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GANG GANG DANCE

The Forbidden Dance label is marking their first year of existence and with already top-notch names (Vick Lavender, Alton Miller, The Mechanical Man) with the first three releases, they are celebrating the one year mark with another global gem, disco and house finest - Ilija Rudman! Where Wild Horses Go is conveying an unquestionable sense of 80’s electro and synth boogie filled with smooth and heavily reverberated rhythmics drenched in strong snares. Aligned with catchy and spaced-out disco pads, the album is riddled with ever strong analogue elements processed in a light, quirky and summerish way but with enough groove in some tracks easily applicable on the dancefloors in the late hours. Dead Horse Gang is a brainchild music band/brand by Ilija Rudman dedicated to cinematic dance concept laying on the Los Angeles funk attitude, Art Of Noise perception of sound and raw 12-bit grooves making a statement of mid 80’s culture with surf vibe of California summer. “Dead Horse Gang Music is more than music, it’s a way of life, a way of thinking, a path to a maximum freedom of the one, who can accept it.” -Ilija Rudman

TRACK LISTING

A1. Three Four Amazing
A2. We Hold The Light
A3. Your Smile Is Shotgun
A4. Where Wild Horses Go
A5. Demons Race (theme) 
A6. After The Gold Rush
B1. Over The Hill
B2. Broken Home (Lost Son's Diary)
B3. Black Marble
B4. Exodus Theme
B5. Ministry Of Lost Souls (outro Theme)
B6. Riders Of The Secret Gardens

“Like Arthur Russell before them, they give equal floorspace to the spiritual and the sensual.” Pitchfork

Gang Gang Dance – one of the most enduring and creatively vibrant musical acts of 21st Century New York – return with brand new album, Kazuashita.

Formed initially as an improvisational outfit in the early 2000s, Gang Gang Dance are Lizzi Bougatsos, Brian DeGraw and Josh Diamond. All independently operating artists in their own rights, they consistently blur the boundaries between music and art; as comfortable today performing at the Whitney Biennial as they are at Coachella, and count Dash Snow & Nate Lowman, Tinchy Stryder and the Boredoms as previous collaborators.

Held together by Lizzi Bougatsos and her otherworldly vocal, Kazuashita is an intoxicating mix of ethereal shoegaze and electronic ambience, self-produced by Brian DeGraw.

STAFF COMMENTS

Barry says: Seguing brilliantly between a swooning electronic swell and clicking, glitched-out histrionics, GGD manage to toe the line between downbeat post-shoegaze electronics and more driven elements without batting an eyelid. Perfectly balanced and brilliantly evocative.

TRACK LISTING

( Infirma Terrae )
J-TREE
Lotus
( Birth Canal )
Kazuashita
Young Boy (Marika In Amerika)
Snake Dub
Too Much, Too Soon
( Novae Terrae )
Salve On The Sorrow

Gang Gang Dance

Retina Riddim

    In advance of Gang Gang Dance's upcoming studio full-length comes the band's first ever DVD release. This film was made by Gang Gang Dance member, and visual artist, Brian DeGraw. "Retina Riddim" is by no means a tour film, documentary, live video, or anything as remotely stringent. Though 'art film' is a moniker that may be justly used to describe it, the term falls somewhat short of it's mark. It is, however, Mr. Degraw's first foray into film making and proves to be a more forward thinking release than many of their contemporaries might attempt. As an added bonus "Retina Riddim" also contains an audio CD cut together by Degraw specifically for this release. This was approached by him in much the same manner as the film, by assembling fragments of Gang Gang Dance music, mostly drawn from sound-checks and live shows, into one whole.

    Gang Gang Dance

    God's Money

      With their second album "God's Money" Gang Gang Dance creates a modern music which reorients the palette of electronic music into an organic context, manipulating sound, rhythm and melody in an almost mercurial manner. Painstakingly recorded over the course of a year at Junkyard Audio Salvage, the band utilized whatever means were available to them to craft their sound: drums of all shapes, sizes and circuits, various keyboards and synthesizers, midi-triggering guitar scenarios, vocals reconfigured via guitar effect pedal and even the occasional aluminium chair. Blending their hypnotic rhythms into a highly structured compositional style or soaring in the lofty heights of practiced improvisation, this recording follows in the footsteps of the bands previous output all the while marking new ground.


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