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2x12"
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HART 004LP
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Robag Wruhme on external assessment vs. self-conception by: "People always think, I'm that serene and quiet guy, but actually I'm quite a noisemaker." Could be that the majority of the material he put out in recent years, most notably Thora Vukk (PAMPA 002CD/S-LP, 2011), led to the overall impression of Robag being the virtuoso of everything subtle, enigmatic and tenderly melodic. That's far from being a misconception, but it's still just one side of the coin. The other side is embossed with his most current productions, consolidated here on Wuzzelbud FF, a nominal nod to his debut album, Wuzzelbud KK (MKR 001CD/LP, 2005). As there's no such scenario Robag might be running out of stream-of-consciousness turned nonsense titles for his music, this must be a vocabulary intersection linking this music with the early days of his career. Wruhme presents Wuzzelbud FF as the stylistic follow-up to that debut album, showcasing a sound he avers has been neglected for too long. "I wanted to put out some straightforward music for the dancefloor, something for the primetime. Well, for the primetime of my sets, at least." That agenda is written all over most of the present material. "Veddel Bav" the pace early on; don't fall for Wruhme's signature artistry of evoking groove out of micro-sampling while this track is building up, as it'll be bulldozed by a bass-heavy kick and off-beat hi-hat-lashes soon enough. The title track opens the B-side, combining field-recorded patterns, courageous delay-implementation, and a take-no-prisoners mentality when it comes to prepping the ears for its peak, a simple yet effective bassline, a buzzing and twanging percussive overload bind to make what's known as a banger. "Tisma" is a spaced-out jam before "Provol Eto", the cowbell-decorated, synthbass-fueled epitome of heaviness in this set of tunes, that is among the most functional and relentless material Wruhme has ever written. No pause is granted, as "Maiowu" speeds up to utter D'n'B frenzy, a recourse to his mid-1990s rule of denying, almost anarchic approach to production. The final re-introduction of a straight kick opens "Wabb Bodun", another no-frills, engine-room-located stomper, inspirited and strengthened by rhythmic shifts and crisp tweaking alone. An in-the-red powerhouse that calls for an alleviation like the ambient farewell kiss "Ausgang" closes the record, capping an assembly of textures that sets a peaceful conclusion to an energetic and mostly high-revving journey.
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12"
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HART 003EP
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Hamburg-based, Stimming and Dave DK have built their experience through uncountable tracks and performances. Turning the lights off and playing it loud is what they are best known for. Here, they bring together two superb tracks: "Frankfurt Main" and "Saida 222". Stimming has built in a sneaky percussion with an enormous engaging touch. Buoyed up by a textured bass, "Frankfurt Main" reaches the center of what an in-depth track aims to be. "Saida 222" takes you on a contemplative, introspective, and melodic journey, a route usually explored by Dave DK in his previous and acclaimed works.
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12"
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HART 002EP
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2024 repress. Hart & Tief return with Pampa's dark bastard and the Proverbial black sheep. For the second statement from the label, they have the twin voices of DJ Koze and Robag Wruhme. Both are masters at remaining simultaneously identifiable yet surprising, and the freedom afforded by this fledgling label sees them push their respective milieus. "Driven" sees Koze return to previously mined percussive tropes and plumb a new minimalist clarity of emotion through maximal means. Robag Wruhme provides "X-mop 198", a slice of linear horror-techno that deftly re-contextualizes its simplistic components into a jagged and constantly surprising listen.
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12"
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HART 001EP
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Hart & Tief present Sky So High, with a track each from Soulphiction and Mike Dehnert. Considering the jolly arpeggio terrorists of today, Hart & Tief's protagonists are different; Insane, socio-phobics, willing to fight to bring cultural offensives to an end by sampling, pitching and chopping everything - indefinable scraps of radio reassemble. Aesthetics of error were born, detached from the assembly line. "'Sky So High' from Soulphiction is swirling dancefloor oriented techno. Mike Dehnert's 'Zumwald' takes extreme minimal approach with understated beats & light touches." -- Crosstalk.
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