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viewing 1 To 12 of 12 items
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CD
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BB 466CD
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"Parisian-by-choice Detlef Weinrich aka Tolouse Low Trax turns the page again. Always willing for a new episode, notion, impulse, idea, ideal. Searching for some light out there. Now Kiosque Versions, a compilation compiled by himself, featuring seven edits by friends and treasured artists. They renew some rare TLT tunes, as well as hits, that never took the charts by storm. There is French legend and Tigersushi boss Joakim, edging the TLT winner Rushing Into Water from 2016. A guarded stepper, dancy, trippy, with an enchantress on his shoulder, that haunts your body and soul. The 2020 TLT tune "Dawn Is Temporal," taken from his album Jumping Dead Leafs, comes as an old school hip hop leaning track, re-fashioned by New York's Beat Detectives, including Amen-Break and nod-your-head vibes. Producer Ido Plumes from Bristol took "Tristeros Empire" home and worked it club-wise. A nervous beating modification, Detroit machines, motorway funk, cosmic gasps - pure driller killer. Glasgow's Dip Friso stays tense too. Echoes, tribal bounce, manic loops. Another driller in dub heaven. Like Paris based digi-dub explorers Froid Dub, who bring a great wave of warm grooves, making baroque-esk dub friends with "Make Friends," a TLT track from his legendary three-volume strong 2016 Antinote sampler compendium. Their fellow countryman Simo Cell nervously metamorphoses "A Song and a Photo Novella," a TLT soundtrack for a film by artist Nicolàs Guagnini. His version has all that bass, vibrates on an experimental subconsciousness, and aims the dancefloor with a stirring bouquet of rhythmic ideas. The dot on the I comes from TLT himself, remixing his very own music, translating the Gamelan melancholy of "Subghosts," a tune from his 2010 debut album Mask Talk, into today, refined with dubby upsetting notes, a speed lift, and a very playful TLT groove. Let's turn the page." --Michael Leuffen
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LP
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BB 466LP
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LP version. "Parisian-by-choice Detlef Weinrich aka Tolouse Low Trax turns the page again. Always willing for a new episode, notion, impulse, idea, ideal. Searching for some light out there. Now Kiosque Versions, a compilation compiled by himself, featuring seven edits by friends and treasured artists. They renew some rare TLT tunes, as well as hits, that never took the charts by storm. There is French legend and Tigersushi boss Joakim, edging the TLT winner Rushing Into Water from 2016. A guarded stepper, dancy, trippy, with an enchantress on his shoulder, that haunts your body and soul. The 2020 TLT tune "Dawn Is Temporal," taken from his album Jumping Dead Leafs, comes as an old school hip hop leaning track, re-fashioned by New York's Beat Detectives, including Amen-Break and nod-your-head vibes. Producer Ido Plumes from Bristol took "Tristeros Empire" home and worked it club-wise. A nervous beating modification, Detroit machines, motorway funk, cosmic gasps - pure driller killer. Glasgow's Dip Friso stays tense too. Echoes, tribal bounce, manic loops. Another driller in dub heaven. Like Paris based digi-dub explorers Froid Dub, who bring a great wave of warm grooves, making baroque-esk dub friends with "Make Friends," a TLT track from his legendary three-volume strong 2016 Antinote sampler compendium. Their fellow countryman Simo Cell nervously metamorphoses "A Song and a Photo Novella," a TLT soundtrack for a film by artist Nicolàs Guagnini. His version has all that bass, vibrates on an experimental subconsciousness, and aims the dancefloor with a stirring bouquet of rhythmic ideas. The dot on the I comes from TLT himself, remixing his very own music, translating the Gamelan melancholy of "Subghosts," a tune from his 2010 debut album Mask Talk, into today, refined with dubby upsetting notes, a speed lift, and a very playful TLT groove. Let's turn the page." --Michael Leuffen
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BB 398CD
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With Leave Me Alone, Detlef Weinrich presents his fifth album under the moniker Tolouse Low Trax. Weinrich, who has meanwhile turned his back on Düsseldorf and lives in Paris, has long since ceased to be an insider tip and is a guest in renowned clubs and festivals all over Europe. With his new album, he succeeds in an exciting, unforeseen new direction. The velvety heaviness and rawness of earlier records seems to have given way to a new playfulness. A playfulness perhaps in the sense of an electronica reminiscent of the late 1990s, which in its idea of deconstruction and reduction is currently enjoying a new appreciation in the clubs. But also, in the sense of an urban vibe of hip-hop and dub references, which are woven into a very unique mix in Weinrich's tracks.
"Nervous mechanical murmurs, drifting comic-like through razor-sharp rhythm cliffs: welcome to Leave Me Alone, a loop meta-level dreamland of styles and mental meteorology. A repetitive notion on the overwhelming speechlessness towards the world, its clocking, and all the despairs that come along with it. Wholly veiled in a sharp sonorous language, that brings a complete agreement of the expression with the idea, a sense of harmony, of a secret beauty, that often escapes the judgment of the crowd. It marks the latest long player by Tolouse Low Trax. After his stunning collaboration with French singer and hurdy gurdy player Emmanuelle Parrenin and myriad remixes for artists like Aksak Maboul, Ex Ponto, or Sebastian Tellier, he sharpened his artistic skills for a fresh musical treasure hunt. Leave Me Alone is a renunciation from the industrial slow drone zones, waving into spectacular deconstructed style collages. 13 veiled drum machine experiments, featuring dubby jazz districts, hip-hop flair, haunting little melodies, and the TLT signature funk . . . For a wonder, this time almost no pocketed vocal samples in the TLT creations. Instead, freshly recorded spoken words and singing by Brooklyn based producer Chris Hontos aka Beat Detectives, poet and multidisciplinary artist Fran from Paris, and Italian synthesist and singer Andrea Noce aka Eva Geist, chanting introspective verses and Pier Paolo Pasolini poems over rugged grooves and suggestive sounds, opening his creative universe into a crisp manic eroticism. A cluster of genres, dancing in a rebellious, blistering swing, whirling styles upside down with an overall atmosphere that is flourishing on a positive spirit..." --Michael Leuffen
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LP
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BB 398LP
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LP version. With Leave Me Alone, Detlef Weinrich presents his fifth album under the moniker Tolouse Low Trax. Weinrich, who has meanwhile turned his back on Düsseldorf and lives in Paris, has long since ceased to be an insider tip and is a guest in renowned clubs and festivals all over Europe. With his new album, he succeeds in an exciting, unforeseen new direction. The velvety heaviness and rawness of earlier records seems to have given way to a new playfulness. A playfulness perhaps in the sense of an electronica reminiscent of the late 1990s, which in its idea of deconstruction and reduction is currently enjoying a new appreciation in the clubs. But also, in the sense of an urban vibe of hip-hop and dub references, which are woven into a very unique mix in Weinrich's tracks.
"Nervous mechanical murmurs, drifting comic-like through razor-sharp rhythm cliffs: welcome to Leave Me Alone, a loop meta-level dreamland of styles and mental meteorology. A repetitive notion on the overwhelming speechlessness towards the world, its clocking, and all the despairs that come along with it. Wholly veiled in a sharp sonorous language, that brings a complete agreement of the expression with the idea, a sense of harmony, of a secret beauty, that often escapes the judgment of the crowd. It marks the latest long player by Tolouse Low Trax. After his stunning collaboration with French singer and hurdy gurdy player Emmanuelle Parrenin and myriad remixes for artists like Aksak Maboul, Ex Ponto, or Sebastian Tellier, he sharpened his artistic skills for a fresh musical treasure hunt. Leave Me Alone is a renunciation from the industrial slow drone zones, waving into spectacular deconstructed style collages. 13 veiled drum machine experiments, featuring dubby jazz districts, hip-hop flair, haunting little melodies, and the TLT signature funk . . . For a wonder, this time almost no pocketed vocal samples in the TLT creations. Instead, freshly recorded spoken words and singing by Brooklyn based producer Chris Hontos aka Beat Detectives, poet and multidisciplinary artist Fran from Paris, and Italian synthesist and singer Andrea Noce aka Eva Geist, chanting introspective verses and Pier Paolo Pasolini poems over rugged grooves and suggestive sounds, opening his creative universe into a crisp manic eroticism. A cluster of genres, dancing in a rebellious, blistering swing, whirling styles upside down with an overall atmosphere that is flourishing on a positive spirit..." --Michael Leuffen
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KK 066LP
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2020 repress. 2012 release. The Düsseldorfer Detlef Weinrich is a man who is constantly listening to future winds through rushes of the past. He loves the night for its free will. And his music tells stories about it. You might know him as a member of the band Kreidler. As a solo artist he goes under the name Tolouse Low Trax. His first solo album Mask Talk (KK 052CD/056LP, 2010) thrives on a feathery beat frequency and cool new-wave-strength. Corridor Plateau (2011), which appeared as a limited edition to accompany the exhibition, contains percussive electronics and Industrial sounding like it's from the second industrial revolution. His third album Jeidem Fall, is also not from here. It sounds like music brought down to earth from the heavens. But it's a dark cosmos in which there are only fleeting glimpses of light. All eight tracks were composed in a short space of time over the period of just a few months and fit together perfectly atmospherically. With a musical expressiveness that undoubtedly twists your emotions, Jeidem Fall attacks the subconscious and clouds the mind. The drums have more movement than on Mask Talk. Along with the constant tapping of drumsticks goes melodical arpeggios dancing dark and dirty. At times longing vocals drift abstractly through the room, as on "Sa Seline" or "Geo Scan", without telling any obvious story. You could compare the dark minimal timbre of the drum computer aesthetic with Craig Leon's first reductive album Nommos (1981). There is also a hint of the minimalist industrial of the Spanish band Esplendor Geometrico in the bubbly textures. But Tolouse Low Trax is still looking from the present into the future and filter and filters all his personal preferences through his MPC and his small synth setup to make them come alive here and now in a new way. Again, Tolouse Low Trax has created a truly mysteriously vibrating drum computer music which offers hypnotic magic for the shadowy dance floor. Only a little light should illuminate the whole thing and the bodies that move above them should have no fear from threatening percussion which are displaced into a misty trance. A dark swaying shadowy mass, ideal for a journey at the end of the night and all those non-places where longing sleeps and the last romantics dance while getting drunk.
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CD
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BB 346CD
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Tolouse Low Trax's fourth solo album, Jumping Dead Leafs. A 38-minute exorcism, Dionysac sexiness fueled with romanticism, made of mechanical incantations mixed with spectral vocals of forgotten imaginary tribes, words from a physicist (Incomprehensible Image), and mystical breathings... To remind you that music is demanding your soul and body, fully. A master irritator, disclosing this talent all the way, down to every chosen title, for the album itself and all of its components (would you put "Milk In Water"?) As repetitive or minimalist music may already make some of you feel nervous, it seems more accurate to talk here about primitive music -- notwithstanding a non-violent anarchism. But those are only words and vain attempts to attach TLT to a region or a family. Neither the burden of classical European music legacy, which eventually lead to pop music, seemed to interfere with his wild mind, and if it is no surprising to hear Bach in German electronic music, there is here a clear statement that you are out of this syrupy prison... For D.W. is a sorcerer. He's been empirically learning the language of trance with years of touring and experimenting with all kinds of audience and venues, from clubs to museums, from Mongolia to Brazil, from his performances with his bands Kreidler or Toresch to solo ones, sustained by a steady limited set up, as the one used when he's recording : one MPC, rudimentary synths, few effects, and a mixer. No sound engineer on stage as only he knows his secret language... Raw dubmaking, leaning towards hip-hop, indubitably underlining here a significant distancing from his previous industrial inspirations. The bewitchment of this record is operating with no warning from the very first seconds until the last epiphany of "Sales Pitch". He is using his knowledge of techno, psychedelia ("Inverted Sea"), UK bass ("Jumping Dead Leafs"), only to bring you out of it. We all tend to be slaves, without even being conscious about it, and a balance must be existing between being a slave and showing off. Mr. Detlef Weinrich's answer is unsettling because it is an utter call to this balance, in our world of black-and-white and political correctness. From his recording technique mainly relying on one take, his adoration of mistakes and jeopardy, to the core essence of repetitive music, it is all here about being in the present.
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LP
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BB 346LP
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LP version. Tolouse Low Trax's fourth solo album, Jumping Dead Leafs. A 38-minute exorcism, Dionysac sexiness fueled with romanticism, made of mechanical incantations mixed with spectral vocals of forgotten imaginary tribes, words from a physicist (Incomprehensible Image), and mystical breathings... To remind you that music is demanding your soul and body, fully. A master irritator, disclosing this talent all the way, down to every chosen title, for the album itself and all of its components (would you put "Milk In Water"?) As repetitive or minimalist music may already make some of you feel nervous, it seems more accurate to talk here about primitive music -- notwithstanding a non-violent anarchism. But those are only words and vain attempts to attach TLT to a region or a family. Neither the burden of classical European music legacy, which eventually lead to pop music, seemed to interfere with his wild mind, and if it is no surprising to hear Bach in German electronic music, there is here a clear statement that you are out of this syrupy prison... For D.W. is a sorcerer. He's been empirically learning the language of trance with years of touring and experimenting with all kinds of audience and venues, from clubs to museums, from Mongolia to Brazil, from his performances with his bands Kreidler or Toresch to solo ones, sustained by a steady limited set up, as the one used when he's recording : one MPC, rudimentary synths, few effects, and a mixer. No sound engineer on stage as only he knows his secret language... Raw dubmaking, leaning towards hip-hop, indubitably underlining here a significant distancing from his previous industrial inspirations. The bewitchment of this record is operating with no warning from the very first seconds until the last epiphany of "Sales Pitch". He is using his knowledge of techno, psychedelia ("Inverted Sea"), UK bass ("Jumping Dead Leafs"), only to bring you out of it. We all tend to be slaves, without even being conscious about it, and a balance must be existing between being a slave and showing off. Mr. Detlef Weinrich's answer is unsettling because it is an utter call to this balance, in our world of black-and-white and political correctness. From his recording technique mainly relying on one take, his adoration of mistakes and jeopardy, to the core essence of repetitive music, it is all here about being in the present.
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LP
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ATN 030-2LP
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The second installment of archive material from Tolouse Low Trax, selected by Antinote. You can trail away with it; it is easy to enter, but hard to drop out. Tolouse Low Trax just needs an MPC, a small synthesizer set up, and some effects to create subliminal hypnotic music trips, driven by dark synth lines and drunken shuffled patterns. Tolouse Low Trax explains: "The primitiveness in my music is linked to something simple, and that don't have to be obligatory minimal. For me it is enough to dance rough around the core. Music you don't shape till the end contains of a moment of beauty. A veil of secrecy. I work very simply. I rather reduce my possibilities. Limitations offer lots of liberties." He reveals about his work ethic. Even if his music sounds darker than any experienced night, he mostly produces it in the morning, in his highly inspirational studio home. During the dark times of the day Tolouse Low Trax mostly performs live around the globe. Or hangs out in his second home: the Salon Des Amateurs club bar in Dusseldorf, which he once founded and where he held until today two weekly DJ residencies. The moments and atmospheres he inhales during these lightless moments are mirrored in his shadowy music, about which he also confesses: "My art is more a cinematic, literally idea of a large to explore 'Megacity'. This is one of the pictures I would link to my music." On Decades Vol.II, he offers four sounding visions about that "Megacity". They listen to mysterious names like "Hidden Flat" or "Studies In Drama". They are nervous. They are ephemeral pieces of dub, industrial, wave, or Italian library music. And at times strange and alienated voice samples dance within his highly addictive arrangements. Words can't express their magic. But one thing is absolute: his hypnotic dance-not-dance tracks do not only illuminate so-called freaks!
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LP
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ATN 030-3LP
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The third and final installment of archive material from Tolouse Low Trax, selected by Antinote. You can trail away with it; it is easy to enter, but hard to drop out. Tolouse Low Trax just needs an MPC, a small synthesizer set up, and some effects to create subliminal hypnotic music trips, driven by dark synth lines and drunken shuffled patterns. Tolouse Low Trax explains: "The primitiveness in my music is linked to something simple, and that don't have to be obligatory minimal. For me it is enough to dance rough around the core. Music you don't shape till the end contains of a moment of beauty. A veil of secrecy. I work very simply. I rather reduce my possibilities. Limitations offer lots of liberties." He reveals about his work ethic. Even if his music sounds darker than any experienced night, he mostly produces it in the morning, in his highly inspirational studio home. During the dark times of the day Tolouse Low Trax mostly performs live around the globe. Or hangs out in his second home: the Salon Des Amateurs club bar in Dusseldorf, which he once founded and where he held until today two weekly DJ residencies. The moments and atmospheres he inhales during these lightless moments are mirrored in his shadowy music, about which he also confesses: "My art is more a cinematic, literally idea of a large to explore 'Megacity'. This is one of the pictures I would link to my music." On Decades Vol.III, he offers five sounding visions about that "Megacity". They listen to mysterious names like "Hidden Flat" or "Studies In Drama." They are nervous. They are ephemeral pieces of dub, industrial, wave, or Italian library music. And at times strange and alienated voice samples dance within his highly addictive arrangements. Words can't express their magic. But one thing is absolute: his hypnotic dance-not-dance tracks do not only illuminate so-called freaks!
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CD
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KK 066CD
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This is the third album by Detlef Weinrich aka Tolouse Low Trax. Weinrich is a member of the Düsseldorf group Kreidler. He's already got three EPs and two albums under his belt. Jeidem Fall sounds like music brought down to earth from the heavens; however, it's a dark cosmos in which there are only fleeting glimpses of light. All eight tracks were composed in a short space of time over the period of just a few months and fit together perfectly atmospherically. With a musical expressiveness that undoubtedly twists your emotions, Jeidem Fall attacks the subconscious and clouds the mind. Alongside the constant tapping of drumsticks are melodic arpeggios dancing dark and dirty. At times, longing vocals drift abstractly through the room, as on "Sa Seline" or "Geo Scan," without telling any obvious story. Jeidem Fall really doesn't sound like anything that has gone before: you could compare the dark minimal timbre of the drum computer aesthetic with Craig Leon's first reductive album Nommos. There is also a hint of the minimalist industrial of the Spanish band Esplendor Geometrico in the bubbly textures. But Tolouse Low Trax is still looking from the present into the future and filters all his personal preferences through his MPC and his small synth set-up to make them come alive here and now in a new way. He has created a truly mysteriously vibrating drum computer music which offers hypnotic magic for the shadowy dance floor. Ideal for a journey at the end of the night and for all those non-places where longing sleeps and the last romantics dance while getting drunk.
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CD
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KK 052CD
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This is the debut full-length release by Düsseldorf's Detlef Weinrich aka Tolouse Low Trax. Mask Talk a distillation of the sounds of the night, possessing a musical intensity that bodes well for a different kind of dancefloor. Cool, atmospheric new wave sharpness, and a cushioned beat rate between 107 and 116 bpm call out a mechanical functionality that doesn't bow to any contemporary doctrine. This is urban music, and a true club album, harkening big city lights in Africa with chilly neon sounds from Düsseldorf. As a member of Kreidler, Weinrich has contributed to a group's cosmic vibes. Now, with his solo project, he demonstrates that an MPC and a small synthesizer ensemble are enough to bring alive futuristic dance music in the here and now. Bedroom-recorded under tense creative circumstances, the 10 tracks invoke, mostly instrumentally, an eerie atmosphere that would fit in perfectly with an early John Carpenter movie. With plenty delay on the bass figures, compact analog effects, percussive dabs and a rough blend of layers, Weinrich has, without any digital support, created quivering drum machine music, whose danceability he was able to test regularly as a resident DJ and co-owner of a Düsseldorf club/ bar. These tracks breathe the hypnotic power of his DJ sets, where he arranges diverse rhythms between Krautrock, cosmic, electronic and acid. They are also reminiscent of analog-electronic pioneers such as Cluster or Peter Baumann. Also, 1980s avant-gardists Cabaret Voltaire and Zazou Bikaye have left their mark, without Tolouse Low Trax explicitly referring to them. Mask Talk is a dark, urban solanum, full of reverb, whose melodies are never prankish, but whose minimal nonchalance is sure to help not only the dark creatures through the night. "Form is essence brought to the surface," Victor Hugo wrote 150 years ago. Mask Talk reasserts this theory as a distillate of an operating procedure seeking to subvert ingrained listening habits and to resharpen the contours of the audible.
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LP
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KK 056LP
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2018 repress; LP version. Includes one vinyl-only track, "Aseko On," and a download voucher for the entire CD. This is the debut full-length release by Düsseldorf's Detlef Weinrich aka Tolouse Low Trax. Mask Talk a distillation of the sounds of the night, possessing a musical intensity that bodes well for a different kind of dancefloor. Cool, atmospheric new wave sharpness, and a cushioned beat rate between 107 and 116 bpm call out a mechanical functionality that doesn't bow to any contemporary doctrine. This is urban music, and a true club album, harkening big city lights in Africa with chilly neon sounds from Düsseldorf. As a member of Kreidler, Weinrich has contributed to a group's cosmic vibes. Now, with his solo project, he demonstrates that an MPC and a small synthesizer ensemble are enough to bring alive futuristic dance music in the here and now. Bedroom-recorded under tense creative circumstances, the 10 tracks invoke, mostly instrumentally, an eerie atmosphere that would fit in perfectly with an early John Carpenter movie. With plenty delay on the bass figures, compact analog effects, percussive dabs and a rough blend of layers, Weinrich has, without any digital support, created quivering drum machine music, whose danceability he was able to test regularly as a resident DJ and co-owner of a Düsseldorf club/ bar. These tracks breathe the hypnotic power of his DJ sets, where he arranges diverse rhythms between Krautrock, cosmic, electronic and acid. They are also reminiscent of analog-electronic pioneers such as Cluster or Peter Baumann. Also, 1980s avant-gardists Cabaret Voltaire and Zazou Bikaye have left their mark, without Tolouse Low Trax explicitly referring to them. Mask Talk is a dark, urban solanum, full of reverb, whose melodies are never prankish, but whose minimal nonchalance is sure to help not only the dark creatures through the night.
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viewing 1 To 12 of 12 items
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