By an overwhelming demand from his fans Robert Marlow will release a vinyl edition of his “The Blackwing Sessions” album plus 3 extended mixes. And we are proud that we can present you all these 3 mixes. We’ve already streamed the first one , “No Heart (Extended)”, since last week. The last one will be online next week.
03) Raiders Of The Lost Arp Atealing My Love (Takeshi Kouzuki Remix)
04) Elec Pt.1 Galaxian Journey (DimDJ Space Midi Remix)
Our label celebrates magic record release number 010: „Happy Jackin` Birthday!“
For this little anniversary we asked four great artists to rework chosen tracks from the label`s back catalogue.
Leading us off, Mr. White (you know him from his collaboration with Larry Heard) made an edit of Snuff Crew`s „Are You House“. Followed by Humandrone from Tokyo remixing Perseus Traxx – „Don`t Feel Alone“. On the flipside you hear a remix treatment for Raiders of the lost ARP – „Stealing My Love“ made by our man Takeshi Kouzuki of Kobe/Japan. And last but not least DimDJ from Thessaloniki created his own version of „Galaxian Journey“ by Elec Pt.1
Snuff Crew – “Are You House (Mr. White Edit)”
Raiders of the Lost ARP – “Stealing My Love (Takeshi Kouzuki Remix)”
Elec Pt. 1 – “Galaxian Journey (DimDJ Space Midi Remix)”
Snuff Crew – “Live At 6 Years Of KilleKill”
Producer CRISTIAN VOGEL, born in Chile and in raised in Brighton, England, represents the inner turmoil within the history of electronic music and techno. Like only a few other artists such as Aphex Twin, he personifies the second wave of techno during which the concept of authorship, previously pronounced dead, returned in full force. His unique approach to composition gave a distinct touch to his sound, which now finds its place very naturally in the context of the modern music; back then though, it did more than just shake up the concepts of techno. “Complex and intricate rhythms dig deep chasms in dark listening spaces.” (Süddeutsche Zeitung)
In 1996, together with JAMIE LIDELL as SUPER_COLLIDER, he made a final attempt to breathe life into electronic music, which was still primarily seen as dance/rave/club music, and produced clustered break funk music that was so relevant to its time that many considered it more a music of the future: science fiction for the dance floor. Although the project was not a failure, it did not succeed even halfway in meeting the expectations of an artist who was rather perplexed by the lack of interest from others in considering music as art and research. Vogel believes that music has a will to unfold, like a jungle from the undergrowth of industrial cities.
Escaping the rather predictable hedonism of the UK club scene, Vogel moved to Barcelona in 2001 and bound his explosive ideas to the Station 55 studio and labels. He continued to curate networks (No Future, Sleep Debt) whilst at the same time, expanding the horizons for his music, creating outstanding work for contemporary dance, sound art and even his indie-rock group. After a decade of mediterranean experimentalism, Vogel relocated to Berlin in 2012 where he made his first new and daring attempt to assimilate everything that electronic music represented to him, on one critically appraised album: ‘The Inertials’ on SHITKATAPULT. Shortly after, his mystical, floating ambient work ‘Eselsbrücke’ was released, already exploring so many inspirations from his life in the new city.
Now in 2014, we present the follow up to ‘The Intertials’ entitled ‘Polyphonic Beings‘ – a true masterpiece in the inimitable Vogel style, as his fans will no doubt agree. ‘Polyphonic Beings’ begins with a surprisingly dub track which twists and turns, the sounds growing darker and more unexpected from track to track, minute by minute. An eerie and unbelievable sound, with all as it should be: every reverb tail, every movement of the fader, every composed note takes the listener piece by piece into Vogel’s own cosmos.
He foregoes interwoven elements for swaying towers of rhythm, powerful sound passages, spaces, roads, mirrors and pathways, leading to a stream of ideas that never wants to end. He aptly quotes Karl-Heinz Stockhausen in the liner notes: These are the „atomic layers of ourselves.“ And so it is. We are what we hear. This is the definitive CRISTIAN VOGEL.
By an overwhelming demand from his fans Robert Marlow will release a vinyl edition of his “The Blackwing Sessions” album plus 3 extended mixes. And we are proud that we can present you all these 3 mixes in the next 3 weeeks.
19th August 2014 (digital)
Mid September 2014 (CD)
CD & digital
Tracklist: 01) Inside
02) First Breath
06) Lights In The Sky
08) Still Again
Lights in the Sky is an album of music for Cello, Piano and analogue synthesizer. All the music was written and performed by Peter Gregson. It was produced by Peter Gregson and Neil Quinlan. It was recorded and mixed by Neil Quinlan at Studio Mute in London between March and August 2013, and it was mastered by John Webber at Air Studios in London.
The album follows Peter’s work on The Listening Machine (petergregson.co.uk/the-listening-machine/) and the dance piece FLOW (see recommendations)
The album was completed shortly before Peter began work on his first major film score – for A Little Chaos directed by Alan Rickman and starring Kate Winslet, which will premiere at the Toronto Film Festival later this year.
Make no mistake, for Vault Series 15 the doors have been flung open to welcome a new act to the fold.
There’s very little known about Mistake Made. No records or releases exist to date, but they’ve impressed Vault chief Subjected enough to have them join the sequestered Berlin-based crew. And in sublime compliance with the Vault Series creed, this debut effort from the shadowy outfit presents yet another set of functioning and frill-free dancefloor material, complete with a rusted-through hue of its own.
On the A-side “Wrist” jumps straight in with marching intent, complete with fidgety hat work that’s both anxious and infectious. Then on the flip, “Ricochet” opens with field recordings tossed into a stormy concoction of ticks, hats and fuzzy atmospherics, teamed up here with one of those basslines that’ll keep you glued to the floor.
“Indec” then concludes in signature Vault Series style; an ominous, growling number rattled with alarm bells and screeching, clangorous detail. It’s one of those monstrous slow-burners that leaves you wounded yet longing for more. All in all, a rounded first release from a new techno tour de force. This isn’t the last we’ll be hearing from Mistake Made.
Date & Time:
16th August 2014 at 4:30pm (Badeschiff) at 10pm (Arena)
Location: Badeschiff Arena Club, Berlin (Germany)
Chris Liebing only Arena Club
Tommy Four Seven
12 EUR + fee?
Press Info (German):
Create. Learn. Realize. Das sind die drei definierenden Prinzipien eines der angesehenstenTechno Labels der Welt. Der Mann hinter CLR, Chris Liebing gilt als einer der Begründer der Deutschen Techno Szene und gehört nach über 20 Jahren nach wie vor zu den gefragtesten DJ´s und Produzenten unserer Zeit. Als etabliertes Label und multidisziplinäre Brand hostet CLR am 16. August das CLR Open Air.
Der postmoderne, nahezu apokalyptische Charme des ehemaligen BusBetriebsbahnhof Arena bietet die perfekte Kulisse für einen roughen und harten TechnoSound. Das Line Up, bestehend aus Labelgründer Chris Liebing und den CLR Artists Tommy Four Seven, Monoloc und DJ Emerson, spricht für sich selbst und verheißt 16 Stunden ausgedehnte technoide und basslastige Sets.
Die ersten 6 Stunden finden ab 16:30 Uhr unter freiem Himmel im Badeschiff der Arena statt; die Fortsetzung folgt um 22 Uhr bis 8 Uhr morgens im Arena Club. Elektronische Musik auf höchstem Niveau trifft auf ein geschichtlastiges WestBerliner Industrie Gelände und lässt ein Techno Open Air der Extra Klasse erwarten.
UPDATE: aufgrund der aktuellen Wetterlage startet die Party 22 Uhr Indoor!
Press Info (English):
CLR returns to Berlin with an event befitting the summer time in the city it calls home. Running across two venues and at least 12 hours (likely more), the event offers CLR’s heavy weight artists Chris Liebing, Tommy Four Seven, Monoloc and DJ Emerson, each given ample time to fully explore their record boxes.
Daytime party people can enjoy the amazing evening light on the River Spree while Tommy Four Seven, Monoloc, and DJ Emerson offer a unique early hours techno flavour at the Badeschiff BBQ. Swimmings, sunsets and CLR, what more could you want.
When night falls, the festivities will move inside the storied Arena Club, where Chris Liebing will join Tommy Four Seven, Monoloc and DJ Emerson for a night of immense music that is certain to run until day breaks once again.
UPDATE: due to the bad weather conditions the party will start indoor at 10pm.
A3) I Just Want To Dance (Demo With Alternative Lyrics)
A4) When Sleep Was Easy (Demo With Alternative Lyrics)
A5) The Kiss (Demo)
A6) Life In A Film (Demo)
B1) No Heart (Rough Mix With Alternative Vocals And Bass Line)
B2) No Heart (Extended)
B3) I Just Want To Dance (Extended)
B4) The Face Of Dorian Gray (Extended)
Press Info (English):
The historic recordings contained here on the ‘Blackwing Sessions’ represent a rare and hitherto unreleased insight into early British Synth-pop. They are the primary demo material for what many consider to be a ‘Lost Classic’ from the early 1980s ‘ The Peter Pan Effect’ by Robert Marlow. The tracks where programmed at co producer Eric Radcliffe’s home in Gravesend in kent along with Marlow’s best friend and synth-pop guru Vince Clarke in the spring of 1982. Clarke a man already the founding force in two internationally successful projects Depeche Mode and Yazoo. Clarke was at the top of his trade as an innovative and talented writer, musician and producer so for his best friend Robert Marlow, joining forces with multi- talented Radcliffe who had produced Clarke on 1981’s Depeche Mode premier ‘Speak and Spell’ as well as Yazoo’s eponymous ‘Upstairs at Eric’s’ was going to be a pivotal moment..
Marlow was already, at the tender age of 21 a veteran of several bands to emerge from the Basildon music scene, beginning in 1978 in a “…baptism of fire” as guitarist in ‘The Vandals’, a punk rock band formed by Alison Moyet along with school friends Kim Forey and Susan Paggett.
Marlow was the first of the ‘Basildon Mafia’ to acquire a synthesizer in 1979 and formed ‘The Plan’ with Clarke on guitar and Perry Bamonte (later to find fame with ‘The Cure’) on bass. He then fronted the all electronic line up ‘French Look’ with friend Martin Gore who later joined Clarke in Depeche Mode (along with French Look sound man Dave Gahan) Marlow’s third soiree into the musical pantheon was in ‘Film Noir’ (again with Bamonte) and along with synth player Alan the band opened for Depeche Mode at their triumphant Basildon homecoming on ‘The Speak and Spell Tour’ in 1981.
The music contained on ‘The Blacking Sessions’ did not see the light of day until 1999 when Swedish label Energy Rekords remastered the original ‘Peter Pan Effect’ which had been mysteriously shelved in 1983 by distributer RCA despite the release through Clarke and Radcliffe’s Reset Records of Robert’s four well recieved singles ‘The Face of Dorian Gray’ and I Just Want to Dance’, both released in 1983 the later contained here with alternative Lyrics. 1984 saw the release of the string driven ‘Claudette’ and in 1985 the gloriously camp ‘Calling All Destroyers’. These recordings do not have the polish of the released album as they have been painstakingly restored from the artists own analogue sources, however as a record of a very a British new town phenomenon ‘Robert Marlow – The Blackwing Sessions’ is an important and entertaining document. – Wilcus Stanshall 2012
Press Info (German):
„A dream comes true…“…so oder ähnlich könnte man die Entstehung des vorliegenden Produktes, nämlich der ersten Vinyl-Veröffentlichung von Robert Marlow seit gut 30 Jahren umschreiben und dies dann auch noch ohne zu übertreiben! Nach den beiden CD-Veröffentlichungen im zurückliegenden Jahr´2013 und seinen musikalischen Ausblick in „The Future“, gab es von Seiten der Fans viele Anfragen und dementsprechend auch Anregungen in Bezug auf eine Vinyl-Veröffentlichung von Robert Marlow. Das Management seines Labels Electro-Shock-Records machte sich Anfang 2014 auf die Suche nach geeigneten Partnern um diesen Wunsch der Fans gerecht zu werden und fand in dem Experten-Team für Vinyl um Frank Maier von Vinyl-On-Demand einen Juwel in Sachen Vinyl-Veröffentlichungen…die sich in der Szene schon eine sehr gute Expertise erarbeitet haben mit Vinyl-Boxen von Laibach, über Data-Bank-A, Psyche bishin zu Rational Youth!
Man wurde sich schnell einig und entschloss sich „The Blackwing Sessions“ (E-Shock-CD 008) die im Jahre 2012 erstmals den Zugang zu den verschollenen Demo-Material von Robert Marlow aus der kreativen Produktionsphase mit Vince Clarke (ex-Depeche Mode, Yazoo, Erasure) & Eric Radcliffe auf Vinyl zu bannen, aber damit nicht genug…man bekam sogar noch die Freigabe für 3 x exklusive „Extended Versionen“ seiner Klassiker „No Heart“ , „The Face of Dorian Gray“ & „I Just want to dance“..die dieses einmalige Vinyl auf der B-Seite noch besonders veredeln!
Entstanden ist eine musikalischer Diamant, den jeder elektronische Musikliebhaber halten sollte in seiner Hand & auch in ferner Zukunft nichts von seiner Strahlkraft einbüßen wird!
Die Vinyl-Veröffentlichung ist zertifiziert & limitiert auf nur 500 x Exemplare.
Die ersten 100 x Exemplare kommen im knalligen rot daher und die restlichen 400 x Exemplare
im typischen schwarzen Vinyl!
It‘s been nearly six years since the release of „State Of Limbo“. The last full length album from Adam before he started work on his successful side projects „Traversable Wormhole & ADMX-71“.
In around the start of the Millennia. Adam was one of the first and very few producers & dj‘s to cross pollenate the sounds of Industrial and EBM music into techno music. Branding his style as Industrialized Techno. It was a move that went against the grain to what was popular in techno of the time. The harder edged styles of techno music which saw its heyday in the mid 90‘s became entangled in loop mode. Continuing to exist more for functionality purposes then for exploring and developing creativity. The genre became redundant and would pretty much cease to exist with the rise and popularity of the much softer & slower sound of minimal techno.
Adam refused to conform to this light weight based sound which had now taken hold of the techno audience. Instead he would become actively involved within the Industrial/ EBM music scene by way of production, gigs, label owner and event organizer. On the production side he would go on to record three full lengths into the end aught‘s for well respected Industrial based music labels.
At the end of the decade a new generation of techno lovers emerged with an interest in harder and rugged techno sounds. Adam already having success with Traversable Wormhole took note to the changes taking place. Pushing his signature Industrial sound further on this fast growing audience with several singles on various labels. As interest in this style continued to gain popularity, Adam would finally start receiving accolades for his pioneering efforts. Including from his peers from the earlier years who often slighted his switch over to an Industrial/EBM sound back in those dismal and boring days of minimal techno .
Enter the present, Adam has spent nearly a year crafting his latest full length excursion. Aptly entitled “Irreformable“. His latest endeavor is sculpted in innovative sound design and mixed in full dynamic range. Spanning a theme of diverse styles from start to finish „Irreformable“ refuses to reform or conform to commercialism. The term “All killer no filler“ applies here.
“Interchanges” opens the album with a crunchy bassline and an array of hi-hats building tension as the track develops. Many of the albums tracks are peppered with short vocal samples and spoken phrases which add to the atmosphere and energy as the album develops. We hear this in third track “Binary Possession” with its layers of detuned synth noises and whispered Adam X vocals and in “Sheer Insanity” which is filled with sweeps and noise, combined with an unnerving vocal. Title track “Irreformable” comes full of noises reminiscent of a factory boiler room, chugging along to the noise of broken pipes and alarms, backed by an underlying snare drum and repeated spoken phrase. The latter half of the record continues to build on the overall tension and evokes an almost chaotic feel it. Irreformable is a refined industrial sounding album that broods with dark energy that twists and turns as Adam X takes us on a journey of sound.
File under Industrialized Techno, Rhythmic Noise , Futurism, Purism, Desolation.