Biokinetics

Port Of Nuba

Gescom Cicada 2

“Sleep Deprivation” began in 2006, during a time when our sleep patterns were drastically altered by constant travel and late-night gigs. This relentless cycle of broken sleep became a persistent part of our lives, and over time, we noticed something remarkable: our music became more emotional, raw, and vulnerable.

Sleep, or the lack of it, affects every aspect of life, and its influence on our creative process was undeniable. For this album, we chose to embrace that emotional intensity, allowing it to take centre stage over traditional arrangements. Sleep deprivation blurs the lines of logic, and the part of the brain that usually handles structure and order begins to falter. In that haze, deeper feelings rise to the surface, unfiltered and honest.

With this album, we surrendered to that experience, letting the emotional chaos shape the music, and the result is an exploration of what happens when you’re pushed to your limits, both physically and creatively.

Sleep Dreprivation

Sleep Deprivation

[Dustv126] The Black Dog - Sleep Deprivation Preview

it's been a while_

Lyot Remix (Edit)

‘New Atlantis’, @Efdemin aka Phillip Sollmann's 4th album, oscillates between fast, kaleidoscopic techno, multilayered drones and acoustic instrumentation, fusing for the first time Sollmann’s deep dancefloor productions as Efdemin with his sound art and avant-garde music projects. The latter include 2017’s Harry Partch-inspired ‘Monophonie’ performance and 2018’s ‘Panama / Suez’ EP with Oren Ambarchi and Konrad Sprenger.

Sollmann took inspiration for ‘New Atlantis’ from Francis Bacon’s unfinished 17th century novel of the same name, which describes a fictional island devoted to social progress through the synthesis of art, science, technology and fashion. 

Out now: “New Atlantis”, the epic, psychedelic title track off of Efdemin’s upcoming album out February 15 via Ostgut Ton. Across 15 minutes, Efdemin’s experimental spirit is in full swing, with morphing drones/chords generated by a mix of Efdemin’s hurdy-gurdy and drum machines, Konrad Sprenger’s MIDI-controlled Stratocaster, Joachim Schütz’s electric guitar and Nika Son’s synthesizer – recorded live during the quartet’s Tony Conrad tribute concert in Hamburg.

Listen at
Apple Music: https://itunes.apple.com/album/new-atlantis/1446617084
Bandcamp: https://ostgut.bandcamp.com/album/new-atlantis
Deezer: https://www.deezer.com/album/84349402
Spotify: https://open.spotify.com/album/0DvULRThTYtegc9nMTxkTx?si=tmOYwipxTt-Coq7XJGyc5A
YouTube: https://www.youtube.com/watch?v=dIBQEH6TH1Y

Efdemin | New Atalntis [OSTGUTCD45/LP31], out February 15, 2019.
Buy ‘New Atlantis’ as 2xLP, digipak CD or in digital formats: http://ostgut.de/shop/music/efdemin-new-atlantis-ostgutlp31.html / http://ostgut.de/shop/music/efdemin-new-atlantis-ostgutcd45.html https://ostgut.bandcamp.com/album/new-atlantis

All info: http://ostgut.de/ton/record/234
Artwork: The Centers Of The World, Brussels, https://centersoftheworld.wordpress.com | Layout: Yusuf Etiman

Efdemin | At The Stranger's House

Cinemascope

Bicom

Hongkong Remastered

Macau

Gravity

Static

Following on from a pair of Extended Players released in 2011 ("Passed Me By" / "We Stay Together") Andy Stott returns to Modern Love with 'Luxury Problems', an 8 track album of new material recorded over the last 12 months. Five of the tracks on the album feature the voice of Alison Skidmore, Andy's onetime Piano teacher whom he hadnt seen since he was a teenager back in 1996. There was no grand gesture in mind, it just sort of happened - but after almost a year of studio work the result is really quite unlike anything you'll have heard from him before. 'Numb' opens the album with Alison's voice; layered and looped but essentially left bare and exposed, tumbling into a dense shuffle, sort of somewhere between Theo Parrish and Sade, but more f*cked. 'Lost and Found' follows and deploys a growling rave bassline and a disturbed vocal, the beat assembling itself around a squashed Linndrum like a submerged Prince/Cameo production, haunted and impenetrable, but full of funk. 'Sleepless' started life as an African drum edit that sooner or later succumbed to Stott's intense rhythmic shifts. It's a sound that's been imitated countless times since the release of 'Passed Me By', here re-tooled and re-built for its next evolutionary phase. 'Hatch The Plan' ends the first half of the album with some heavily treated location recordings and a low end grind that probably doesnt quite prepare you for the vocal arrangements that follow - it's just a beautifuly inverted pop song. The second half opens with 'Expecting', the most recognisably 'Stott' moment on the album: a wrecked, deliriously knocked-out 4/4 shuffle deployed at halfspeed; those heavy kickdrums sucking in everything around them. 'Luxury Problems' is next and offers up the album's most quietly euphoric and open 5 minutes; conventional arrangements and drumloops disrupted by sharp disco bursts that mess with what you know: it's straight and beautiful and unbalanced and damaged, somehow all at once. "Up the box" switches up the narrative and goes somewhere else entirely, an extended intro that seems to build continuously for 3 minutes before breaking off into a slowed-down Amen edit, creating a kind of narcotic Jungle variant that fragments everything and ends just at the point you think it's going to go off, before "Leaving" finishes the album with an almost unbareably beautiful arrangement of voice and synth and a final key-change that takes you from joyful to forlorn in an instant.

06-Luxury problems

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