29.9.2009 von mk.

Who or what is Voom:Voom? Well, that’s easy enough: a basic internet search soon reveals that they are the acclaimed ‘Vienna-Munich Connection’ (Compost-Records.com) of Peter Kruder (he of Kruder & Dorfmeister and Peace Orchestra, and the trio’s Vienna leg) and Christian Prommer and Roland Appel (Trüby Trio and Fauna Flash). The trio’s more recognised monikers are easy to discern: languid, leftfield electronica; jazzy beats; a ray of drum’n'bass; and deep house. But what of VoomVoom? Allmusic.com describes their sound as ‘minimal groove’, The Face said they were ‘banging, and bass heavy’, while the aforementioned Compost website – and it should know a thing or two – says the boys concoct some of the ‘hottest, uplifting grooves’. The much-missed Jockey Slut once described one of their 12-inches thus: ‘The Future Sound Of London getting down and dirty with Dread Flimstone, 4 Hero and the Scissor Sisters. A must have, in short’. DJ Hell described, succinctly, one of their twelves as a ‘superhit’. So what else is there to know? Well, the idea of VoomVoom came into being at the wedding of Compost’s Michael Reinboth in 1998, that much we can tell you. However, their reasons for being are plentiful and depend on who you speak to. According to Christian they are “three lonesome souls, with no friends, who have the same interest in experimental dining”. Peter’s account is a little more prosaic: “We were always talking about our studios, new technology, new ways of producing certain sounds and most of all we enjoyed each other’s company.” What can be said with the utmost confidence, though, are their motivations. Bored of the rigidity of most electronic music, they deigned to create music that was so fantastically free of tired generic definitions, that even those who moderately dipped their toes onto the world’s greatest adult playground – the dancefloor – would find something to get them excited. This broad spectrum takes in techno, house, electro, dirty disco, sweeping orchestral symphonies and even a touch of blissful downtempo. It’s a thrilling, heady, soulful and instinctive mix. Gathering outstanding DJs and producers like Marcus Worgull, Mr. Charles Webster, Henrik Schwarz, Wahoo, Deetron et. al. “Mixes” now presents the best remixes from Voom Voom’s monumental album “Peng Peng” (2006) summing up 10 outstanding tracks for those that know good dance music.

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16.9.2009 von mk.

Pop is not so much a genre but rather a certain sound. Just like a metropolis embraces all the different faces, feelings, views and ways of life of its inhabitants, the memorability and the gloss of the pop-sound are exactly the attributes that merge and weld very diverse contents and styles into one.

In that spirit, Stereoshape’s debut EP on iD.EOLOGY is pop at its very best. Whether their songs tell stories about romantic daydreams, that tingly anticipation of a wild night out, about psychedelic trips through inner and outer realities, the start of a new love or simply about the fascination of a flirt on the dancefloor, it’s always their palatable and polished sound that connects all these themes just as easily as stylistic elements from triphop, funk, blues, electro, lounge and disco.

And since this EP is so urban in function, it’ll work for you just as appropriately in a city mansion loft as in a top-floor club, while chilling out in the park as while being on the subway.

So forget all about genres - this city is all about sound.

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1.9.2009 von mk.

You may know Joakim Bouaziz from his 2007 album Monsters & Silly Songs, a sui generis fusion of disco, post-punk and pop that became something of an instant cult
classic. You may know him for his remixes of artists like Cut Copy, Simian Mobile Disco, Annie, Alter Ego, DJ Mehdi, Royksopp and Poni Hoax. You may know him from
his years behind the scenes at Tigersushi, the iconic Parisian label at the crossroads between post-punk, dance music and the avant-garde. But whatever you think you
know about Joakim, prepare to be very surprised by this, his third studio album “Milky Ways”.
Over the course of a tidy 51 minutes, Joakim and his band mates fold together bits of psychedelia, oldschool computer music, exotica, electro-pop, blues, new wave, New Pop, Krautrock
and more into an expansive, remarkably coherent album that refuses to be reduced to a single genre, much less a single idea. This is no pastiche: these are proper songs,
and the whole album follows the kind of overall arc that’s rare in a contemporary longplayer.

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