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viewing 1 To 25 of 26 items
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12"
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COUNTER 025EP
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Counterchange celebrates its 25th release with a special 12" by much loved Berlin techno-sound-artist and Berghain resident Efdemin, aka Phillip Sollmann, featuring two brand new productions, plus remixes of "Sequence 100" by DJ Skull and Johanna Knutsson. "Mono" steers an organic, runaway synth line (courtesy of the classic Korg Monopoly), along a sleek, 136bpm set of modernist rails. In contrast, "Subconscious Dub" bows to a dusty lo-fi house alter, while bouncing to a funky, techno-centric and contemporary pulse. Chicago's DJ Skull is a revered member of techno and house history who continues to provide slinky bangers that joyfully evade pigeon-holing. Skull's mix of "Sequence 100" reshapes the cascading polyrhythms into an effervescent, summery deep-house stomper. In beguiling contrast, Malmö-based Johanna Knutsson channels sensitive storytelling and blissful tonal formations, ushering Efdemin's original through a verdant forest of post-club ambience and subtle harmonics.
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2LP
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OSTGUT 031LP
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Repressed; double LP version. "Oh, lovely appearance of death, No sight upon earth is so fair; Not all the gay pageants that breathe, Can with a dead body compare." --Charles Wesley, A Funeral Hymn for a Believer, 1780
So begins New Atlantis, the fourth full-length album by longtime Berghain resident Efdemin, aka Phillip Sollmann. The words, sung by '60s California art icon William T. Wiley and embedded in glowing drone swells, set an otherworldly tone for Sollmann's first solo release on Ostgut Ton. Over eight tracks, New Atlantis oscillates between fast, kaleidoscopic techno, multi-layered drones, and acoustic instrumentation, fusing for the first time Sollmann's deep dancefloor productions as Efdemin with his sound art and experimental music projects. The latter include 2017's Harry Partch-inspired Monophonie performance and 2018's Panama / Suez EP with Oren Ambarchi and Konrad Sprenger (ATON 001EP, 2018). Long drawn to utopian musical traditions, 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. In the story, Bacon imagines futuristic "sound houses", which contain musical instruments capable of recreating the entirety of the sounds of the universe; a 400-year-old prophesy of today's digital sonic reality. Through Sollmann's lens, Bacon's vision ebbs and flows over 50 minutes in varying speeds and colors, emerging as a tapestry of different utopian musical traditions -- through billowing synth lines, early Detroit techno, resonant wooden percussion, trance, droning organs, dulcimer, electric guitars, hurdy-gurdy, just intonation, poetry, hymns, and murmuring voices. Sometimes they merge into epic, rhythmic journeys like the 14-minute long title track; other times they appear as a briefly open sound portal ("Temple"), or in the forlorn human voice on "Oh, Lovely Appearance Of Death", calling to be freed from jail of the human body and pass into the afterlife. Like previous Efdemin albums on Dial, New Atlantis veers off the techno path to explore other musical territory. Here however, Sollmann occasionally abandons the club entirely, returning only to push its boundaries with other instruments, mythologies and psychedelic story telling. Mastering by Rashad Becker at Dubplates & Mastering, Berlin.
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OSTGUT 045CD
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"Oh, lovely appearance of death, No sight upon earth is so fair; Not all the gay pageants that breathe, Can with a dead body compare." --Charles Wesley, A Funeral Hymn for a Believer, 1780
So begins New Atlantis, the fourth full-length album by longtime Berghain resident Efdemin, aka Phillip Sollmann. The words, sung by '60s California art icon William T. Wiley and embedded in glowing drone swells, set an otherworldly tone for Sollmann's first solo release on Ostgut Ton. Over eight tracks, New Atlantis oscillates between fast, kaleidoscopic techno, multi-layered drones, and acoustic instrumentation, fusing for the first time Sollmann's deep dancefloor productions as Efdemin with his sound art and experimental music projects. The latter include 2017's Harry Partch-inspired Monophonie performance and 2018's Panama / Suez EP with Oren Ambarchi and Konrad Sprenger (ATON 001EP, 2018). Long drawn to utopian musical traditions, 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. In the story, Bacon imagines futuristic "sound houses", which contain musical instruments capable of recreating the entirety of the sounds of the universe; a 400-year-old prophesy of today's digital sonic reality. Through Sollmann's lens, Bacon's vision ebbs and flows over 50 minutes in varying speeds and colors, emerging as a tapestry of different utopian musical traditions -- through billowing synth lines, early Detroit techno, resonant wooden percussion, trance, droning organs, dulcimer, electric guitars, hurdy-gurdy, just intonation, poetry, hymns, and murmuring voices. Sometimes they merge into epic, rhythmic journeys like the 14-minute long title track; other times they appear as a briefly open sound portal ("Temple"), or in the forlorn human voice on "Oh, Lovely Appearance Of Death", calling to be freed from jail of the human body and pass into the afterlife. Like previous Efdemin albums on Dial, New Atlantis veers off the techno path to explore other musical territory. Here however, Sollmann occasionally abandons the club entirely, returning only to push its boundaries with other instruments, mythologies and psychedelic story telling. Mastering by Rashad Becker at Dubplates & Mastering, Berlin.
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10"
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SATOTEM 003EP
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Stroboscopic Artefacts returns with another in its Totem series, a unique set of releases pressed on transparent 10" vinyl, capturing the essence and effusiveness of multidimensionality of club culture. Stepping up for the third release in the series is Berlin legend Efdemin, bringing a three-track journey that is unequivocally enduring and flexible for journeys on-and-off the dance floor. Efdemin takes on the challenge of Totem's conceptual subjugation and subverts it with his emotionally honest take on a stimulating and subdural sonic experience within three parts. Narratively dense and expertly-paced, the Totem series has another outer-worldly insertion to its catalog. Clear vinyl.
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12"
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CURLE 061X-EP
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Four exclusive tracks taken from Efdemin's second mix-album called Naïf (CURLE 061CD, 2018). Unreleased music by Tobias Freund, Simone Gatto & Aubrey, Sebastian Mullaert, Gürtler, and Efdemin himself.
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12"
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CURLE 061EP
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It sounds ridiculous to state that this is Efdemin's best release so far on Curle Recordings when you realize that's the artist that brought classics like "Acid Bells" and "America"... But the whole EP truly is amazing from start to finish. All tracks feature in Efdemin's brand new second mix-album called Naïf (CURLE 061CD, 2018).
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CD
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CURLE 061CD
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Efdemin, aka Phillip Sollmann, returns with a striking hybrid concept that merges the album format with the "continuous DJ mix" format, presenting completely new material in a seamless manner. This CD-mix, named Naïf, officially reinstates his label of the same name and is a sprawling tour of inner space featuring 19 distinct tracks from fellow producers (e.g. Margaret Dygas, Steve Bicknell, Jeroen Search, Pom Pom, Marco Shuttle, or Gunnar Haslam) along with an additional ten that feature Efdemin himself (either as soloist or collaborator). Naïf consists of completely unreleased/never-before-heard material from both himself and valued collaborators, all of which will eventually manifest as EP releases: two will be available on Curle Recordings, with an additional five on his own Naïf label. All of the individual contributions are combined here in a painstaking assembly process that took an entire year to complete, and the result is that the album flows with an almost paradoxical effortlessness from one style to the next. Besides the strong collection of tracks from well-known and undiscovered producers alike, it's Efdemin's own contributions that stand out. This becomes evident once the album opens with spectral, distant bells and homemade modular synth sounds leading into more unreleased Efdemin pieces, "Watte" and "Sirius", whose deep dub resonance will completely grab your attention. Later in the mix is electroacoustic textures of "Laveline", a collaboration with Konrad Sprenger. The standout composition on Naïf is Efdemin's infectious microtonal techno "Move Your Head" where Sollmann's voice hovers over distorted 808 patterns and immersive justly-tuned synth pads, pointing the way towards the formative, trailblazing influences that pre-dated techno: Silver Apples, This Heat and the drone aesthetic of Tony Conrad. A supporting cast of favorites turn in everything from blinding energy (Steve Bicknell's "Running Man"), to unrestrained ecstasy courtesy of Inland/Ed Davenport, to the overdriven lockstep groove of Cassegrain's Rhyw. Naïf is a release that will take several listens to fully explore, with each successive listen unearthing a new discovery. Also features Autolyse, Gürtler, WaWuWe, Kuf, Staffan Linzatti, DIN, Cassegrain, Pharaoh, Savas Pascalidis, Patrik Skoog Jinge, tobias., Nihad Tule, Aubrey, and Simone Gatto. Four-panel digipak; Includes download card.
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12"
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CURLEC 002EP
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Efdemin's debut mix-CD Carry On, Pretend We're Not In The Room and its single "America" were released in 2008. It ended up on in first place position on the Groove chart, but for some reason Curle Recordings never had it remixed. With Efdemin's second mix-CD and the accompanying, forthcoming Move Your Head EP, Curle Recordings present "Minimal Detroit Mix" from Terrence Dixon to close things off in style. On the flipside there's a DJ Koze edit of Efdemin's "Acid Bells" classic that was too good not to share.
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12"
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DIAL 068EP
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Dial Records presents the second part of Efdemin's Decay Versions. E.R.P. (aka Convextion) starts the second episode of Efdemin remixes with a pure Detroit electro version of "Decay," followed by a rough bouncer from Mojuba boss Don Williams. Johannes Volk's remix of "Parallaxis" signals the Efdemin starship's sonic discovery of foreign planets; meanwhile, back on Earth, Traumprinz delivers a true '90s-style rave hit -- goosebumps all around!
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12"
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DIAL 067EP
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After the highly-anticipated release of his third studio album Decay (DIAL 030CD/LP), Efdemin presents the first part of a remix series featuring his favorite producers. Bristol's underground hero Asusu inflates the reduced album opener "Some Kind of Up and Down Yes" with deepest bass and beautiful 'scapes. Staffan Linzatti's version of "Solaris" is another epic hymn, with futuristic enhancements of the third kind. The most extraordinary piece on this EP is The Borderland State's rework of "Parallaxis." Efdemin's studio-mate John Gürtler recorded that beauty by adding acoustic instruments only, which sounds like a meeting of Moondog and Wim Mertens.
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2LP
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DIAL 030LP
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Double LP version. Efdemin is back on Dial Records with his third full-length album, Decay, following his self-titled debut in 2007 (DIAL 010CD/LP) and Chicago (DIAL 021CD/LP) in 2010. Once again he offers a stunningly seductive stream of music written in his very own hand. After three years of extensive touring as a DJ, Phillip Sollmann took the chance to compose his third album under his Efdemin moniker while spending three months in an artist residency in Kyoto, Japan. Living next to the Kamo River, surrounded by temples, shrines and the ever-present blue mountains, he started working in the late summer, facing typhoons and intensive heat, and finished the album in the early mild days of winter. Thus mainly assembled in autumn, his favorite season of year, the 10 tracks on Decay express the paradoxical relationship between beauty and decay. The production procedure was a dichotomous one. Recording was done in his recently finished new Berlin-Wedding studio, "The Meadow," mostly on analog equipment, while the final production took place in Japan. The result is an album of intriguing rigor and a certain beauty hidden within. It marks a big step towards the deeper side of techno and lets many of his early influences in '90s techno shine through (from early Cologne minimalism, M-plant and Axis to Terrence Dixon) as well as his love for drone music. Although at a first glance it might seem that this album is a somehow more distant and less melodic than the previous output, it provides the full unique range of Efdemin's vocabulary, which he is known and loved for. Decay sounds in certain parts like a process of correction, revaluation, and re-alignment, making room for new things to come. There is beauty within decay.
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DIAL 030CD
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Efdemin is back on Dial Records with his third full-length album, Decay, following his self-titled debut in 2007 (DIAL 010CD/LP) and Chicago (DIAL 021CD/LP) in 2010. Once again he offers a stunningly seductive stream of music written in his very own hand. After three years of extensive touring as a DJ, Phillip Sollmann took the chance to compose his third album under his Efdemin moniker while spending three months in an artist residency in Kyoto, Japan. Living next to the Kamo River, surrounded by temples, shrines and the ever-present blue mountains, he started working in the late summer, facing typhoons and intensive heat, and finished the album in the early mild days of winter. Thus mainly assembled in autumn, his favorite season of year, the 10 tracks on Decay express the paradoxical relationship between beauty and decay. The production procedure was a dichotomous one. Recording was done in his recently finished new Berlin-Wedding studio, "The Meadow," mostly on analog equipment, while the final production took place in Japan. The result is an album of intriguing rigor and a certain beauty hidden within. It marks a big step towards the deeper side of techno and lets many of his early influences in '90s techno shine through (from early Cologne minimalism, M-plant and Axis to Terrence Dixon) as well as his love for drone music. Although at a first glance it might seem that this album is a somehow more distant and less melodic than the previous output, it provides the full unique range of Efdemin's vocabulary, which he is known and loved for. Decay sounds in certain parts like a process of correction, revaluation, and re-alignment, making room for new things to come. There is beauty within decay.
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12"
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DIAL 061EP
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The second edition of Efdemin's successful Chicago (DIAL 021CD/LP) series presents another outstanding bundle of future classics. Four gorgeous remixes by Deadbeat, Fred P, Rndm and Efdemin himself.
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12"
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CURLE 035EP
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Efdemin has been one of the key artists on Curle since his 2007 debut for the Belgian label, with big releases such as Acid Bells, America/The Pulse, remixes from Martyn, John Beltran & Matt O'Brien, and the mix CD Carry On, Pretend We're Not In The Room. The long-awaited follow-up Please includes two tracks that are around the 10-minute mark; "Farnsworth House" and "Blount." That last one Efdemin made together with his good friend and fellow Dial artist, Kassian Troyer.
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12"
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DIAL 056EP
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With surely one of the most exciting releases ever, Dial presents the heavenly dreamteam of DJ Koze, Portable and Efdemin himself remixing tracks off of Chicago (DIAL 021CD/LP). DJ Koze has always been a part of the Dial family so it was just a matter of time to ask him for a remix. Portable and Efdemin have always exchanged music and friendship. Now they share this beautiful and outstanding first part of the Chicago remixes. Also includes a dub version.
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2LP
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DIAL 021LP
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2012 repress; 2LP version. Featuring 8 tracks from the CD: A1. "Cowbell," A2. "Shoeshine," B1. "Oh My God," B2. "There Will Be Singing," C1. "Night Train," C2. "Le Grand Voyage," D1. "Wonderland (The Race For Space)," D2. "Oh My God (Reprise)." After the huge success of his self-titled debut in 2007, Chicago is the second album by Berlin-based producer/DJ Efdemin.
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CD
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DIAL 021CD
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After the huge success of his self-titled debut in 2007, Chicago is the second album by Berlin-based producer/DJ Efdemin. Chicago, the artist's contribution to urban blues, contains 10 tracks as a result of Phillip Sollmann's immersion into his own archives and experiences -- may it be as a singer in a band years ago, composing theatre-music or playing as a DJ in clubs all over the globe. Each incarnation deals with various influences, although always expressing his unique sense for deepness and his love for dance music. There is jazz, there is house, there is techno and there are his instruments: cello, zither, drums, percussion, organ, synths, drum-machines and several small things like flutes and pipes. Besides techno itself, there are many important influences in Efdemin's music, from different sources and other times -- a cosmos of music that has followed him for a long time and influenced his drifting and melancholic approach to producing electronic dance music, be it the otherworldly music of Chicago-based Sun Ra, the minimalistic jazz/world-music-studies of Don Cherry, the enterprising tape music of Basil Kirchin or the microtonal instruments of Harry Partch. Is this a Chicago house record? No! But the Windy City was the starting point to blow the cosmos with such abstract, lovely music developed in a thousand directions. Arts, literature, architecture, jazz, American folk music, hip-hop, Chicago seems to be the source of reference for so many important movements crossing Efdemin's work.
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10"
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METISSE 002.5EP
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Curle Recordings presents Martyn remixing Efdemin's breakthrough hit, "Acid Bells." The "Dark Mix" will, without a doubt, tear up many dancefloors worldwide, and the "Bittersweet Mix" is just something very, very special.
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CD
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CURLE 016CD
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This is Curle Recordings' first CD release and Berlin-based Phillip Sollmann's debut mix CD as Efdemin, following his self-titled debut for Dial Records in 2007. Where Efdemin's earlier production work was focused on slow, abstract house in the vein of Theo Parrish, he has slowly turned to a more functional approach without losing his special sense for deepness. His sound design has become more clear and broad, and he knows just how to adjust old school influences to contemporary listening habits. His unique DJ style, with its eclectic mix of strict but deeply detailed tracks, provides a continual sense of excitement and creates a sense of grace over the night. This is Efdemin's debut mix CD, including an exclusive track by the artist as well as tracks from respected producers such as Scott Grooves, Brothers' Vibe, Minilogue, Dettmann & Klock, Patrice Scott, Surgeon, Photek and Tobias. Avoiding a selection of easy hits in favor of a well thought-out collection of secret weapons, personal favorites and undiscovered beauties, this is a mix that you won't get tired of hearing. The mix is released on Curle, the label that released Efdemin's biggest track to date, "Acid Bells," that topped 2007's charts. Other artists include: The Showroom Recording Series, Craig Alexander, Tony Foster, Stephan Grieder & The Persuader, and Pigon.
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12"
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CURLE 016EP
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This is the highly-anticipated first release from Efdemin since his self-titled debut album on Dial, that -- together with the Acid Bells single on Curle -- received very high critical acclaim from around the globe. After extensive touring, some remixes for Sian, Sascha Funke and Grimes Adhesif, and a track on the Cocoon box, these tracks are his first solo productions since. "The Pulse" is a future dancefloor burner, whereas "America" is more melodic.
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12"
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CURLE 016X-EP
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This is the first of two vinyl samplers with much sought after tracks from Efdemin's debut mix-CD Carry On, Pretend We're Not In The Room (CURLE016CD). This sampler features tracks from Brothers' Vibe, Minilogue, and Tony Foster.
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12"
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CURLE 016Y-EP
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This is the second of two vinyl samplers with much sought-after tracks from Efdemin's debut mix CD Carry On, Pretend We're Not In The Room (CURLE 016CD). This sampler features tracks from Tobias., Patrice Scott, Surgeon and Photek.
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CD
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DIAL 010CD
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This is Berlin-based Phillip Sollmann's debut full-length release as Efdemin, for Dial Records. This self-titled debut gives a summary of past, present and future tendencies. After "Bergwein" became kind of a 2006 summer anthem (high chart positions in Groove, De-Bug, Spex and also German dance charts), he won over a lot of new fans. After moving to Berlin, Efdemin soon got his DJ residency at the legendary Panoramabar, while also playing regular sets with his Pigon-mate RNDM at the Cityfox in Zürich. His remixes and tracks for other labels beside Dial (Liebe*Detail, Curle, Pokerflat, Ladomat, District of Corruption) made their way into record bags of DJs like Laurent Garnier and Steve Bug. As 2006 was already a creative and successful year including some friendly features in the dance press -- Efdemin is working to make 2007 even more successful. The ten tracks on the album vary from experimental minimalism to deep house to straight techno and go further on to after-hour-inspired loop tracks -- although they form a unique and intense unit.
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2LP
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DIAL 010LP
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12"
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DIAL 024EP
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"After some live concerts and DJ gigs alongside the Vienna and Swiss minimal scene and a remix for labelmate Pantha du Prince, efdemin is back with a new masterpiece. Since he is studying computer music, efdemin aka Phillip Sollmann got deeper into minimal music, from John Cage to La Monte Young. Also filled with inspiration of the post-Hawtin school, his definition of techno speaks a unique language. If you watch his own history you can see a proper change from Detroitish deep house to that special minimal sound, but you will feel the intense way efdemin falls in love with the inner sound."
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