 FR – saint vallier, espace culturel louis argon(with Macio Moretti)
29/07 DE – Berlin, club der polnischen versager (solo)

HANS JOACHIM IRMLER [Staubgold] 24/07 DE – sigmaringen, schlachtfest 1

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