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Various Artists

Velvet Desert Music Vol. 3

    Kompakt unveils the third volume of Jörg Burger’s “Velvet Desert Music” compilation series, dedicated to music that hits the sweet spot between the cinematic, the (pop) ambient, and the psychedelic. With “Velvet Desert Music Vol. 3”, Burger and his friends wander afar, taking trips away from, or adjacent to, the dancefloor that’s acted so long as the crucible for the Kompakt aesthetic. Like its predecessors, it’s a gorgeous, lambent collection of late-night mood music.

    Because it’s such a broad church, “Velvet Desert Music” admits all kinds of new experiences, as well, with Burger looking for music that “goes beyond the desert to explore different corners of the velvet universe”. Indeed, of all the volumes in the series, this third installment feels closest to an album made by a true collective. The roster has changed, with new contributors Flug 8 and Seb Martel, both with his trio Las Ondas Marteles and with Chocolate Genius and Zsela as La Finca, joining regulars The Novotones, Mount Obsidian, The Golden Bug, Paulor and Sascha Funke.

    Burger himself shows up alongside Fritz Ackermann of The Novotones and Max Würden and Thore Pfeiffer, in The Velvet Circle. Their contributions are pure lush life electronica: “Our Tribe” hitches a ride with a low-slung groove, flickering psychedelic reels of acoustic guitar traipsing across moody bass and taffeta layers of drone; their opening remix of Flug 8’s “Puerto Rico” gently introduces the album with softly tangling electronic tones, while guitars, drenched in reverb, pirouette in the background. Mount Obsidian’s remix of Burger´s The Black Frame “Sacrosanct” spins around the listeners ears like a kaleidoscope catching the reflections the sun makes in San Luis Potosí’s ornately decorated churches.

    La Finca’s electronics and voice miniature, “What Clouds Say”, is a masterclass in poetic restraint; Martel’s “Dark Mambo”, remixed by Burger, is one of the collection’s big surprises, for it indeed does what the title says, a drifting, surrealist take on the mambo form, full of pensive chords, rich with unrequited longing, a breathy saxophone whispering under the song’s sly rhythmic carriage.

    Old friends reappear, too: Paulor is back with the clicking grind of “The Last Coke in the Desert”, while Golden Bug’s “Es Cucuruc” is a muted slow burner. The Novotones chime in with a slyly propulsive, Krautrock-esque charmer, “Liberty Bell”, and the guitar-led tone-drift of “Valley of Oblivion”; Paulor’s “The Last Coke in the Desert” is a chiming, lilting dreamscape; Mount Obsidian are joined again by vocalist Charlotte Jestaedt for two modern takes on early-hours art song, „Fade“ and „Marole“, the closing track of the compilation, which is a spooked requiem for times passed. Sascha Funke’s “Mathias Rust” is a lavish dancefloor dream, vocal samples drifting through the song as it slowly envelops the listener in its opulent radiance.

    What’s most compelling about “Velvet Desert Music Vol. 3”, perhaps, is the way everything sits together so tightly, so neatly – it’s the album in the series so far that feels the most like it’s been made by collaborators in one long, playful session of experiment and exploration; everyone’s on the same page, exploring the fractured wastelands, dust squalls, sunburnt scapes and psychedelic cacti of the psyche; burnt sienna, desert lilies and willows, fairy dusters, yucca and greasewood… an extravagance of blooming, riotous colour, erupting from the sun-cracked landscapes within each of us.

    This is just a taste of the rich pleasures of Velvet Desert Music Vol. 3, a triumph of a compilation that takes the psychedelic visions of its predecessors and looks for the desert within, a dusty kiss, a road-movie hallucination flickering on the listener’s eyelids, a cinematic projection from deep inside the mind.

    Various Artists

    Pop Ambient 2022

      Again, the current edition of the tradition-steeped compilation series curated by Wolfgang Voigt is about the persistent and ever-necessary definition of beauty, of reduction, of electronic music of heavy lightness and light heaviness, of ambient's eternal promise of a state of physical and acoustic weightlessness and Pop's of redemption. And about the question why a never arbitrary combination of soundscape, drones, samples and loops, put together in a certain way, can create this feeling of warmth, depth and space, - something three-dimensional, where the imagination feels at home as a fish in the water or a bird in the sky. A key aesthetic stimulus that sends all the senses into a slow glide and drift, after which your synapses feel like they've been bathed in essential oil. Next to Soul, Ambient is probably the most effective musical healing plant of mankind.

      Behind the aural test tubes, the who's who of Pop Ambient is once again at work, led for the first time by the highly trafficked Californian duo Blank Gloss, whose debut album "Melt" this year was certified by The Guardian as nothing less than "heartaching beauty". Yui Onodera's "Chrome" as well as "Kari", a cooperation of Markus Guentner and Joachim Spieth, could also be imagined in the score of Denis Villeneuve's new film version of DUNE - however, colleague Hans Zimmer managed that quite well without the three. After such wonderful and stylish contributions by Reich & Würden, Triola and Thomas Fehlmann, the ear then lingers a bit longer on the ghostly "Weiht" by Morgen Wurde feat. Maria Estrella, a track like a temple of sound, a deep electronic immersion in a Japanese onsen.

      In this sea of unnameable time you could sink forever, but with the tracks of Andrew Thomas, Thore Pfeiffer and Max Würden & Pepo Galán the journey slowly comes to an end. 


      1.Blank Gloss - Coiling
      2.Yui Onodera - Cromo 6
      3.Markus Guentner / Joachim Spieth - Kari
      4.Reich & Würden - Grainscan 06:25
      5.Triola - Mutterkorn
      6.Thomas Fehlmann - Rosen Fliegen
      7.Morgen Wurde Feat. Maria Estrella - Weiht
      8.Max Würden - Elan
      9.Thore Pfeiffer - Taunus
      10.Andrew Thomas - Kiss The Horizon
      11.Max Würden / Pepo Galán - Seis Minutos Mas
      12.Joachim Spieth / Pepo Galán - Luna
      13.Max Würden - Retrospektive
      14.Blank Gloss - Anticlimbers
      15.Thore Pfeiffer - Isola
      16.Pop Ambient 2022 (Continuous Mix)

      20 years of Pop Ambient. Already? One didn’t notice. It’s an anniversary which comes quietly. An anniversary with quiet tones.In the spirit of the special restraint of pop-elegance, it has no reason to drawn attention to itself with a big „Tam-Tam“. Or better: „Bum-Bum“. The bass drum stays outside. Nevertheless, in fast-paced, overstimulated times of moving forward, it’s a joyful occasion to look back.What strikes most by putting or listening to 20 years of pop ambient in a row is the central theme that holds together the dense aesthetic concept like the pearls of a necklace.Floral beauty for digital naturalists. Music like flowers, that don’t wilt. Timeless. Ageless.

      But with all of the conceptual unity and resolution, Pop Ambient would not be Kompakt without the break, the friction, the expansion of musical boundaries in between tradition and innovation, in between conspiracy and the openness of the discourse.Aestheticism, escapism, acting in the spirit of „nevertheless“. Swans drifting by, clouds pass over, everything is floating and: „Boredom is a stylistic device“ (Andy Warhol).

      Pop Ambient Music is medicine against illnesses, that you don’t even suffer from. It’s giving everything, demanding nothing.Musical lotus leafs, off which the virtual wastewater of our time is rolling like the reality is dripping off the matrix.

      In this sense, we’re happy about the pop-ambient anniversary greetings from new and old companions like Thore Pfeiffer, Max Würden, Yui Onodera, Jörg Burger, Thomas Fehlmann, Morgen Wurde, Leandro Fresco aswell as contributions from T.Raumschmiere, Andrew Thomas and, after a long break, from friends from early days like Joachim Spieth, Markus Guentner und Klimek. Breath in. Breath out. Thank you.


      01 Thore Pfeiffer – Urquell
      02 Max Würden – Diminish
      03 Yui Onodera – Cromo 4
      04 Joachim Spieth – Meteor
      05 T.Raumschmiere – Notre-Dame
      06 Klimek – All The Little Horses
      07 Morgen Wurde Feat. Maria Estrella – Lässt Los
      08 Markus Guentner – Clade
      09 Thomas Fehlmann – Liebesperlen
      10 Gen Pop – Iron Woman
      11 Klimek – Requiem For A Butterfly
      12 Leandro Fresco – Brenda
      13 Max Würden/Pepo Galan – Stay
      14 Leandro Fresco/Thore Pfeiffer – Neo
      15 Andrew Thomas – Song 9
      16 Andrew Thomas – Sleep Fall

      Two years on since his last outing on the label, 'The Follower', Axel Willner puts on his Field suit again to present his sixth full-length effort for Kompakt, 'Infinite Moment' - which sees him striding further across the deeper, richer rims of the hue cycle.

      Substituting the uptempo vim of his previous pieces for a sense of mind-expanding horizontality, 'Infinite Moment' is an album filled with hope and draped in a diffuse, appeasing light; easing the pain and troubles of the human soul through a lushly forested recital of shoegazing modular, complex textural interplays and solar, atmospheric fractals. The matrix cut 'Made of steel, made of stone' gets the ball rolling on a thumping downtempo note, wrapping the listener up in hazy drones, fractured vocoder and rumbling bass tones. "Divide Now" is a proper sonic mitosis, engaging the metamorphosis to come; like a larvae pupating and reemerging weeks later from under rough bark in the form of a vividly coloured butterfly - fluttering breaks eventually shedding their skin then making way for a crucially more intimate and hypnotic second chapter. "Hear Your Voice" propels the lavish, pad-upholstered glamour of its melodic lines in the mixer for a bolder syncopated revisitation of '80s indebted pop harmonics, while 'Something left, something right, something wrong' returns to a flaring post-euphoric daze. Legs numb, mind confused and eyes lost into the greater whole, where nascent stars dance their way across the milky way to the rhythm of samba, and universal loving is no utopia.

      A more arrhythmic affair, 'Who Goes There' spins out into orbit wildly, fusing stealth acid bass moves with a haunting off-kilter motorik that bears The Field's seal of exclusivity, playing with the listener's mind intensely before the ten-minute-long epic 'Infinite Moment' ushers its listener in a highly immersive final ballet of buzzing chords, trampling drums and all-consuming drones. Syncing the self with its environment in ways never explored before, this album is a direct soul-to-soul transmission, aiming no further than at finding the right balance between contained emotion and an expressive eloquence. No fluff, no bluff - with 'Infinite Moment', The Field goes straight for the heart, stripping bare of all vain and futile attributes to focus on the very essential - He is hopeful, and so are we.


      Sil says: It is The Field again! You know the drill; the formula has not changed: thumping beat, ethereal melodies, trance-like loops and a sense of possibility always present. This one is as good as all the others. In my books, that is a very good thing.


      A1. Made Of Steel. Made Of Stone
      A2. Divide Now
      B1. Hear Your Voice
      C1. Something Left, Something Right, Something Wrong
      D1. Who Goes There
      D2. Infinite Moment

      Ghost Vision


      A new force on the modern Balearic scene made of up Thomas Gandey aka Cagedbaby (member of Matom alongside Matt Edwards) and Daniel McLewin, half of UK-based production duo Psychemagik. Together they drop their first single on Germany's long running leftfield label Kompakt.

      "Saturnus" is an upright mano a mano between two musicians and their gear, unchained from all preconceptions and biases; real (machine) talk as the hip-hop heads would say.

      On "Zuul Passage" we get a twangy and Tron-esque futurescape generated by a good old Moog Voyager, '70s string machines', Oberheim OBXA, 303, Space Echo and the too little-known and equally little-used Korg Lambda. The track traverses remote kosmische-indebted expanses but hits close to the core with its deft mix of slow-burning spectral funk, textured outerspace pads and further stirring heart-searching harmonics. Subtly arranged yet leaving maximum room to the lively force of its original layout, it is a lovingly crafted piece of emotive and psychedelic magnitude that's seamlessly and almost effortlessly produced; allowing the listener to relish undistrubed in its sensuous offerings. 


      Saturnus (Ghost Vision Theme) 00:13:05
      Zuul Passage 00:11:33



        Following their much-acclaimed self-titled debut from 2014, Motor City Drum Ensemble’s Danilo Plessow and Innervisions' Marcus Worgull reunite for more synth daydreaming on the suitably titled “II”. The new outing continues where the first full-length left off, strolling further down the luminous and undulating path that the duo turned into, influenced in equal measures by kosmische, krautrock, minimal wave and synth soundtracks. This latest batch of instrumental cuts opens with the strictly balearic vibe of "Norderney", a softly swinging, light-footed recording with a keen sense for structure. Featuring a guest performance from Robbert Van Der Bildt (aka Kaap) on guitar, it’s a telling starting point for the album that - similar to Vermont’s self-titled debut - successfully navigates between economic, careful studio arrangements and playful, incidental exploration further pushing into jam session territory. Van Der Bildt's guitar returns on the plucky, curious "Ufer", where Vermont showcase a renewed sense for jazz-like improvisation - same as on the cuts "Dschuna", "Chanang" and "Wenik", which also include contributions from Dermot O'Mahony and Tadhg Murphy on strings. Still, Vermont's synth contraptions remain the album's main attraction, with the extensive array of gear encompassing an entire panopticon of analog bling - from Arp Oddysey and Moog Prodigy to Fender Rhodes, Juno and Prophet, list-studying gear heads will find lots to drool upon. Consequently, tracks like "Chemtrails", "Unruh" or "Gebirge" err on the machine side of things, expertly interweaving arpeggiated sequences for maximum atmospheric effect. Foreboding, slightly menacing synth motives as on "Skorbut" or "Chemtrails" are perfectly balanced with the casual ambient of "Hallo Von Der Anderen Seite" and the nostalgic warmth of "Demut" - while the gentle push of the masterful "Ki-Bou" even carries a whiff of classic deep house, linking the Vermont project to Plessow and Worgull’s main careers as dance floor movers and shakers.


        Patrick says: Danilo Plessow (aka MCDE) and Marcus Worgull return as Vermont with another gorgeous LP of the finest modern kosmische. Turn on, tune in and drop out!

        The Field

        From Here We Go Sublime (RSD14 Vinyl Edition)


          - THE FIELD's legendary debut album FROM HERE WE GO SUBLIME finally finds its way onto vinyl

          - Special edition for RECORD STORE DAY 2014, only available in participating stores

          - Pressed on 180g audiophile grade vinyl, including a CD version of the album

          -Originally rolled out in 2007, this much-acclaimed full-length debut of what was to
          become one of the most celebrated projects in Kompakt's artist fold saw a regular CD edition and an accompanying 12" sampler - but never a full vinyl release.

          -Enter RECORD STORE DAY 2014 and the perfect opportunity to finally present this stunning masterpiece the way it deserves.

          Axel Willner aka THE FIELD joined the Kompakt family in 2005, bringing forward a new fusion of ambient and techno that fed on his adoration for Wolfgang Voigt's classic 90's projects Gas and M:I:5 as well as the shoegazer rock of Slowdive and My Bloody Valentine.

          Called a "techno pop landmark" by Pitchfork, FROM HERE WE GO SUBLIME almost immediately became a cult favourite, starting a trend that continues to this day - as can be seen with THE FIELD's most recent full-length offering CUPID'S HEAD that has been lauded by critics and crowds alike.

          The most striking feat of FROM HERE WE GO SUBLIME must be its sonic cohesiveness, debuting a fully-formed artistic vision that - seven years and three albums later - hasn't lost any of its luster. As a fixture in THE FIELD's discography, it remains as important as ever, with Axel Willner installing a blueprint that inspired many but sounds like no one else... except himself. Giving you a feeling of warmth and familiarity on first listen that you can't quite grasp, it's like this sound has always existed, when in fact it was the unique creation from one highly gifted producer. And it
          all starts here.

          Voigt & Voigt

          Die Zauberhafte Welt Der Anderen

          It's when VOIGT & VOIGT gather in the same studio that the sparks start to fly dangerously low within this unique machinery humbly named Kompakt, resulting more often than not in a rather unlikely combination of separate elements suddenly kickstarting into communication. For their debut full-length DIE ZAUBERHAFTE WELT DER ANDEREN, the Voigt brothers draw from a plethora of influences to build an incomparable sound world, for the first time fully realizing what previous, now classic tracks on SPEICHER have been hinting at. Produced side by side with the essential Techno of ERDINGERTRAX, this album opts for a strong psychedelic narrative, brilliantly showcasing Voigt & Voigt’s experimental inclinations while knowing a thing or two about the perfect groove.

          Marrying the more cerebral aspects of Techno science with the sheer will to party, the Voigtian output is an unpredictable, but constant fixture in KOMPAKT's back catalogue that brings together the distinctive talents of brothers WOLFGANG and REINHARD VOIGT. With each one being a highly prolific artist in its own right, the joint work on their album debut never ceased to surprise even its originators, who used the twilight of their nightly studio sessions to process a shared stream of auditive consciousness feeding on influences as diverse as Techno and New German cinema.

          Full of nods to specific movie and TV esthetics, Voigt & Voigt’s DIE ZAUBERHAFTE WELT DER ANDEREN references the higher and lower brows of auteur film culture already in its name, where widely known French alternative comedy DIE ZAUBERHAFTE WELT DER AMELIE and Oscar-winning German drama DIE WELT DER ANDEREN find themselves forming a truly odd couple. It’s an unusual combination, but it works, as first track INTRO KÖNIG confidently proves, indulging in some sort of abstract theme motive until a poker-faced beat creeps in, priming the sound canvas for things to come. DER ERSTE ZUG takes on the challenge and establishes a monochrome rhythm pattern springing to live when chatting percussion introduces it to the thrust of Hitchcockian railroad travel.

          In the meantime, DER KEIL NRW delves deep into Fassbinder territory and fuses the matter-of-fact news style of Germany’s late Seventies TV with a throbbing rhythm straight out of Thrillerville, making this a perfect candidate for car chasing scenes in Cold-War-era Berlin. TJA MAMA, SANDRA MAISCHBERGER (citing a popular German talk show) and SOZIAL consecutively calm things down for a little mid-movie catharsis, but the tension rises back up soon enough with whodunit-styled spine-chiller DIE GLOCKE (ENDSTATION WIENER PLATZ) and retro-romantic audio drama HOTEL NOKI, followed by the hauntingly detached mantra of AKIRA.

          Multi-angled police procedural TRYPTICHON NUMMER 7 sees Voigt & Voigt dissecting their own trademark sounds as the end credits slowly start to roll, leading to an excitingly minimalist Synth Pop work-out eventually washed away by final orchester hits full of foreboding. It’s as if the album wants to show you one final, very important picture, and indeed it does with DER LETZTE ZUG, a short ride to the other side of reality, clocking in at just over two minutes, but carrying all the weight of an epic cliffhanger. To be continued, hopefully.


          01. Intro König
          02. Der Erste Zug
          03. Der Keil NRW
          04. Tja Mama, Sandra Maischberger
          05. Sozial
          06. Die Glocke (Endstation Wiener Platz)
          07. Hotel Noki
          08. Akira
          09. Triptychon Nummer 7
          10. Der Letzte Zug


          Into Our Midst

            The kids are alright: still lacking any concern for the rules of electronic dance music, London's Krautpop duo Walls continue their voyage to distant planets, hovering over alien continents and gazing at the radiant beauty of another world's sunset. “We want to create stuff you've never heard before”, says Sam Willis, whose sampledelica and magical synth work feels right at home with the haunting guitar play and hazy vocals his partner Alessio Natalizia (of Banjo Or Freakout fame) is known for.

            The duo's uncanny ability to fuse sophisticated experimentation with catchy nostalgia only became more palpable thanks to their sophomore album “Coracle”, released this year to great critical acclaim, and second lead single “Into Our Midst” is no exception to the anti-formulaic unruliness we come to expect from the freak minds of those two visionaries. Starting off procedures with some trademark drone work, the title track soon introduces a surprisingly danceable beat pattern straying no too far away from what luminaries like Caribou or Animal Collective are doing to tighten up their jam sessions, but nothing prepares the listener for the lush vocals, the succulent textures and the hallucinatory bloom that follows. “Into Our Midst” might just be Walls' finest achievement to date: you can literally hear the duo nailing it. Backed up by an exclusive edit of the title track and unreleased freeform thump-out “Idle Sway”, this 12” manages to accomplish the impossible: bringing the bounce back to the chill-out. One can only wonder what Walls will do next to woo and enchant their audience growing bigger every split second.

            Panda Bear

            Surfer's Hymn - Actress Remix

              Following the 7” release of Panda Bear’s final single in the series that lead up to the release of his new album "Tomboy", Kompakt now present the Actress remix from the 45's flipside the way it was intended - as a 12 minute epic for the dancefloor.

              If you found Actress's "Splazsh" album a little too opaque, or perhaps a bit dense and mind-consuming in its leftfield electronica production, then you having nothing to fear from this rework as, for this remix, Cunningham ties his obvious talent to an accessible 4/4 house framework. Similar to the work on recent albums by Four Tet or Caribou, this rework of "Surfer's Hymn" features percussive, poly-rhythms opening out into a dry, post-dubstep / house riddim, plus the organ drones and sun-dappled chillwave shards of sound from Panda Bear's original. A house-meets-electronica essential!



                Though it’s been six years since his debut full length “Here Comes Love”, it’s clear that Superpitcher has remained fully in the picture not only as a producer but thanks to a diet of consistent, rigorous DJing. Now he returns with “Kilimanjaro” - a full length that emanates his rich knowledge in music and as a producer. “Kilimanjaro” is a story that only few electronic musicians still share. From the moment that Cologne church bells ease us into Schaufler’s bewitching twist on dub with “Voodoo”, he sets the tone for themes that echoes throughout; enchantment, pain and magic. The first single “Rabbits In A Hurry” has caused a rapturous chime of support from the club elite and proves to be more than that within “Kilimanjaro” - unfounded disco dements itself with the sounds of the absurd in Superpitcher’s sexiest signature flow. Diehard fans will rejoice with “Friday Night” which is a return to the classic Kompakt sound that Schaufler helped build and when he teams up with Comeme starlet Rebolledo it’s a cosmic, hallucinogenic trip. Koelsch Tequila in your glass, the 70s, disco, sex and the finest of drugs.

                However which way you look at it, Superpitcher has set up an accomplished sophomore release that maintains his roots in dance music while managing to have a complete disregard for genre and adding the involvement of acoustic instrumentation and vocals - a tough integration that works over and over again with “Kilimanjaro”.



                  Kompakt continue to embrace fusion of the rock / dance divide paved on the label by the likes of The Field with one of the most exciting new bands to emerge in the past year; Walls (Sam Willis from Allez Allez and Alessio Natalizia of Banjo Or Freakout). Originally from Manchester, but based in London since 1996, Willis has long been an admirer of the Cologne sound, instilling his productions with the euphoric, pop sensibilities and deep grooves that are a Kompakt hallmark. Natalizia hails from Vasto, Italy but relocated to London in 2008 to pursue his musical dreams - driven by the wild guitar of This Heat and propulsive rhythms of Can as well as Burial's inner city atmospherics and soul. After hooking up in the studio, the pair quickly realized that the natural combination of Alessio’s and guitar play and haunting vocals together with Willis’ emotive synth lines and sample manipulation magic was a match made in heaven. Already friends of the Kompakt label, the duo created this debut album for them in double quick time. Take “Hang Four” where the slo-mo techno rhythm finds an easy bond with Allessio’s lush guitar picking. “Cylopean Remains” immediately conjure the potentials of a jam between Animal Collective and Boards Of Canada – rolling beauty combined with epic strangeness to the most cerebral degree. Destined to be one of Kompakt’s most unparalleled releases in the label's history, Walls have a lack of concern for the boundaries of genre distinction, but easily fit uniquely between the classic 'sound of Kompakt' and the bliss of "Pop Ambient".

                  Matias Aguayo

                  Ay Ay Ay

                    Chilean born, German raised Matias Aguayo is Kompakt's most blogged about musician today thanks to a string of successful 12" releases on Soul Jazz, Kompakt and his own imprint Comeme. "Ay Ay Ay" was recorded in Buenos Aires, Santiago de Chile and Paris together with Vicente Sanfuentes (Original Hamster) and was mixed down in Berlin together with long time collaborator Marcus Rossknecht (of Broke fame). Matias has conjured an impossibly unclassifiable full length set that is certain to surprise and uplift. Take opener "Menta Latte", countless layers of his voice revel in a psychedelic dream park together with a simple xylophone chord. First single "Rollerskate"'s chorus is sure to stay on auto repeat in your head for days after first listen. Aguayo's leanings to traditional African music resonate on the beautiful crooner "Koro Koro". Fans of his recent singles will rejoice to the rhythm of songs "Me Vuelvo Loca" and "Juanita"'s Latin harmonies embraced with Matias coaxing you to get up and dance.

                    The Field, aka Kompakt label boss Axel Willner, follows up his 2007 offering "Here We Go Sublime" with another killer long player of shoegazer-meets-techno. On "Yesterday & Today" Willner expands his palette, continuing the oblique sampling strategy of "From Here We Go Sublime" while building up the rhythmic architecture. He's joined by a band's worth of live musicians, including ex-Helmet and current Battles man John Stanier on drums, Dan Enqvist (guitar), Johan Grimlund (bass) and Ola Keijer (electric piano), who all work together to create the immense sound offered here. The result is a sublime mix of techno, building sonic layers and the kind of ambience previously used by Krautrock outfits like Tangerine Dream - lush blissed out and electrophoric.

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