Letzte Zuflucht
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A1: break into - wintermute
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info
We used to order at Midiwar (nowadays digital/net) regularly and thought that maybe we could have our own music
distributed as well there, just as the society suckers did.
So we sent Joel a copy of our first demo tape (what became Orange Socks 11) and were quite lucky as he
just kicked of his new label Kool.Pop and thought a Karl-Marx-Stadt double start would be cool.
So we sent him a second tape and soon afterwards the record was compiled.
However, DJ Scud managed to "steal" cat.nr. 12.002 from us, although it was released bit later ;)
The songs are were made with ScreamTracker 3.2 or Impulse Tracker 2.14 and did sometimes still contain 8bit samples.
This e.p. has been repressed and ended up at 800 copies. Some are still available out there, check my links or ask google.com.
reviews
>Stevvi (C8) wrote:
I'm assuming this is a split EP as it sounds as though the 2 sides were produced in different places and I know (I think I know!)
2 different producers were involved... there's comfort in safety....which, with my continuity hat on, brings me nicely to what this record is about... almost. You can tell by the bullshit that I'm already talking that I'm having trouble nailing this fucker down but here goes:
Safety. Side 1 has 3 trax, of which the first 2 are the cutest most wonderful things on earth.
Dark, fuktup broken bastards with melodic hearts of pure, but sad, sugar.
This is trance music for the deranged, you can lose yourself in the melody so easily unless you concentrate on the breakbeats and if you do that you'll lose yourself anyway.
"Atmospheric" is the usual word to describe this music but, once again, the words I know can't do justice to the trax.
The only thing wrong with them is the cut which is a lot quieter than anything else I'm playing at the moment.
The last track on Side 1 is not my thing. For me it is very average, utilising very average samples and sounds
and seemingly being hard and fast for the sake of being hard and fast.
It sucks a long 12" compared to the preceding 2 trax.
Side 2 is equally as good as the first! I was unsure at first as it doesn't have the same hook and I'm a sucker for something I can hum to (as my grandmother used to say).
Ermm.. anyway, it may be my dodgy ear/brain conection but the qualitity of sound on the B side is much better then other although it's still quite quiet.
The first track is just plain pleasant and a joy to listen to, breakbeat with a cute tune, kinda like a sorbet during a rich dinner (I am reviewing this straight after Praxis 32).
The second track is the kinda thing I can listen to all day long and not ever get tired of.
Bells a clangin', beats a breakin' and whoops a whoopin'... fuck... sorry.
It's another incredibly catchy trance inducing tune. Skin up, sit down, go with it and be prepared to totally chill out for the next one
coz it'll slowly massage your aching neck and ease your mind of any cares you may have. It's "nice"!
OK.. that may not be the most helpful review in the world but I've done my best. This probably isn't a record you'd play at a party but it's still a wonderful record.
It's a bleary eyed, 3.00pm and still no sleep from the night before kinda thing, but it deserves greater attention than that situation would allow.
It's a record you always wish you had when you're fed up with hard, banging, noisey, bastard dance music.
It's a record that you should own.
>Christoph Fringeli (Datacide) wrote:
A split EP that marks the 3rd installment on 12inch on kool.POP with Geroyche winning the soundclash:
distorted breaks collide with dark atmospheres opening in a slow paced menacing manner.
While the second track is overshadowed by a slightly ponderous bassline, the third rocks the house with energetic percussions and manic pace.
Wintermute is (as the name suggests) a more introverted affair with sometimes surprisingly light tones for kool.POP,
on the last track almost slipping into, erm, ambient territory, the monotonous second track with its more
sinister atmosphere being my favourite on this side.
>S.Y.D (l'ultime-atome) wrote:
Ces deux là sont issus de la nouvelle génération Est Allemande et à entendre leur groove de caillera buriné à coup de canettes, on se dit que Karl Marx Stadt (aujourd'hui Chemnitz) doit trop respirer le bonheur pour qui y fête ses 20 ans en 1999. Une ambiance un brin sordide, en quelques sortes. Pas ou peu de breakcore furibond pour exprimer cela : les six titres ici gravés jouent plutôt la carte du hip hop plombé, chaloupant maladivement entre le saturnisme de Scorn et le tétanos contracté par Techno Animal.
C'est ainsi que « break into » tourne sur ses propres traces avec hébétude tandis que s'écrasent et se brisent des couches rythmiques chargées de basses nocives et de parasites électromagnétiques. C'est bien cette compression sonore, aspirant à l'irrespirable qui se prolonge sur « roter himmel », au profil déjà nettement plus agressif. La rythmique, comme passée sous le rouleau d'une casse automobile, se démembre dans un fracas grandissant. Le tout soutenu par un kick à piston assez puissant pour fendre le vinyl. Même en coupant le son, on sent le vrombissement du diamant crapahutant dans cet amas de ferraille et de camboui comme cherchant à s'y perdre. Un must. « All kinda noise » vient alors clore la face de façon bien speedée : Les samples semblent sortir d'une tentative en apesanteur des Astronautes Anonymes, tandis que la section rythmique s'excite, couplant une séquence concassée avec des kicks d'obédience techno, façon Sycomor, par exemple.
Le succès du E.P. se trouve en face B avec « game over », démarrant hip hop pour se muer très vite en breakbeats acrobatiques, le tout sur un gimmick syncopé signifiant l'urgence de se jeter dans la danse. Suite à cette courte remontée à l'air libre, on est vite rattrapé par la pesanteur de « sunset glow », sonnant littéralement le glas sur fond de groove lancinant, jusqu'au Seppuku lors duquel le rythme se prend les pieds dans ses propres tripes. Impressionnant. C'est le moment que nos deux caïds choisissent pour relâcher d'un seul coup la pression : « anastatic », dernier track du E.P. est aussi le plus léger, une sorte de dub de lendemain de cuite, faisant un peu l'effet d'une latte sur l'inévitable joint resté à traîner dans le cendrier. Esprit embrumé garanti.
Kool Pop : ni frais, ni serein, voilà du son pour passer le cap des premiers bains de soleil printanier sans y laisser sa conscience
>Deadly Systems (USA) wrote:
Moody ambience laid over ruff breakbeats creates an atmosphere of disturbing discontent on four of the six tracks represented on this dynamic piece.
Pure aggression comes to the forefront on the lone 4/4 hardcore track before ambient bliss soothes away any sense of angst.
>History of the Future (USA) wrote:
New release from Berlin's fabulous KoolPOP label is a 6 track split between 2 youthful fellows who like dark de Babalon-esque atmospheres,
beats, noise & lots of it!
"All Kinda Noise" is one of my favorite tracks of the year so far.
>TNT (France) wrote (translated by uht/saoulaterre):
3 tracks per side, changing beats, sometimes mellow, dreamlike or figthing, in a sometimes very cold wave atmosphere,
from flying hardstep to speedcore(A3), broken by a ride in lounge classic jazz who get poisoned
(barked roses flying in the air, piano, cocktails and service ladies too)
and the "koutatoutcha toutoutcha" fog on slow medium saturations, even synphonic.
>an unknown author (seen at various mailorders) wrote:
Complex beat structures meld with IDM related digital doomcore that tears a line somewhere betweeen Autechre and digital hardcore hero
Christoph de Babalon from these two teenaged phenom producers from Germany. Six tracks wild and gloomy.
links
KoolPop
Datacide
Deadly Systems
History of the Future
TNT
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