DIE WILDE JAGD - Forced Exposure

$16.50 IN STOCK

For eight years now, songwriter, and producer Sebastian Lee Philipp has been steering his project Die Wilde Jagd through the field of tension between contemporary electronic music and avant-pop. Between 2015 and 2020, three studio albums were produced as documents of Philipp's rigorous musical creativity. "Atem", a composition for Roadburn Festival, was released in 2022 (BB 402LP), documenting yet another, more experimental side of the project. On the fourth album, all these multi-faceted worlds are brought together in an impressive way. "'Ophio, Ophio' you say. Lies in the end of you Still the best ahead of me?" With these lines from the title track, Sebastian Lee Philipp poses the question that spans over the entire album like a parenthesis. The work entitled "Ophio" tells of constant transformation, the blurring of beginning, end, and the various dimensions in between. "It's about the constant unfolding of the self, about the seductive forces of life, an ode to existence and the transformation to happiness." Says Philipp himself about his conceptual direction of the album. The meandering between leaving behind and starting anew is not only found in the lyrics, but also in the music itself. The production seems more consistent than ever before, stripping away all frills and trinkets, like a skin that has become too tight. The compositions form a concentrate in which every single sound finds its space. In a certain sense, it's like listening to an introspection in which the bundled voices become a single, demanding murmur that is both drone and whisper in equal measure. As on the previous album Haut (BB 343CD/LP, 2020), the drums were played by long-time stage partner Ran Levari. The new album also features cellist and singer Lih Qun Wong (Lihla), who first joined Die Wilde Jagd for the live performance of "Atem". This collaboration sounds particularly impressive on "The Hearth", the band's first English-language song. A beguiling track as if of shiny, heavy tar, carried by Philipp's dense composition, Levari's pulsating beats and lyricist Wong's voice. Other production partners were Philipp Otterbach ("Kelch") and Vactrol Park ("In Wonnenhieben"). Nina Siegler, who could already be heard as a duet partner in the song "Himmelfahrten", also lends her voice again to the tracks "Ouroboros" and "In Wonnenhieben".

$26.00 IN STOCK

LP version. For eight years now, songwriter, and producer Sebastian Lee Philipp has been steering his project Die Wilde Jagd through the field of tension between contemporary electronic music and avant-pop. Between 2015 and 2020, three studio albums were produced as documents of Philipp's rigorous musical creativity. "Atem", a composition for Roadburn Festival, was released in 2022 (BB 402LP), documenting yet another, more experimental side of the project. On the fourth album, all these multi-faceted worlds are brought together in an impressive way. "'Ophio, Ophio' you say. Lies in the end of you Still the best ahead of me?" With these lines from the title track, Sebastian Lee Philipp poses the question that spans over the entire album like a parenthesis. The work entitled "Ophio" tells of constant transformation, the blurring of beginning, end, and the various dimensions in between. "It's about the constant unfolding of the self, about the seductive forces of life, an ode to existence and the transformation to happiness." Says Philipp himself about his conceptual direction of the album. The meandering between leaving behind and starting anew is not only found in the lyrics, but also in the music itself. The production seems more consistent than ever before, stripping away all frills and trinkets, like a skin that has become too tight. The compositions form a concentrate in which every single sound finds its space. In a certain sense, it's like listening to an introspection in which the bundled voices become a single, demanding murmur that is both drone and whisper in equal measure. As on the previous album Haut (BB 343CD/LP, 2020), the drums were played by long-time stage partner Ran Levari. The new album also features cellist and singer Lih Qun Wong (Lihla), who first joined Die Wilde Jagd for the live performance of "Atem". This collaboration sounds particularly impressive on "The Hearth", the band's first English-language song. A beguiling track as if of shiny, heavy tar, carried by Philipp's dense composition, Levari's pulsating beats and lyricist Wong's voice. Other production partners were Philipp Otterbach ("Kelch") and Vactrol Park ("In Wonnenhieben"). Nina Siegler, who could already be heard as a duet partner in the song "Himmelfahrten", also lends her voice again to the tracks "Ouroboros" and "In Wonnenhieben".

$26.00 IN STOCK

Die Wilde Jagd is the music project of producer and songwriter Sebastian Lee Philipp. Channeling minimalist, tenebrous intensity, Die Wilde Jagd's music weaves a dense and atmospheric web of drama, romance, ecstasy and melancholy. After three studio albums, several EPs and numerous international tours and concerts, the band now releases the recording of Atem -- a composition commissioned by Roadburn Festival, premiered in April 2021 in Tilburg, Netherlands. Written for wooden organ pipes, cello, percussion and electronics. Performed by Sebastian Lee Philipp, Lih Qun Wong and Ran Levari. An audacious 45-minute trip into the depths of evolution, organism and metabolism, this piece is an exploration of the mechanism and science of breathing and its essential role in life. Philipp himself plays synthesizers and an instrument developed specifically for the performance: a wooden organ pipe construction operated with an air compressor. The composer is joined on stage by collaborators Lih Qun Wong on cello and voice, as well as Ran Levari (who has played drums in Die Wilde Jagd since 2017) on percussion. Speaking of his composition, Philipp says: "As human evolution enters new realms of reality, I find myself drawn to explore the basic essences of life: the things we are made of, that we take for granted and are, yet, still full of mystery. The parallels between breath and music are undeniable: pace, rhythm, volume and dynamic fluctuations influence us deeply. Breath is the elixir of life and the fuel for one of the most primitive vibrations: the human voice." The themes of creation and spirit within the composition are skillfully enhanced by Turkish Visual Artist Mürsel Güven. Limited 12" vinyl in an edition of only 500 copies.

$17.00 IN STOCK

Die Wilde Jagd is the music project of producer and songwriter Sebastian Lee Philipp. With the aid of his coproducer Ralf Beck and various guest musicians, he created a self-titled debut album in 2015 (BB 203CD/LP) and a highly-praised follow-up disc, Uhrwald Orange, in 2018 (BB 290CD/LP). The band's third album, Haut, is now set for release on Bureau B. Die Wilde Jagd regularly tour throughout Europe and beyond as a live duo comprising Sebastian Lee Philipp on guitar, electronics and vocals and Ran Levari on drums.

"Ich war's" sagt die Eule. ("It was I", said the owl.) "Ich war's" sagt der Wind. ("It was I", said the wind.) "Ich war's" sagt der Räuber. ("It was I", said the robber.) "Ich war's" sagt der Prinz. ("It was I", said the prince.)

These are the words which lead us into Die Wilde Jagd's latest journey. Ethereal voices, low murmurs and distant noises from a world slowly emerging from slumbers meet the listener in an intermediate dimension of memory and premonition, from whence Uhrwald Orange, the previous album, came in 2018. A birth into a different world begins with the first track, "Empfang", a constant departure which progresses into hypnotic rhythm before ultimately flowing into "Himmelfahrten". The first Die Wilde Jagd duet with guest vocalist Nina Siegler blossoms into a ritualistic canon celebrating memory and togetherness, the urge to leave one's own body versus the trepidation at setting out on the imminent journey. A sense of "I don't want to go on my own" anticipates the song's final section which announces the inevitable farewell. "Gondel" is a pulsating, repetitive mantra to mark the crossing to the other side. From the distant, faint knocking discernible at the outset of the album, the gateway to the other world is now well and truly being hammered upon as its door finally opens in "Sankt Damin". Fear mixes with Kriegeslust, a resolute desire to experience this new existence. And so the album ends as it began in a state of rapture. Sebastian Lee Philipp wrote, produced and recorded Haut in the band's own studio at the Rockhaus in Berlin. Artwork comes courtesy of Brazilian multidisciplinary artist Caroline Barrueco, whose prismatic illustrations impressively encapsulate Die Wilde Jagd's sonic voyages. Haut is a consistent, forceful listening experience in every sense, defying standard formats as it challenges and astounds the listener. Can you feel the colourful gifts?

$22.00 IN STOCK

LP version. Die Wilde Jagd is the music project of producer and songwriter Sebastian Lee Philipp. With the aid of his coproducer Ralf Beck and various guest musicians, he created a self-titled debut album in 2015 (BB 203CD/LP) and a highly-praised follow-up disc, Uhrwald Orange, in 2018 (BB 290CD/LP). The band's third album, Haut, is now set for release on Bureau B. Die Wilde Jagd regularly tour throughout Europe and beyond as a live duo comprising Sebastian Lee Philipp on guitar, electronics and vocals and Ran Levari on drums.

"Ich war's" sagt die Eule. ("It was I", said the owl.) "Ich war's" sagt der Wind. ("It was I", said the wind.) "Ich war's" sagt der Räuber. ("It was I", said the robber.) "Ich war's" sagt der Prinz. ("It was I", said the prince.)

These are the words which lead us into Die Wilde Jagd's latest journey. Ethereal voices, low murmurs and distant noises from a world slowly emerging from slumbers meet the listener in an intermediate dimension of memory and premonition, from whence Uhrwald Orange, the previous album, came in 2018. A birth into a different world begins with the first track, "Empfang", a constant departure which progresses into hypnotic rhythm before ultimately flowing into "Himmelfahrten". The first Die Wilde Jagd duet with guest vocalist Nina Siegler blossoms into a ritualistic canon celebrating memory and togetherness, the urge to leave one's own body versus the trepidation at setting out on the imminent journey. A sense of "I don't want to go on my own" anticipates the song's final section which announces the inevitable farewell. "Gondel" is a pulsating, repetitive mantra to mark the crossing to the other side. From the distant, faint knocking discernible at the outset of the album, the gateway to the other world is now well and truly being hammered upon as its door finally opens in "Sankt Damin". Fear mixes with Kriegeslust, a resolute desire to experience this new existence. And so the album ends as it began in a state of rapture. Sebastian Lee Philipp wrote, produced and recorded Haut in the band's own studio at the Rockhaus in Berlin. Artwork comes courtesy of Brazilian multidisciplinary artist Caroline Barrueco, whose prismatic illustrations impressively encapsulate Die Wilde Jagd's sonic voyages. Haut is a consistent, forceful listening experience in every sense, defying standard formats as it challenges and astounds the listener. Can you feel the colourful gifts?

$32.00 IN STOCK

The second instalment of Minimood's multidisciplinary fusion series features Die Wilde Jagd with an extensive rework of the neo-romantic "Morgenrot" as well as a vast array of diverse remixes by Ancient Methods, CV313, Luigi Tozzi, Roman Flügel, Rude 66, Steve Bug, The KVB, Vactrol Park, and Variant. This gatefold 3x12" vinyl-only release is visually enhanced with intricate hand-drawn artwork including inlay by Dusseldorf based artist Susanne Giring. Written and recorded by Sebastian Lee Philipp with his Uhrwald Orange studio collaborator Ralf Beck, Morgenrot originally appeared on Die Wilde Jagd's debut album in 2015 (BB 203CD/LP). For this release, Philipp and Beck re-visited the song: the ensuing "Fangschuss Version" enjoys an augmented arrangement, additional instrumentation and a haunting guest vocal by New- Zealand based singer, Nina Siegler. In Philipp's words, the "Fangschuss Version" constitutes "a venture to capture the spirit that has been guiding this fusion release -- a desire to explore the concepts of friendship, time, distance and memory. An attempt to unveil fragments of the unseen and to reveal the surge of a distant remembrance in an embracive listening experience." "Morgenrot" subsequently gets a highly varied remix treatment by a range of carefully selected artists. While Vactrol Park navigate the original audio material into beautiful ambient territory, Ancient Methods showcase an epic masterpiece of enchanting medieval-vibed techno. The KVB turn the track into a dreamy cold-wave trip and Rude 66 dives into a dark, primetime, anthemic dimension. For Roman Flügel, it's a slow, organic, starry-eyed approach and Luigi Tozzi transforms "Morgenrot" into hypnotic and loopy, minimal, deep techno. The rework by Steve Bug plays with the original's melody and a danceable kosmische-infused house cut emerges. The final two remixes are both crafted by legendary Echospace Detroit mastermind Stephen Hitchell: absorbing deep trips into mesmerizing dub techno by CV313 and into foggy lo-fi ambient by Variant.

$29.00 LOW STOCK LEVEL

LP version. Includes CD. The Uhrwald ("Clockwood") -- a place of dreams and sounds, with its own sense of time. Channeled into his band Die Wilde Jagd, Sebastian Lee Philipp's obsession for this place unleashes a uniquely spellbinding project of minimalist, tenebrous intensity. Recorded in the studio which lends its name to the sophomore album, Uhrwald Orange weaves a dense, atmospheric web of drama, romance, ecstasy, and melancholy. Die Wilde Jagd released their debut album in 2015 (BB 203CD/LP) when Philipp teamed up with producer Ralf Beck (Nalin & Kane, Unit 4). Beck excused himself from "daily business" shortly afterwards, but he retains an important influence on the new LP: Not only did he co-produce and mix the tracks (joined by Australian producer Kris Baha in the final mixdown process), but his collection of vintage analog synthesizers, drum computers, and studio equipment gives Die Wilde Jagd's music its unique, dexterously crafted character. Philipp locked himself in Beck's Uhrwald Orange studio for nights on end to transfer sonic interpretations of his world of images to tape: a nocturnal flight into the subconscious, into a strange world ("Fremde Welt") where ghostly creatures reside -- acid horses, bat boys, 2000 elephants ("Säuregäule", "Flederboy", "2000 Elefanten"). Flemish artist Frans Snyder (1579-1657) provides inspiration with his painting "Animals of the Night" as does the 14th-century collection of songs "Llibre Vermell de Montserrat". Philipp's repetitive electronic sequences include Mediterranean mandolins, psychedelic bass/guitar loops, Georgian choirs, and rattling North African krakebs. Medieval church music mixes with European folklore and improvised jams on this aural journey through the Orient and Occident -- from dark Nordic woods to the Eastern dawn. Philipp offers an insight into his hermetic world of ideas on eight tracks, enriched by sounds of nature captured on a trip through Portugal. Uhrwald Orange is, of course, also Philipp's ode to the recording studio itself, to the analog gear and the ubiquitous EMT Plate reverb. This is where he could realize the sound he imagined, all within Beck's own framework of compressors, preamps and signal paths. Philipp on his work in the studio: "I want to make the equipment in the studio sing, build a world of sound in which every tone, every effect has its own voice. . . . Every element can be found amongst the dwellers and natural forces of the 'Clockwood Orange'."

$17.00 IN STOCK

The Uhrwald ("Clockwood") -- a place of dreams and sounds, with its own sense of time. Channeled into his band Die Wilde Jagd, Sebastian Lee Philipp's obsession for this place unleashes a uniquely spellbinding project of minimalist, tenebrous intensity. Recorded in the studio which lends its name to the sophomore album, Uhrwald Orange weaves a dense, atmospheric web of drama, romance, ecstasy, and melancholy. Die Wilde Jagd released their debut album in 2015 (BB 203CD/LP) when Philipp teamed up with producer Ralf Beck (Nalin & Kane, Unit 4). Beck excused himself from "daily business" shortly afterwards, but he retains an important influence on the new LP: Not only did he co-produce and mix the tracks (joined by Australian producer Kris Baha in the final mixdown process), but his collection of vintage analog synthesizers, drum computers, and studio equipment gives Die Wilde Jagd's music its unique, dexterously crafted character. Philipp locked himself in Beck's Uhrwald Orange studio for nights on end to transfer sonic interpretations of his world of images to tape: a nocturnal flight into the subconscious, into a strange world ("Fremde Welt") where ghostly creatures reside -- acid horses, bat boys, 2000 elephants ("Säuregäule", "Flederboy", "2000 Elefanten"). Flemish artist Frans Snyder (1579-1657) provides inspiration with his painting "Animals of the Night" as does the 14th-century collection of songs "Llibre Vermell de Montserrat". Philipp's repetitive electronic sequences include Mediterranean mandolins, psychedelic bass/guitar loops, Georgian choirs, and rattling North African krakebs. Medieval church music mixes with European folklore and improvised jams on this aural journey through the Orient and Occident -- from dark Nordic woods to the Eastern dawn. Philipp offers an insight into his hermetic world of ideas on eight tracks, enriched by sounds of nature captured on a trip through Portugal. Uhrwald Orange is, of course, also Philipp's ode to the recording studio itself, to the analog gear and the ubiquitous EMT Plate reverb. This is where he could realize the sound he imagined, all within Beck's own framework of compressors, preamps and signal paths. Philipp on his work in the studio: "I want to make the equipment in the studio sing, build a world of sound in which every tone, every effect has its own voice. . . . Every element can be found amongst the dwellers and natural forces of the 'Clockwood Orange'."

$14.50 NOT IN STOCK

Die Wilde Jagd, the duo of Ralf Beck and Sebastian Lee Philipp, return to Jennifer Cardini's Correspondant. "Geisterfahrer" is all about the anticipation. Introductory cymbal splashes and the looped, sinewy synth bass textures build drama and suspense. Factory Floor provide a remix - a beautifully blunt electro twist where chunky 909 drums punch a slo-mo break while immense dubby washes of drums scatter down across the analog groove. "Drachenfels" is a sonic hike which surges high into the clouds. Bar by bar, ripple by ripple the scenery and physicality grows with a sense of triumph.

$25.50 IN STOCK

LP version; includes CD. Electronic music from Düsseldorf. Die Wilde Jagd go hunting in the thicket of neo-krautrock, electronica, and synthpop. Every new year, during the Rauhnächte (those harsh nights between Christmas and Twelfth Day), The Wild Hunt (Die Wilde Jagd) rides across the country: raucous, jeering hunters from the netherworld, whose path it is better not to cross. This is an ancient Germanic myth, which, in slightly varied form, is known in many parts of Europe, the name of which Ralf Beck and Sebastian Lee Philipp have aptly chosen for their duo project. Ralf Beck has released several albums as part of the duos Nalin & Kane and Unit 4. He collects old synthesizers and effects pedals and has collaborated with Karl Bartos. In his studio, Uhrwald Orange, he has recorded music by Propaganda, Kreidler, Black Devil Disco, and many more. Sebastian Lee Philipp is part of the Berlin-based electro-wave duo Noblesse Oblige and composes music for theatre and radio dramas. Between 2001 and 2006 he lived in London, where he ran the club night Caligula and performed as a DJ. The two first met in 2006 in Düsseldorf's Salon des Amateurs, a meeting place for new and established experimental musicians and artists, also known as Germany's "post-punk Hacienda." It seems no coincidence that Düsseldorf is the duo's founding city: their music is full of subtle references to local acts, such as Kraftwerk, NEU!, DAF, Liaisons Dangereuses, Pyrolator, Die Krupps, and Propaganda. Since their first meeting, Beck and Philipp regularly come together during the time of the Rauhnächte to record in Beck's well-equipped studio. Using the numerous analog keyboards and recording devices assembled there, and combining them with a diverse range of percussion instruments, they create their own "hunting music," which at times sounds unsettling, like swampland or a dark forest, but also urgent and pressing, like incandescent lasers or a hypnotic dance. Their soundscape is marked by repetitive guitar loops, electronic percussion, drums, and synthesizers. Booming tom-toms and medieval-sounding flutes herald the start of the hunt. Whispering, reciting voices conjure up the spirits of the woods, while synthetic sounds, melodies, and noises flit about before they are re-captured, structured, and grounded by crystalline beats and pulsating basslines.

$17.00 IN STOCK

Electronic music from Düsseldorf. Die Wilde Jagd go hunting in the thicket of neo-krautrock, electronica, and synthpop. Every new year, during the Rauhnächte (those harsh nights between Christmas and Twelfth Day), The Wild Hunt (Die Wilde Jagd) rides across the country: raucous, jeering hunters from the netherworld, whose path it is better not to cross. This is an ancient Germanic myth, which, in slightly varied form, is known in many parts of Europe, the name of which Ralf Beck and Sebastian Lee Philipp have aptly chosen for their duo project. Ralf Beck has released several albums as part of the duos Nalin & Kane and Unit 4. He collects old synthesizers and effects pedals and has collaborated with Karl Bartos. In his studio, Uhrwald Orange, he has recorded music by Propaganda, Kreidler, Black Devil Disco, and many more. Sebastian Lee Philipp is part of the Berlin-based electro-wave duo Noblesse Oblige and composes music for theatre and radio dramas. Between 2001 and 2006 he lived in London, where he ran the club night Caligula and performed as a DJ. The two first met in 2006 in Düsseldorf's Salon des Amateurs, a meeting place for new and established experimental musicians and artists, also known as Germany's "post-punk Hacienda." It seems no coincidence that Düsseldorf is the duo's founding city: their music is full of subtle references to local acts, such as Kraftwerk, NEU!, DAF, Liaisons Dangereuses, Pyrolator, Die Krupps, and Propaganda. Since their first meeting, Beck and Philipp regularly come together during the time of the Rauhnächte to record in Beck's well-equipped studio. Using the numerous analog keyboards and recording devices assembled there, and combining them with a diverse range of percussion instruments, they create their own "hunting music," which at times sounds unsettling, like swampland or a dark forest, but also urgent and pressing, like incandescent lasers or a hypnotic dance. Their soundscape is marked by repetitive guitar loops, electronic percussion, drums, and synthesizers. Booming tom-toms and medieval-sounding flutes herald the start of the hunt. Whispering, reciting voices conjure up the spirits of the woods, while synthetic sounds, melodies, and noises flit about before they are re-captured, structured, and grounded by crystalline beats and pulsating basslines.