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viewing 1 To 9 of 9 items
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12"
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PUDEL 045EP
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With Thee Church Ov Acid House's third EP, the miracle is now complete, the trinity has come full circle, the triptych is complete, the church has fully handed over the Holy Spirit to its disciples. For this celebration, apostles such as Glow, Tyson, and Elektra, as well as the church leaders of Thee Church Ov Acid House themselves, come together again to celebrate a Dionysian Bachanal. It starts with Glow's "Acid House Planet," an epic-ambient call to the gods at the foot of the Acid House Olympus. And the next track on the EP, "Coming Home," a no less epic house tune that calls the children of faith home to the church with the vocoder voice of the gods, shows that they listen to their disciples. "Mitzubishi" by Tyson celebrates the holy sacrament of acid painting in chords that melt on the tongue like a lollipop over a ritual beat. This is followed by Elektra, which has already provided highlights on the previous EPs. And this time too, her hypnotic acid anthem worms its way deep into the ear canals and brains of the trance-listening worshippers. Shortly before the end, the church leaders return to deliver an abstract breakbeat hymn with "Waves Ov Power," which, surrounded by numerous sample memories of house history, sings of the pure power of the acid ecstasy techno religion. Finally, Thee Church Ov Acid House disciples are dismissed from the service with a powerful hymn of distorted bass drums, namely Random Noise Generator's "SM 58" in the T.C.O.A.H. Schranz remix -- a track that will give the inspired followers of the Church Ov Acid House enough strength to spread the happy acid message throughout the land. Amen.
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12"
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PP 043EP
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In the annals of German techno history of the early '90s, Mannheim's Milk Club was always something like the dirty little brother between Berlin's Tresor and Frankfurt's Omen -- not as cocky as the two big siblings, but secretly all the more-clever. Less pretentious than the Äppelwoi metropolis, less dirty than the capital and, despite squaring the circle, less straightforward than both together. Instead, they delight with breakdancers of almost Wigan Casino-like elegance. Very British, even in the musical mix of house, techno and breakbeats, breakbeats, breakbeats. A club like a kind of mother raising the nightclubbers with her milk. Devi G. pay tribute to this club with their Milk EP on Pudel Produkte. Devi G. are Dirk Mantei aka Dman (DJ and former manager of the Milk Club) and Oliver Bradford (one half of Thee Church Ov Acid House and resident DJ at the equally legendary Brückenkopf parties in Mainz). A four-part promenade mix is on offer that has it all. It contains house, techno and, yes, breakbeats, breakbeats, breakbeats. Four tracks that transfer the milk legend into the 21st century with '90s-inspired rave finesse. Dross for the posse. Or as the connoisseur says: effervescent tablet in the brain, highly recommended!
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LP
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PUDEL 042LP
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After three individual pieces on the Hamburg label Pudel Produkte, the long-playing work of the man from the Pension Stammheim is finally released. It quickly becomes clear that this is a real capacity record: six (on vinyl) from the cosmos of a man who means business. You can already tell by the fact that the record is only called ROTTE and not something else. Rotte makes ROTTE and nothing named, nothing labelled, nothing carefree commodes and prisoners certainly not. It is relatively easy to approach ROTTE. Just listen and do nothing else. No, nothing. Nothing at all. Don't give away flowers, smoke cows, talk yourself or listen to the net. Don't try to get out of the Bermuda Triangle in the process! Concentrate as if you were reading a book by Suhrkamp. Be actionless in the here and jazz. Beat the six kinds of wood out of the coffin and leave only the steel screws! Take Rotte and ROTTE seriously. Man and work. With him, though, black is absolutely a color. My ketamine is my petrol. First takes only. Drilling without Club of Gore. Undisputed truth. No lounge. The lyrics on Rotte are not a party. It might seem a bit too colorless, a bit too intense, a bit too hard and dark. Too much psychobabble. But the songs bring it and you. They are designed in such a way that nothing else works during them. Nobody would think of peeling an egg at Russian roulette. That's how you have to see it. The songs were musically supervised by Jörn Elling Wuttke and Oliver Bradford (Thee Church Ov Acid House), by Die Nerven producer Ralv Milberg, by Douglas Creed (BPitch Control, Freude am Tanzen), Boris Nielsen (Käptn Peng) and Peter Armster. There is a congenial mutual autocorrection between lyrics and music. Individually, this cannot be heard and it is not offered. By the way, you don't hear anything else at the Federal Criminal Police Office at the moment. So please.
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12"
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PP 041EP
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Poetry written and performed by Georg Heunoske. Mastered by Andreas Lubich in memory of Andrew Weatherall and Genesis P-Orridge. Features Thee Church Ov Acid House, Thee Orchyds, Glow, Elektra, Thee Church Ov Acid House, Northsyde, and G..
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12"
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PP 040EP
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Listening pays off. This is evident not least in the debut EP of Golden Pudel Club barman Paul Speckmann. Long years behind the bar of the Hamburg club pub made him a willing listener to the numerous and diverse events there - from start to finish, something that very few "regular" clubbers can claim. And these influences, from indie concert to electronica crunch, from jungle breakbeat massacre to dignified house groove, not only led to his varied DJ sets, with which Speckmann also made his house club happy, but certainly also served as inspiration for these wonderful tracks, which skillfully oscillate between deep-dusty house, angereak indie dance, and playful IDM jingling, often varying different elements in one track. There is, for example, the delicately dreamy house hit "On The Flip", the late-night funk of "Starships", which would not be out of place on the Sunday MFOC floor, or the blurred indie ambient tune "Return", which captivates with campfire guitar and Sophia Kennedy on the vocals. And these are just three of the seven tracks on the EP, none of which disappoint. Someone has listened carefully and learned his lessons. Chapeau!
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LP
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PUDEL 036LP
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DNA is Rosaceae's second album for Pudel Produkte after 2020's acclaimed Efia (PUDEL 032LP) for the Hamburg label. The eight tracks further explore the artist's interest in the interplay of sound and language while also adding skittering rhythms and thumping kickdrums to the mix. DNA is a complex but enriching album that as a whole not only reflects ideas of resistance, solidarity and internationalism, but also how they are mediated and their meanings are shaped by different types of mediation. Whether Rosaceae seems to mimic the sound of rapid machine gun fire, indulges in gabber-informed beats or soothing, tinkling ambient sounds: by the end of the album the sonic experience could as much provide solace as it may be understood as an elegy, it has become abundantly clear that even the most straightforward usages of certain musical elements or statements on this album are more complex than they may seem at first. Much like Efia, DNA poses uneasy questions but provides no easy answers -- neither in sound nor in language.
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12"
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PUDEL 033EP
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Pudel Produkte 33 is like a time machine back to homely MFOC ages when Rephlex's very own IG-88 used to be a resident at this very Hamburg club and MFOC-promoter Raf jokingly insulted Richard D. James (with the Aphex Twin standing right behind him, mind you). Blessed times indeed, which quadratschulz perfectly emulates with his exquisitely constructed aural body made of brain-dancing, melancholodies and thrilling electro boogie. Ralf & Florian meet AFX in an elevator and do have some stories to share. An EP so good you are asking yourself if the upcoming remix EP can top that (hint: it can). Meanwhile, the dancefloor dictator issues a strict buying order.
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LP
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PUDEL 032LP
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Efia, the sophomore album by Rosaceae, picks up where the Hamburg-based sound artist's 2019 debut on Neoprimitive left off, further exploring the topics that had already informed Nadia's Escape. From its confrontative front cover to the eight tracks on the album, Efia is fully dedicated to the motif of resistance, but does not exhaust itself in polemics. Rather, it masterfully translates the complexities of its underlying central themes into a visceral narrative. Efia was originally conceived as a commissioned work for the 2019 edition of Hamburg's Noisexistance festival and departed from a sentence uttered in the British 1980s TV show Sapphire & Steel which inspired cultural theorist Mark Fisher in his analysis of what he had coined "hauntology," a term originally coined by the Algerian-French philosopher Jacques Derrida in the early 1990s: "There is no time here, not anymore." The album again showcases Rosaceae's knack for combining abstract experimental sound art with a form of storytelling that had already been at the center of Nadia's Escape and which relies on both verbal and musical means of giving a voice to the voiceless. The disembodied voice of -- amongst others -- Jesseline Preach and manipulated vocal samples blend in with dense soundscapes, elements of neue musik and occasional pure harsh noise. It's a mix that deliberately puts different artistic traditions into a dialogue with each other: the hallmarks of European salon culture are confronted with Kurdish wedding music and the unnerving loop of someone demanding a "Zugabe" ("encore"). Thus, Efia not only blurs the lines between cultural and regional traditions, but also conjures up the ghosts of a past, ghosts that are more than ready to haunt the timeless present trying so hard to repress the atrocities happening at its fringes. As a whole, this makes Efia both a chilling work of sound art and a vibrant political statement fueled by burning hot energy.
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12"
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PUDEL 030EP
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The Pudel Produkte UG announces, that they will now go along with it. They finally found time for future -- just like the others. But the others, they don't have him anyway: The Pudel. They have safes, hill forests, studios with numbers, power stations or factories, water gates, green valleys, or rich beautiful ageless brits with mirrors and thousands of other cheap opportunities. Well. Whatdoweknow. We can only talk about the Pudel. This bare and pure creature. That poodle without an egg. "Ich und mein Pudel" (Me and my poodle) is the name of the new anthem of our house written by the noble mold punk Rocko Schamoni. The original version on his album Musik Für Jugendliche" (music for teenagers) swings by in some quite Bavarian hump-pattatata leather shorts. Alongside with that, a brass commando shows up in such a beyond comfy speed -- it needs to lie down to wake up. All that is different, yet, of course, sick. Cover by Alex Solman. Remixes by Digitalism, FaltyDL, Brand Brauer Frick, and Pulsinger & IRL.
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