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24—12—07
Schlammpeitziger – Meine Unterkunft ist die Unvernunft
Schlammpeiziger, who had previously only been known to us for his top hits and T-shirts, burst upon us like a wild boar in search of affection in the middle of the coronavirus lockdown. He nested in our fully vaccinated home, drank our Eversbusch, ate from our plates, slept in our bed (wait – wrong fairy tale) and repeatedly urged us to organise egg runs with his testicles (after some contortions, we gave up trying). Childish faecal humour, far-fetched obs(t)enities, juicing, a desire to dissolve, composting of thoughts. In excesses of lack of concentration, the chains of associations curled and meandered like Jo’s famous curlicue drawings. Every evening, after we had forcibly levered him out of our flat, he would ‘walk’ home to put together very unique , dreamy pieces. In the blissful brainfog of those days, for example, ‘Handicapfalter’ was created, for which the congenial °Bär° made our flat into the corresponding video.
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Among other quirks of the little gut-breather, we were fascinated to observe his phobia of literature and books. Just hold a printed page in front of his face for a few seconds and he writhes on the floor crying. A level of phobia that only my own laughable disgust and fear of writing myself can compete with. Jo shudders at the thought of reading sentences that build on each other in a meaningful way, and I shudder at the thought of having to write them down because I have something ‘to say’. A certain affinity cannot be denied. We are much, much more pleased by snatched-up, misunderstood or misheard snippets, hollow but unforgettable phrases, the diamond stoner humour of our ancestors. ‘From one turn/ I stop/ to walk on/ in all directions’ (as it murmurs in “Selten Gesehenes”), describes the process quite nicely. After all, Jo is ahead of me in that he can simply break off every tedious sentence and let it fade into music.
Back to the essentials. It’s five to 12 for the Schlammpeitzger (scientifically Misgurnus). The shy goby is under threat from climate change, so perhaps this vinyl is the last expression of life of the specimen that we have been allowed to look after sporadically since the lockdown phase of the corona epidemic. And it’s turned out pretty. Even the aesthetically gutted like me and my beloved husband can THINK about sex when they see these sublime, silvery fart bubbles! It’s tender as a fart. Make love!!!!!
Schamlose Dubtöse: Do you have words. Do you have sounds. Impertinently harmless piano tinkling turns into tugging zounds of increasing severity. It is not dubbed (would be unethical) but dubbed. Sounds dubby, as you can imagine. (Instrumental)
Loch ohne Licht: Possibly vaguely misogynistic. Could also be that there was simply no light in the hole. The sparse snippet of lyrics (‘du biss mir och esu e Loch ohne Licht’) sounds like one of those stroppy Cologne replicas whose anti-charm is hard to resist. Buzzing and grooving.
Selten Gesehenes: Casual. Confident. Soft. Fragrant. Thoughtful but lively.
The Arabian Vietmanese (instrumental) is probably the food we trust in the case of the munchies we get when we watch other people smoking weed. Transcendental and psychedelic states casually permeate the humdrum of everyday life.
Klar Knuspermarsch: Marches and floats at the same time.
Klebt Runner: Soundtrack to the cult film of the same name. Tyrrell Corporation loosens up.
Ungenutzte Sätze: Stinks somehow, because there is dangerous proximity to comprehensible and then also critical statements here. Instead, the sinister electronic cheapness of Carpenter soundtracks can be heard.
Parzipan: Actually, the time of origin was not so roaringly funny and simple, but for Jo it was also a gruelling, slow letting go of his brother. Here he sends him off with a gentle nudge into the vastness of a hopefully happy beyond.
— Clara Drechsler
24—12—07
Reflections of Evil is a highly personal psychedelic collage that utilizes 16mm film, video, and found footage to comment on the hopelessness of society.
By David Packard.
24—12—06
Six years after their “Lagoona” single, and only one year after the American label Absolute Kosher republished their first two works on vinyl (as “Mangooona”), the world is ready for *eleven* new Brabrabra tunes!
Those who have followed the Berlin-trio since the beginning already know how the three Bs can easily switch from pop to punk, from ballads to dance, from bossa to baroque rock without compromising their own brand of “universal pop” one inch.
“Danger! Danger! Danger!” is a new chapter. More complex and articulate, their songwriting has become more ambitious, yet keeps all the catchiness and freshness of their very first works.
This album is another journey into their own unique world, where they sing about the joy of dancing, of meeting someone special, or letting go of someone special, the melancholy of watching the peach tree bloom and fade.
Brabrabra are a Berlin based girl group. Susanna, Saiko and Federica are three good friends that started to play together in Federica’s wohnzimmer just for fun. Their lives were weird enough that they could write songs about it, with irony, cynicism and tenderness together.
Brabrabra had their debut when Saiko’s brother, Tatsumi, unknowingly organized a gig for them in Feb 2012. After that, BBB played many shows, among them Torstrasse Festival, Fusion and many more and tplayed with Maher Shalal Hash Baz, R Stevie Moore, Bodega and CHAI among the many. Their debut album “Mango” in Dec 2013, was also Kitchen Leg records’ first release. The 7′‘ “Lagooona” was released in 2018 just prior a Japan tour. IN 2023, Absolute Kosher published the compilation “Mangooona” containing a remastered version of their first two album. And, here, some words of True love: “Playful, like 1979. Playful, like crafting beautiful sensitive slightly ironic pop music doesn’t have to be a chore. Playful, like Electrelane. Wild, like Tobi Vail.” (Everett True on Collapse Board, July 2014).
If you’re already aware of Rüdiger Lorenz, chances are you washed ashore on ‘Southland’, his cult kosmische curio graciously reissued by the ever-benevolent Bureau B in the middle of the last decade. Either that, or you’re one of the few hundred electronic music obsessives who encountered his work the first time round, giddily grabbing up the eighteen cassette, vinyl and CD releases the prolific part-timer delivered DIY style on his Syntape and Syncord imprints between 1981-1998. I say this because despite a
catalogue both copious and singular, and a renewed interest amongst the switched on and tuned in since his premature passing in 2000, Rüdiger’s reception has remained sadly subterranean – another example of audio inequity. As such, it falls to ‘Synrise’, attentively assembled by Rüdiger’s son Tim, to shine some rightful light on this unique talent.
2 x 12″ Vinyl
140g black vinyl
Labels 4c CMYK / Inner Bag, 180 gsm sulphate board, 4/0c CMYK, matt dispersion varnish / Gatefold 6 mm, 350 gsm GC1, 1/0c black, Matt anti-scratch laminate
24—12—05
Enxin/Onyx, the duo of Nicky Mao/Hiro Kone and Tot Onyx (formerly group A), joins Other People with their debut album “In Rupture,” capturing the same mesmerizing energy for which their live sets have become known.
“In Rupture” is not painless but in rupture lies possibility. The elasticity of this time pitching us across unknown terrain, revealing new potentialities, eclipsing static being. Whether in breach, collision, shimmer or severance, Enxin/Onyx explores these as occasions for transformation. Peeling back the layers through discord and harmony, exciting the inversion of expectation, towing the listener to depths and back up again to illuminate the senses. At times metallic and feral, at others murky and sharp, each song serves as an offering for all that is in rupture; body, spirit, land, ecosystem.
The opening track “A Void” calls to mind some mutation in its mechanical ecstasy, but for what purpose remains unknown. Even in the near moments of stillness, “Needle Pierces the Threshold” breathes a forceful disquietude. Tommi’s vocals pulling the listener down into some subterranean madness, to unravel upwards from all sides, flooding the once parched landscape. In “Embers Kiss the Eye”, all of time emerges in one moment, compelling the subject’s gaze towards a new horizon. The album follows its subjects through exile, exhumation and discovery. Through this process plates shift, fissures are revealed and what once appeared to be indomitable absolutes crack, pointing towards their inevitable collapse. To be in rupture is regeneration, to be in rupture is to return.
24—12—05
Across two mammoth, critically acclaimed compilations Berlin-based Musician and DJ Curses’ Next Wave Acid Punx series has shone a blacklight onto the darker side of club music. Featuring tracks from the 1970s right up to the present day made by both musical legends and up and coming talents alike, Curses has expertly threaded the needle between Experimental Pop, Post Punk, EBM, Electro, Techno and more to produce a stunning alternative history of clubland.
But, as every good digger knows, there’s always more gems to uncover and so once again Curses has crowbarred open the electronic music’s vaults to bring us four more long forgotten tracks, each one “Revamped” for maximum Dancefloor effect with Curses himself providing 2 edits alongside precision tooled reworks from Melbourne based Stockholm Syndrome and NYC’s Andi.
First up from Curses is his Revamp of Deborah Sasson’s (Carmen) Danger In Her Eyes, a curio from the wildly inventive mid late 80s that saw the American opera singer collaborate with German producers MCL (MicroChipLeague). A European chart topper on its original release, it’s long since languished in obscurity but in Curses’ hands is now ready to once again add more than a touch of melodrama to dancefloors.
For his second edit, Curses reworks J.W.B. Hits The Beat’s House Fatale, having previously taken a razor to their Body On Body track on Next Wave Acid Punx DEUX. Originally released in 1988, House Fatale is a classic example of just how fast electronic music was evolving back then, bringing together elements of Electro, Freestyle, House and more amongst a riot of samples, all elements Curses retains whilst nudging the tempo and giving the track a harder edge.
Sticking with the same Westside label that gave us House Fatale, Stockholm Syndrome turns his attention to Voyou’s Houseman. Or, as it happens, the 1988 edit by LA’s Razormaid that first honed its edges for club play and merged the title track with its b-side. The resulting edit rejuvenates this classic slice of late Cold War club music, its pounding beat, portentous strings and the repeated overdriven vocal refrain of Germany Calling perfect for basement clubs today, in Berlin and beyond.
Finally to complete the EP we have sample-heavy 1988 cut Not Leaving Without Jerry by Belgian duo Mark Borgions & Jo Lijnen aka Philadelphia Five. Originally produced by Luc Van Acker, (better known for his work with the likes of Front 242, Ministry and Revolting Cocks), the track has been handed over to NYC producer Andi, who ups the tempo and hones in on the rhythm section, putting the focus on the staccato drums and throbbing bass line the focal point now and creating a perfect soundtrack for sweat lashed bodies.
Together these four tracks revisit a moment in clubland when the rules were still being written, as Curses explains. “This was a pivotal moment where all genres were still evolving, figuring out what sounds would eventually become staple elements of one another which gave it all this naive, innocent and punk feel. You’ve got Trance arpeggios, those heavy snares of early EBM, chopped vocals in the style of Chicago and NY formative House music all mixed with Electrofunk and percussive Latin freestyle grooves. A time when we were dancing without boundaries, something very much in the spirit of Next Wave Acid Punx.”
24—12—05
Please help us fund a Versioning pro-dubbed cassette release by making a purchase of this release or purchasing our entire digital discography!
Versioning is Danielle Milam from Columbus, Ohio
Support the artist here! Please and thank you.
versioning.bandcamp.com
seatone.bandcamp.com
youtube.com/user/kosmotropics
sea tone was a huge inspiration for me in starting the label way back when (2010 – 2012ish), and Versioning truly does feel like a further development and sacred refinement of many of the same ideas and sonic explorations, good for your spirit and good for your head. To get the distinction to officially have Danielle on board here at Ingrown is something I’ll treasure forever, and a definite full circle moment for me as we prepare to enter Year 15.
Thanks to Danielle for years of inspiration and incredible music, and special thanks to our mutual friend Dug Alcedo (First Dog) for putting us in touch!
Please join me in officially welcoming Versioning to the Ingrown roster!
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Men’s choir from ‘Under the Tree’ — Prince Istari meets Erik Satie Inna Heavy Dub Encounter – Gnossine Dub No.4 — Diana Trask – Musical Aboriginalia – Jabbin Jabbin — Graham Simpson – Star In A Suitcase — Aphex Twin – Goon Gumpas — Thommy presents the complete Fuschimuschi ABC – Beauty — Blockhead – Mississippi (Instrumental 1) — Im Meisenbusch — Garagen Uwe – Low Lights — Der Garten der Finzi Contini# — Gerhard Heinz – Jump Balloon — Techno Viking – Age of Sincerity — The Hangmen – The Girl Who Faded Away — Giovanni Di Domenico with Alexandra Grimal & Eric Thielemans – Echolaia — Litronix – Stepping Up — Wolf Lehmann – Fossil — Arne Zank – Gib mir keine Hoffnung mehr — Graham Simpson – Notre Dame — Ame Bibabi – Chin up High — Craven Faults – Thwaite Watermill — The Advent – Quadflux — Marlene Dietrich – Wenn ich mir was wünschen dürfte — Daniilaioi Choir – Theoteke Parthene — We are ATARI — isq – Hypnotic (slowed) — Doug Engelbart’s presentation at the Fall Joint Computer Conference in San Francisco, December 9, 1968 — Penthouse Suite – Memory Book – 03 IMG_0064.jpg — Pet Shop Boys-Rent (Dominatrix Club Edit-extended.1) — Chris Irmler – The Internet will break my heart — Michel & The Haitian Stars – Combite(Corvee) — La Paloma Ohe, einmal müssen wir gehen.
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