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26—01—17
26—01—17
PHNTM105
purchase: phantom-records.blogspot.com
ÖPNV haben sich zurück entwickelt. Aber nicht im Sinne der Comic-Figur, die mit den Hammer eins auf den Schädel bekommt und sich dann in die Hose scheißt, sondern im Sinne einer Berliner Post-Punk Band, die mit einem Auge die band-interne Fluktuation ratlos beobachtet, während sie mit dem anderen Auge das großstädtische Treiben Berlins verarbeitet und das Gesehene und Erlebte mit Händen und Worten auf selbst-installierten Drumcomputer-Beat in avantgardistische Kunst umsetzt. Ich habe +4917635713990 angerufen und wollte die frohe Kundschaft bringen, dass ÖPNV ein neues Album veröffentlicht haben, doch auf der anderen Seite der Leitung wurde mir gesagt, ich solle ÖPNV am Arsch lecken. Sie waren mir einen Schritt voraus.
ÖPNV machen rudimentären Post-Punk im weitesten Sinne, mit gefährlichen Bass-Lines und Drumcomputer. Oben drauf kommen 2 Tonnen verspuhlte Synthesizer und U-Bahnfahrer-eske Ansagen, die als Gesang getarnt wurden. Dekoriert wurde das ganze mit scheinbar-gestohlenen Kinderinstrumenten und Samples aus den Tiefen des Herzens des Berliner Untergrunds; der U-Bahnen, den Anrufbeantworter und des Nachtlebens. Mein Tipp für Besucher*innen unserer geliebten Hauptstadt: Such dir dort keine Freunde, bleib lieber zuhause und hör dir die neue Platte von ÖPNV an! (Max Mustermaen)
26—01—17
26—01—16
A young man hears a chance phone call telling him that a nuclear war has started and missiles will hit his city in 70 minutes.
Miracle Mile is a 1988 American apocalyptic thriller film written and directed by Steve De Jarnatt. The film stars Anthony Edwards and Mare Winningham. Its plot depicts the panic surrounding a supposed doomsday brought on by a sudden outbreak of war and its oncoming nuclear holocaust, taking place in a single day and mostly in real-time. The title is named after the Miracle Mile neighborhood of Los Angeles where most of the events take place.
A compilation gathering a cross-section of early gospel choirs and vocal harmony groups recorded between late 1920s and the mid-1950s – a period when spirituals & jubilee traditions merged with blues, jazz and early rhythm and blues, providing the musical routes for the coalescence of the civil rights movement born out of the black church. In the modern world these perennially vital recordings provide a fitting tonic for the near-dystopia we find ourselves living through.
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1) All these tracks are a result of Bogdan asking AI to make an EDM album.
2) These tracks originated in a desperate bid by Bogdan to crack the lucrative mood / chill / coffee / gym algorithmic playlist market.
3) All of these tracks were commissioned for a Tesla infomercial but rejected when Elon Musk heard them.
4) The music on this album is over ten years old.
5) The music on this album was made in a furious weekend of creative inspiration in early 2024.
The QR code on the cover takes listeners to an ever-evolving page on Bogdan’s website which may delve into some of these theories in more detail, or ignore them completely.
We leave you with Bogdan’s text in the booklet that accompanied Rave ‘Till You Cry as the closest we may ever get to some kind of logical reasoning:
“Burn the damned art labels. Ambiguity is wonder. Information is an affront to expression, a death knell to spontaneity. For if an explanation is required, then a connection has failed to be made. Art should be like an overtone, resonating invisibly with your history to form an ethereal experience. Either it hits you or it’s wrong time, wrong place. To hell with the dawdling interviews and vanity shots. One turns to music precisely because it least resembles what’s in the mirror. Put away the arrogance and pride, and boast and bias. With each word uttered, your mystery wanes. Your shimmer dims. In my nostalgia, your light show is drowned out by the ricochet of soundwaves. Art is best when all else is drowned out. Black as though the moon forgot to come out. Let the night cover my flailing humanity like a veil. Gangly arms tangled, feet aflutter, yet all but silent against the din. This is not an escape. This is me screaming, happily, inside, out through my fingertips. This is my beck and call. Carefully assembled to drw forth some other form of you. May we partake in this moment together, for just a little longer.”
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26—01—01
Aktuelle Stunde vom 20.08.1986
Interview mit Dynamic Duo
Interview mit Headbanger
Interview mit Raubkopieren
Interview mit Hans Joachim Krusche / Ariola Soft
Interview mit Michael Aust / Ariola Soft
Done by Rudi of SSr / Vision Factory