Category: Music (Page 2 of 3)

Music/ Art: “Filip Gheysen. Tabletop Guitar”

June 14, 2013 / / 0 Comments

A short while ago I was asked by Belgian musician and visual artist Filip Gheysen (born 1979) to write a text about his work. This piece has now been published in a small book that accompanies a cd and a dvd, containing music and short films of Gheysen. It is well designed and is brought out by the Ghent-based label Silken Tofu (you can buy the package for €20,00 at the label’s website).

Gheysen’s music is conceived by using an electric guitar placed on top of a table and a wide array of effect boxes as well as a laptop. With this setup, he wonderfully manipulates guitar drones to create mesmerising soundscapes. In his visual work he most often makes use of graphic techniques. In the washed out fields of toned-down colours which he puts on paper or canvas, blots and lines appear as subjects in a dream-state. Recently, the artist began combining his two preferred art disciplines into slow moving videos with a typical soundtrack of Gheysen.

You can check out more of Gheysen’s work at: filipgheysen.tumblr.com
You’ll find Silken Tofu’s website at: www.silkentofu.org
You can read my integral text here: filipgheysen.tumblr.com/about

Music: Popperola’s Death Metal Album Intro Mix

May 18, 2013 / / 0 Comments

I have always been intrigued by the intros that death metal bands use on their albums. Throughout the history of the genre, beginning in the late 1980s, an album intro has become an almost standard feature to introduce the listener to the brutal, horrific atmosphere of the forty-or-so minutes that are about to follow. They pull you into a musical narrative of pain, fear and suffering. Lots of suffering. Hence the screams, the rattling of chains, the death bells, the low-toned and deep drones, the satanic voices, the sound of wind and of raging storms, the pompous synths and the samples out of old horror movies.

Sometimes there’s a relationship with the album’s content or with its title. A clear example of this is Bolt Thrower’s intro to “Realm of Chaos” which serves as the beginning of a tale of a total war between worlds. For “Necroticism – Descanting the Insalubrious”, Carcass put in an intro that is part of an array of short fragments that also function as intermezzos, thereby creating a certain coherence on that album. Often, bands also created instrumentals as intros like Unleashed did for their “Where No Life Ends”.

So I started assembling quite a few death metal intros and ultimately made a mix of them, as a kind of homage. You can find the result here.

Popperola’s Death Metal Album Intro Mix featuring:

1. Bolt Thrower: “Realm of Chaos” (Earache 1989)
2. Marduk: “Panzer Division Marduk” (Osmose Productions 1999)
3. Sentenced: “Amok” (Century Media 1995)
4. Disharmonic Orchestra: “Expositionsprophylaxe” (Nuclear Blast 1990)
5. Grave: “Back From The Grave” (Century Media 2002)
6. Sentenced: “Down” (Century Media 1996)
7. Nocturnus: “The Key” (Earache 1990)
8. Obituary: “Cause Of Death” (R/C Records 1990)
9. Darkthrone: “A Blaze In The Northern Sky” (Peaceville 1992)
10. Gorefest: “Mindloss” (Foundation 2000 1991)
11. Sinister: “Cross The Styx” (Nuclear Blast 1992)
12. Grave: “As Rapture Comes” (Century Media 2006)
13. Morbid Angel: “Blessed Are The Sick” (Earache 1991)
14. Benediction: “Subconscious Terror” (Nuclear Blast 1990)
15. Xasthur: “A Gate Through Bloodstained Mirrors” (Profane Productions 2001)
16. Edge Of Sanity: “Nothing But Death Remains” (Black Mark Production 1991)
17. Sinister: “Aggressive Measures” (Nuclear Blast 1998)
18. Morgoth: “Cursed” (Century Media 1991)
19. Suffocation: “Suffocation” (Relapse 2006)
20. Carcass: “Necroticism – Descanting The Insalubrious” (Earache 1991)
21. Shining: “VII – Född Förlorare” (Spinefarm Records 2011)
22. Unleashed: “Where No Life Dwells” (Century Media 1991)
23. Skitliv: “Skandinavisk Misantropi” (Season Of Mist 2009)
24. Shining: “V – Halmstad” (Osmose Productions 2007)
25. Immolation: “Majesty And Decay” (Nuclear Blast 2010)
26. Deicide: “Legion” (R/C Records 1992)
27. Possessed: “Beyond The Gates” (Combat 1986)
28. Xasthur: “To Violate The Oblivious” (Total Holocaust Records 2004)
29. Sinister: “Creative Killings” (Hammerheart Records 2001)
30. Entombed: “When In Sodom” (Threeman Recordings 2006)

Review: Ackin’ feat. M.Akamatsu – “Tembezi”; Bell Towers – “Tonight I’m Flying”; Lionne – “Composure”

March 18, 2013 / / 0 Comments

Internasjonal, one of the labels spearheaded by Prins Thomas, aims at quality house and has recently hit the target twice with splendid releases. First there’s “Tembezi” by Ackin’ featuring M. Akamatsu. I must admit I don’t know a thing about the artists but the original track is simply gorgeous. It’s a deep house tune with a typical afro house beat, warm layers of sound, an African chant and lovely, elaborated pieces of jazz piano on top. Upon hearing it the first time, I was glad this kind of very musical house is still being made with conviction.

The Norwegian disco prince himself made a remix that is slower and more dreamlike. While he kept the piano parts he also added a live guitar and live bass. As a side note, a few weeks ago an odd Norwegian national obsession got media coverage all over the world: the ‘National Firewood Night’ celebrated the art of making a fire with wood with a twelve-hour long theme night on television. No less than twenty percent of the population watched it. Only, the show brought forth a discussion about whether barks should be placed face-up or face-down and because it truly is an important matter to most Norwegians, it kind of divided the country. Whatever the nature of that debate, I can perfectly imagine sitting with a group of friends around a fireplace in a cosy setting while communally enjoying this version of Prins Thomas. Marcellus Pittman on the other hand puts in some of his trademark impassionate synth drones and makes “Tembezi” sound deeper than Sognefjord.

This cherishable record was followed by an ep by the Australian duo Bell Towers, on which you’ll find two original songs as well as remixes by Idjut Boys of the title track “Tonight I’m Flying”. The latter has some good elements such as the wobbly disco slabs and the overall space disco mood but lacks a good structure that keeps one’s attention all the way.  The London-based, famed freak disco dons Idjut Boys do what they do best: their “Bell End Dub” is a slow-paced trip, induced with auditory hallucinogens while the “Idjut Boys Seepage” is another kind of a dub where parts of the original ooze through to form a most ecstatic listening experience – brilliant!

Further, I’d like to dwell on a current evolution in electronic dance music. That is, for some people house music – and especially its deepest variant – has returned in full glory though others will claim that it never vanished. One can anyway argue that a younger generation has learned to love it and started producing top house tracks at that. Some do this in a manner that adds a few interesting elements to the already existing basics while there are also producers that seem to go for an identical duplication of earlier house styles.

The fact is that this is actually neither new nor limited to dance music. For instance there are at this moment quite a few rock bands that reproduce the late 1960s, early 1970s hard rock and doom genres. There’s a slight difference in production and the same mainly goes for all electronic ‘retro’ waves. Here, it is substantially a rather important distinction since software emulates the hardware from around the beginning of the 1990s so that it is relatively easy to produce the same kind of house from that period.

Personally I never held much to the idea of newness in contemporary arts. Not that I’m utterly pessimistic about culture in our day and age but since the first decades of the twentieth century, with the introduction of the ready-made and found sounds, everything goes and up to this point almost everything has been used in creative processes. In my opinion, this doesn’t mean that artists cannot use the same building elements in a creatively fresh way. But somehow I think one can always make references to older forms when considering present-day cultural expressions.

As for these retro sounds, I reckon they come into existence because of multiple reasons. For example, a young artist may discover an old genre, takes a liking to it and will try to copy it – which is a valid part of an artistic learning process. Or it might be that someone feels a certain genre has been forgotten for too long which as such is a basically nostalgic move.

It may even be that a younger artist is partly or more or less oblivious to previous sounds that resemble their own; I recall an interview with twenty-something dj and producer Maya Jane Coles in relation to her podcast for the website Resident Advisor, where she is asked about a possible influence by MK and the early 1990s house sound and where she states: “To be honest I wouldn’t say MK was a specific influence as I was only familiar with a couple of tracks of his [..]. Obviously after the comments I checked out more of his stuff I can see why people would make the link. I respect his work a lot and can see that he’s definitely carved a strong sound in early house. […] Even though I’ve never been a hardcore follower of ’90s house music, (mainly because it was just a little before my time) I’ve always liked and respected the early sounds of house. I appreciate the simplicity yet effectiveness of early dance music […]”. Negatively, copying previous work or genres can simply stem from a lack of inspiration.

In any case it is quite hard to evaluate such exploits without knowing the motivation of the artist but I do not deem them less valuable per se. And to make this debate concrete I’d like to put forward a release by a young producer from Munich called Lionne. His latest ep “Composure” on Filigran Records features music that is clearly inspired by and copied from the New Jersey house sound of for instance David Camacho, 95 North and Mood II Swing. Coincidentally Lionne is a drummer just like John Ciafone, which is obvious from his beat patterns and rhythmic approach. His music is a flourishing, warm variant of garage.

But apart from that, there’s a more pertinent reference to New Jersey house. That is, the track “In And Out Of My Life” includes a vocal line of the same-titled track by Adeva from 1988, which is a true classic. As a consequence the sample is immediately recognisable but of course that’s not problematic at all; it has been used in several other songs as well, for instance one by Eric Prydz. Unfortunately I can’t help hearing the line going out of sync a bit after a short time, which spoils an otherwise fine track. In “Composure” Adeva’s voice appears again but cut in a different manner and integrated better. Turkish producer Ave Astra reworked this piece of full-on party garage into a deep dub wherein the use of the vocal is sparser. “Anytime” is Lionne’s best effort in my ears. It has a very catchy cadence and is better balanced production-wise. The whole ep is a good take on the said genre and proves that Lionne has potential but I only hope he’ll continue working on his own mode.

Ackin’ feat. M.Akamatsu – “Tembezi” is out since March 4th

Track list:
1. Tembezi
2. Tembezi (Prins Thomas Version)
3. Tembezi (Marcellus Pittman Remix)

Bell Towers – “Tonight I’m Flying” is out since March 18th

Track list:
1. Tonight I’m Flying (Original Mix)
2. Theme From Bamboo Musik (Original Mix)
3. Tonight I’m Flying (Idjut Boys Seepage)
4. Tonight I’m Flying (Idjut Boys Bell End Dub)

Lionne – “Composure” will be out on March 29th

Track list:
1. Composure (Original Mix)
2. Composure (Ave Astra Remix)
3. In And Out Of My Life (Original Mix)
4. Anytime (Original Mix)

Review: Conforce – “Time Dilation EP”; Vincent I. Watson – “Serene”; Lucy & Silent Servant – “History Survivors”; Elektro Guzzi – “Cashmere EP”; Dinos Chapman – “Luftbobler”

February 26, 2013 / / 0 Comments

Popperola has been quiet for a while. This was due to the fact that I was moving house but now I’m fully settled in my new home, it’s again time for some writing. So here are a few reviews of notable records (and more will follow very soon).

Firstly I’d like to mention a new ep by Dutch producer Conforce, a man glowing with great talent. On his recently released “Time Dilation EP” on Delsin Records you’ll find four high-quality techno tracks that represent four different takes on the genre. Opener “Embrace” is a beautifully worked, otherworldly piece, coming along as a quasi-archetypical example of deep dub techno. “Last Anthem” then consists of warm, subaquatic tones contrasted with high shrieking sounds and a few underlying melodic synth lines on a simple, even substratum of beat and hi-hats: a configuration aimed at a trance-induced dance. Melody has been cut from “Receiver”, a darker and more metalloid fabrication. Lastly, In “Nomad”, the consistent beat pattern has been replaced by a more complex percussive structure which forms the basis for a track that seems to convey an introvert yearning. Striking and moving, to say the least.

Now, I must admit that I’ve always been quite a fan of Vince Watson’s work which, as you might know, is a personal variant of classic Detroit techno with an accumulation of lush, harmonic lines and endowed with great melodies. The man recently was given the opportunity by Pyramids Of Mars to draw attention to a different aspect of his oeuvre. P.O.M. is a fresh enterprise of Matt Edwards (Radio Slave) and thus a little sister of his Rekids that seeks to combine an output of left field music with design and art. Since Watson’s music was used in “Mad Dogs”, a British television series on Sky1, the Scottish-born producer has set out to explore the combination of cinematic art and music further under his full name Vincent I. Watson.

The result is the album “Serene”, a collection of ambient tracks that indeed would go well with moving images. Seemingly, it is made with a similar modus operandi as Watson’s techno material: gradually well-chosen layers of sound are woven into a mesh of almost sublime splendour. The thrusting beats and percussion have evidently been left out but the usage of hardware that is typical for Detroit techno and early electronic popular music is still a basic premise. Also, the man’s talent as a piano player often comes to the fore more noticeably. Moreover, what connects this material perfectly to film and television is that it evokes a narrative structure including elaborated build-ups and fragments of tension release. In short, this is an album that’ll let you blissfully float in the vast territories of your fantasy.

At the present time the label Mote Evolver continues to deliver high standard, proper techno. A new release is due in a few days and is in fact a collaborative work of two producers on their peak, namely Silent Servant and Lucy. Their ep “History Survivors” contains two tracks of relatively long duration that reveal the distinctive treatment of noise and weird, industrial sounds of the first as well as the latter’s capacity to develop arresting arrangements. So in its length of thirteen minutes, “Dormancy Survivors” does not fail to keep attention focused, its storyline remaining haunting and edgy. “Victors History” on the b-side has a distinct percussive quality and is more hypnotic by nature. While bleeps and shrieks reverberate, some stretched synthesizer notes bring emotion into play. Anyway, it’s a superb record that I’d like to recommend.

Something of another kind is the work of the Austrian band Elektro Guzzi. They can be considered as the main protagonists of what is called live techno, by which is meant techno performed with real instruments, other than live sets done with hard- and software by producers. Elektro Guzzi’s merit is that they play exceptionally tight, so that the warmth and organic sound of their analogue instruments fall together with their mechanical precision. Often this brings to mind other styles that heralded techno, such as krautrock. Their latest ep, which will again be released by Macro and is produced by their compatriot and techno veteran Patrick Pulsinger, features three pieces or, to be precise two tracks and a reverse version of one of these. “Cashmere” itself is, well, live or not, a thriving piece with a certain drama that is as captivating as it is hot. The reverse version (on the B-side of the vinyl version) is just what it claims to be: the same structure but re-written and played backwards, which the band delivers as an equally great song. “Crack Fox” has a stirring quality, mostly because of the wobbling, repetitive guiding sounds that are topped up by short, drone-like horn touches and a guitar part that sounds similar to a new wave lick. Indeed, Elektro Guzzi once more made a record with a lively and warm sound and well-balanced in recording and production that proves their status.

To conclude I’d like to point out a remarkable release by Dinos Chapman, one of the Chapman brothers, a British visual art duo that, since the early 1990s, drew a lot of attention because of the shock value in their oeuvre. Mind you, this is hardly ever without purpose and they keep succeeding in asking relevant questions. To work independently from one another is very unusual but now Dinos Chapman has conceived a music album called “Luftbobler” (on The Vinyl Factory) full of weird and extraordinary electronic music. In several instances, this works quite well. I’d suggest you check it out yourself; you can find some tracks here, and you might as well read this interesting interview with the Londoner in The Guardian, where he discusses the idea behind the making of this album, his musical influences and the work he does with his brother Jake: www.guardian.co.uk/artanddesign/2013/feb/19/dinos-chapman-first-album-luftbobler.

Conforce – “Time Dilation EP” is out on vinyl since February 4th

Track list:
1. Nomad
2. Receiver
3. Last Anthem
4. Embrace

Vincent I. Watson – “Serene” is out since February 18th

Track list:
1. Hidden Behind The Eyes
2. Placid
3. Sagitaria
4. Re-Contact
5. Serene
6. Out of Reach
7. Celtic Beauty
8. Continuum
9. Abyss
10. Open Your Eyes

Lucy & Silent Servant – “History Survivors” will be out on March 4th

Track list:
1. Dormancy Survivors
2. Victors History

Elektro Guzzi – “Cashmere EP” will be out on March 3th

Track list:
1. Cashmere
2. Crack Fox
3. Cashmere (Reverse Version)

Dinos Chapman – “Luftbobler” is out today

Track List:
1. So It Goes
2. Whatever Works
3. Reaktorsnuhsnuh
4. He Has No Method
5. Smeyes
6. Where’s The General?
7. Pizza Man
8. Sputnik
9. Cool Operator
10. Luftbobler
11. Enrich Zann
12. Sun Lounge
13. Alltid

Review: A Guy Called Gerald – “How Long Is Now”; Shifted – “Razors”

December 12, 2012 / / 0 Comments

The year is coming to an end and perhaps the whole world too, on Dec. 21st. Perhaps you still have a small budget left after buying presents for your beloved ones, to spend on new music. Or maybe you still have to hand over your Christmas wish list to your relatives. Or you simply want to squander your last money now since the Earth will cease to exist in less than two weeks. Whatever may be the case, here are some suggestions.

The Italian label Bosconi, based in the beautiful region around Florence, has already released some prime records from quite a few top international artists. Their latest ep comes from none other than A Guy Called Gerald, a Mancunian by birth but he has lived in several other big cities such as Berlin. Really, I do not deem it necessary to introduce him to you, because in the course of his career (which span over a quarter of a century already), he has written music history. Indeed, if someone took it up to compile his memoires, he/ she would easily fill several hundreds of pages. But why commence such an affair, as Gerald Simpson is still very active in the scene? This three-track record again demonstrates his ongoing zest and his boundless experience.

The title “How Long Is Now” is taken from a drawing and inscription at a wall of the Tacheles block in Berlin, the famed building on Oranienburger Straβe housed by artists of all sorts and where Simpson had a studio. The structure has only recently been closed down. The same titled first track is soaked in deepness and perfect for the moment when dawn creeps in; its slow pace and pulsating sounds have the capacity to prolong the night vibe. A similar profundity and unhurriedness is present in “The Groove Of The Ghetto” though here Simpson has added typical house elements such as black vocal samples, congas and a guitar lick which work just right. Lastly, “202” seems to be more rudimentary though it is equally well-crafted. But it is the overt contrast between fat, low pitches and high tones that makes for an interesting and apparently scouring texture.

And if the Earth hasn’t blown up because of some Mayan curse, Shifted has made sure 2012 ends with a blast. Luke Slater’s Mote Evolver just brought out a new ep by this talented, London-based producer consisting of four expressions of pure electronic savagery. You can notice how the man has evolved in a more consisting and more distinctive direction, although his debut album (on the same label) from earlier this year already proved his potential. Shifted‘s tracks remind one of the works of the big names in British techno but they do have a particular individuality as well.

I do not say this unthinkingly. Listening to “Bloodless”, I could not help recalling productions from the U.K. from around 1998: it has a similar looped structure, rather uncomplicated beat pattern and metallic sounds on top. Moreover, it openly flirts with an industrial (let’s just call it warehouse-like) sensibility, which obviously makes it appropriate for a certain kind of techno venue. The beat in the opening “Razor” is in its turn more thudding; it substantiates an admirably efficient piece of hypnotic repetition.

All of the pieces can be played relatively slow to really fast. In the first case, the intoxicating effect will be pertinent, in the latter case these will be menacing mischief-makers. Think about it, the Mayan jinx may have come in the form of dark techno.

A Guy Called Gerald – “How Long Is Now” is out on vinyl since December 1st (vinyl) and will be out on December 24th (digital)

Track list:
1. How Long Is Now
2. Groove Of The Ghetto
3. 202

Shifted – “Razors” is out since December 10th

Track list:
1. Razors
2. Over
3. Bloodless
4. Trouble

Review: EDMX – “153 Mission EP”

November 27, 2012 / / 0 Comments

Now this is brilliant: a new ep by EDMX that takes me on a trip back twenty years ago! Ed Upton, as you might know, has been producing for more than fifteen years under numerous aliases but is mostly known as Ed DMX, DMX Krew or EDMX. Two features are prominent in his work, namely his versatility in regard to styles and genres, from classic electro over (booty) bass, pure techno and house to experimental electronic music and ambient, and his predilection for using analogue machines. The Dutch label Shipwrec has just released his “153 Mission EP” which, in turn, consists of four slabs of hardcore acid coming straight out of a real TB-303.

There’s something odd about this record because it’s most definitely old school in style and approach, nevertheless it sounds superbly fresh, as if this specific kind of raw music has just been (re)invented by Upton. Surely, the main reason for this is that it gets hardly played anymore nowadays in the average techno venue. But it is also because all four tracks are some of the best takes on acid you’ll have ever experienced. To quote a lame rock band: “Even better than the real thing”. This can undoubtedly be said of “What The…” which is a monster that‘ll spit fire over most dance floors. Its beat thrashes in a fast tempo while these well-known high-pitched acid sounds shred your brain to pieces.

And yes, I am very familiar with this kind of auditory havoc. I’ve devoured it since I was sixteen, when I went out for the first times in Belgian clubs such as Cherry Moon and Montini (where Stanny Franssen a.k.a. G-Force was a resident, among others). As it goes with one’s first contact with a certain music scene, it was extremely impressive and unforgettable. It stuck. This further explains why I’m so exhilarated by a track such as “Grab The Beat” with its simple 4/4 and rampant 303 tones. It evokes the darkness interspersed by stroboscopic lights and lasers as well as the wild enthusiasm of clubbers in those days.

But I must emphasise my point earlier made: this is only partly about sheer nostalgia. What’s more, EDMX has managed very well to twist together the vivacity, power, vitalism, excitement and fun of hardcore acid in this ep. And that, for me, is a great achievement. Get it and if you like to have it on old-fashioned vinyl, be sure to be quick because the pressing is limited to 150 copies.

EDMX – “153 Mission EP” is out since November 19th

Track list:
1. 153 Mission
2. Card Slot
3. What The…
4. Grab The Beat

Review: Sawlin – “Vault Series 12.0”; Sawlin – “Eviment”

November 19, 2012 / / 0 Comments

There isn’t much known about Sawlin – except that he’s called Ronnie, lives in Berlin, studied sound engineering, runs a studio and is an analogue machines freak. That’s about all the information we’ll get for now and that’s all that he considers relevant. The guy doesn’t perform in public that often and tries to avoid the media. It’s a commonplace in techno: artists who deliberately dwell in obscurity while drawing on the classic statement that the music should speak for itself. In the case of Sawlin this actually works out finely since his relatively limited discography is imbued with a true trademark style – one which is definitely dark and gritty.

Nowadays, it is noticeable that several techno artists seem to return to a sinister, industrial and rather hard variant of the genre. Instinctively one can view this given as a response to life in an age that is eclipsed by a worldwide economic and political crisis. It could also well be a reaction against the current state of things in the dance scene, which has been penetrated by the mainstream and by commerce, where the influence of club culture has decreased and where instead large-scale dance festivals prevail. These focus primarily on a bland and colourful escapism and on delivering the visiting flock an overall experience; the music as such is only a small element of such lived events.

These are just a few elucidations, but I think it is obvious that people like Sawlin attempt to deliver a kind of techno music that implies another form of diversion from the hardship of everyday life. It might be perceived as being more confrontational because it doesn’t veil the gloominess of our times, but represents it and exploits it as a tool for subversion. Hence the references a lot of techno artists now make to musical styles that had a similar strategy, such as punk and industrial.

Anyway, for Sawlin this is an inspiring and productive period –he is about to release two eps soon. The first will be the twelfth record of Vault Series, a label started by Berlin-based producer Subjected around two years ago and I must say its mission statement sums up my introductory thoughts nicely.

The first track, “Mandeltone”, immediately brings one into a sphere that is reminiscent of derelict heavy industry, including rusty tones and uncanny sound snippets which are set against a background of hard pounding beats. A short-cut vocal sample adds to the music’s grimness. “Ambos” is slower but equally menacing due to its distorted high tones. The beat that characterises “Rebirth” is massive. Gradually layers are put in: metallic sweeps and echoing grinds carry along a hollow sounding melody. The digital version of “Vault Series 12.0” is supplemented with “Between Machines”, a track with a typical techno structure but also with a seemingly unpolished production – a feature that fits it perfectly.

Mid-December, Delsin’s sister label Ann Aimee, which was responsible for the man’s debut ep “Techno Dumping”, will then bring out “Eviment”, consisting of three more Sawlinesque stompers. The title track is packed with creepy parts, giving it an introvert and even depressing ambiance. Nevertheless, its build-up is thrillingly efficient. The same can be said about “Sour Tear” with its high-pitch snare percussion and weird hissing. But for me personally, “Kretze” is the Berlin producer at its best when it comes to creating mayhem on a dance floor, thudding as if an old factory is producing at night-time in a rhythmic, fluctuating pattern.

With these two releases, Sawlin confirms his status as a big talent and his future is looking bright – though that may not the best word to choose in relation to his musical output.

Sawlin – “Vault Series 12.0” will be out on November 28th (vinyl) and December 5th (digital)

Track list:
1. Mandeltone
2. Ambos
3. Rebirth
4. Between Machines

Sawlin – “Eviment” will be out on December 17th

Track list:
1. Eviment
2. Kretze
3. Sour Tear

« Older posts Newer posts »

© 2025 Popperola

Theme by Anders Norén — Up ↑