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viewing 1 To 17 of 17 items
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CD
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PALAZZO 008CD
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Elektro Guzzi have been playing techno with drums, bass and guitar for 15 years. During this time, they have released ten albums, seven EPs, and various singles and remixes. They have played around 500 concerts at clubs and festivals around the world. For a lot of releases and shows Elektro Guzzi have had the opportunity to collaborate with great, like-minded musicians. Some of these collaborations have been recorded but have not been available to the public until now. Some of the group's most eclectic yet danceable tracks recorded as a trio also haven't found their way to our audience yet. Although they usually focus on searching for new sounds in the future, they now allow ourselves to find them in their past. This is a compilation of "lost tracks" that have been waiting on hard drives to be rediscovered and finally made available to you. Features Martin Klein, RocketNumberNine, Yoruba Percussion, and Polybrass.
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LP
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PALAZZO 007LP
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Elektro Guzzi from Vienna are back with their new, their ninth album, Triangle. Since their first, self-titled album in 2010 (MACROM 018CD/LP), Elektro Guzzi have been working on a variety of techno that is not programmed on a computer or sequencer, but rather analogously performed by using electric bass (Jakob Schneidewind), drums (Bernhard Breuer), and electric guitar (Bernhard Hammer) and it is techno-music, that arises in the moment of interaction -- a music that often develops in the direction of cosmic music. On Triangle, Elektro Guzzi overcame the natural, "learned" sound of their instruments. The futuristic concept of techno shines through all the more as a role model -- that there is precisely this clear idea of transcending the present by playing a hypnotic, interlocking music of the future. Triangle is the logical next step for a band that is always looking for "more", for departure, for consistency. The forced break of the lockdowns 2020/2021 and the restrictions in the context of the crisis made the band move closer together; on Triangle, Elektro Guzzi increased their efficiency to the unbelievable.
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2LP
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PALAZZO 003LP
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For their Trip, Elektro Guzzi's first trio album since 2017, they return to their core competence of creating driving techno on the spot. Through their impulsive interplay and the heavy use of effect circuits they create an energetic and unique form of dance music. More directly than ever before, all tracks on this album capture Elektro Guzzi's live sound and energy. Trip will be the first vinyl release on their very own Palazzo Recordings imprint and it will be the purest Elektro Guzzi record so far. Includes download code.
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2x12"
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MACROM 049LP
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2x12" version. Elektro Guzzi, holding their position as the leading "real" techno live band, present Clones. Literary all the Granny Smith apple trees grown today, from Uruguay to Hokaido, are clones from Mrs. Smith's original tree in Sydney. Bananas, oranges, watermelons, garlic and other fruits of daily delight are routinely replicated without any input of external ideas - i.e., they are cloned. There is no general ethical or aesthetic decision to be formed about clones, since you have already imbibed them ever since your first bite. Thus, you are not in a neutral or otherwise preliminary position, but already involved, knee-deep. It may not be a coincidence that the first mammals, warm-blooded egg-layers and small marsupials, date almost exactly to the period of the first flowers, evolving some 125 million years ago. Quick-thinking, vegetable eating mammals provide a most striking example of cooperation in evolution, as their interest in plant foods led them to become well-fed. A bond has been formed. Seedless plants, like banana and oranges, have made a most remarkable dispersal strategy: season after season, human growers clone them. The plants are perpetuated because they taste so good. And that's about it. Much has been said about Elektro Guzzi's aptitude in transcending their instrumental sources towards techno of unlikely beauty, pristine consistency and razor-sharp definition. It tastes good, and thus they have decided to clone themselves. Elektro Guzzi plow through their own fertile ground of ideas and sprout structures, textures and gestures into a dizzying array of new offerings. Yet the tunnel vision of the singular point of origin of all tracks makes it smack even more, because there's never too much of a great thing.
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CD
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MACROM 049CD
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Elektro Guzzi, holding their position as the leading "real" techno live band, present Clones. Literary all the Granny Smith apple trees grown today, from Uruguay to Hokaido, are clones from Mrs. Smith's original tree in Sydney. Bananas, oranges, watermelons, garlic and other fruits of daily delight are routinely replicated without any input of external ideas - i.e., they are cloned. There is no general ethical or aesthetic decision to be formed about clones, since you have already imbibed them ever since your first bite. Thus, you are not in a neutral or otherwise preliminary position, but already involved, knee-deep. It may not be a coincidence that the first mammals, warm-blooded egg-layers and small marsupials, date almost exactly to the period of the first flowers, evolving some 125 million years ago. Quick-thinking, vegetable eating mammals provide a most striking example of cooperation in evolution, as their interest in plant foods led them to become well-fed. A bond has been formed. Seedless plants, like banana and oranges, have made a most remarkable dispersal strategy: season after season, human growers clone them. The plants are perpetuated because they taste so good. And that's about it. Much has been said about Elektro Guzzi's aptitude in transcending their instrumental sources towards techno of unlikely beauty, pristine consistency and razor-sharp definition. It tastes good, and thus they have decided to clone themselves. Elektro Guzzi plow through their own fertile ground of ideas and sprout structures, textures and gestures into a dizzying array of new offerings. Yet the tunnel vision of the singular point of origin of all tracks makes it smack even more, because there's never too much of a great thing.
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CD
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MACROM 041CD
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Elektro Guzzi have been called many names: man-machine, clockwork, techno organism, but above all, the three Austrian wizards have become the preeminent techno band. A trio of guitar, bass, and drums, they play murder beats with the drive of a machine and sonic detail only physical instruments are capable producing. The unparalleled appeal of matching sound and physical performance in real time -- you see how every sound is created, right there, on the spot -- have made them a primary choice for cutting-edge festivals like Roskilde, Sónar, Mutek, Melt!, Stop Making Sense, C/O Pop, Eurosonic, Extrema, Airwaves, Sziget, Dancity, Spring Festival, and a long list of others across Europe, North and Latin America, and Japan. They have also conquered the club circuit, from Berghain to Fabric to Arma17. Originally released as a cassette by The Tapeworm in 2013 (TTW 056CS), Circling Above features the Austrian techno wonder locking into two "Circle"s and one essential addition. Tight as ever, in deep explorations of the long form. Rich on texture, all the little timbral strokes make for a continuous push down the bass-heavy techno rabbit hole. The result is nowhere close to a loose jam, but renders a concentrated display of musical swarm logic. Intimate, thrusting, circular.
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2LP
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MACROM 039LP
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Double LP version. Live "techno-tanzband" trio Elektro Guzzi are set to release their third studio album Observatory via Berlin-based record label Macro. From their 2010 self-titled debut album ("hauntingly beautiful" --Resident Advisor) and 2011 follow-up Parquet ("hypnotic, near kosmische reverberations" --Clash), Elektro Guzzi have taken their man-machine live show of bass, guitar, and drums around the world, from landmark clubs like Fabric and Berghain to major festivals such as Roskilde, Sónar and Mutek. With Observatory, Bernhard Hammer, Jakob Schneidewind and Bernhard Breuer shift everything anyone could expect from a live band. Tellingly, instrument credits have been wiped off the record sleeve. Still, a string and a drum skin at the source, the sound emanating from the speakers seems to have travelled light years. Utterly alien, Observatory unfolds into a paradigm for both the performance of music and the music performed. Despite advances in software, ironically it is this live band that initiates a redesign of how techno could leap into the future. There is nothing retro about it. No citations of historic moments. The album resembles a party on the edge of the solar system, with scraps of distant sound memories -- a shocking abandonment of anything an instrument was supposed to do. The recordings' warmth is in stark contrast to the music's Skynet thrust: a time capsule of techno projected into the dark unknown. Metallic and human at the same time, a love-cry miles from home...
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CD
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MACROM 039CD
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Live "techno-tanzband" trio Elektro Guzzi are set to release their third studio album Observatory via Berlin-based record label Macro. From their 2010 self-titled debut album ("hauntingly beautiful" --Resident Advisor) and 2011 follow-up Parquet ("hypnotic, near kosmische reverberations" --Clash), Elektro Guzzi have taken their man-machine live show of bass, guitar, and drums around the world, from landmark clubs like Fabric and Berghain to major festivals such as Roskilde, Sónar and Mutek. With Observatory, Bernhard Hammer, Jakob Schneidewind and Bernhard Breuer shift everything anyone could expect from a live band. Tellingly, instrument credits have been wiped off the record sleeve. Still, a string and a drum skin at the source, the sound emanating from the speakers seems to have travelled light years. Utterly alien, Observatory unfolds into a paradigm for both the performance of music and the music performed. Despite advances in software, ironically it is this live band that initiates a redesign of how techno could leap into the future. There is nothing retro about it. No citations of historic moments. The album resembles a party on the edge of the solar system, with scraps of distant sound memories -- a shocking abandonment of anything an instrument was supposed to do. The recordings' warmth is in stark contrast to the music's Skynet thrust: a time capsule of techno projected into the dark unknown. Metallic and human at the same time, a love-cry miles from home...
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Cassette
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TTW 056CS
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Elektro Guzzi are an Austrian trio: Bernhard Breuer (drums), Bernhard Hammer (guitar), and Jakob Schneidewind (bass). Signed to Berlin's Macro label, they play and record live -- however, their sound is not what you might be expecting from such a traditional band line-up. Macro's Finn Johannsen writes: "Live performances of electronic music have gone a long way since the seminal decision of a few men from Düsseldorf to leave their Krautrock beginnings behind and to become machines. Since then, the list of successors is epic and technologically refined in the process: from the musicians who on stage incorporated electronics into their post-punk aesthetics, to today's laptop PAs blurring the lines between performance and DJ set in a club context. Of course, the evolution of according concepts also proceeded in reverse, with electronic musicians implementing their sound into traditional band structures, and performing their music as modern interpretations of the latter, combining the sounds of the according analog and digital equipment. Taking all this into consideration, Elektro Guzzi from Vienna are none of the above, which is exactly why Macro didn't hesitate to sign them. Though their sound most certainly suggests that Bernhard Hammer, Jakob Schneidewind, and Bernhard Breuer also decided to become machines, they strangely enough don't use any (it took several confirmations in mails and personal meetings and a rehearsal video to convince that they don't). As digital as they may sound, they couldn't be more analog, producing and performing with the most classic of all setups: bass, guitar, and drums. But however traditional they may look as a band, they certainly do not sound like one. There is no computer backup material that they prepared earlier, no loops and things, no overdubs. However hard it is to believe, what you hear is 100% live." Elektro Guzzi write: "We recorded Circling Above in January this year. After two years of finding material for The Tapeworm, we finally agreed on these three tracks. We were searching for material which fits to the format, concerning sound and structure of the tracks. We had never done something for tape but, as you may know, we love the analog way of doing music..." --Elektro Guzzi, Vienna, April 13, 2013
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12"
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MACROM 032EP
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Cashmere takes Elektro Guzzi's signature man-machine sound up a notch. On the title-track, layers of circling, angular chords cause goosebumps, while a warmly pulsating foundation of bass and drums locks in the groove. The "Reverse Mix" does exactly what it says: reversing the arrangement and re-building the track back to front. On "Crack Fox" shifted bass lines and countering melodic scraps push the whole thing forward, all set off against ultra-steady drum work, swelling in lengthy waves towards eerie peaks.
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2x12"
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MACROM 027LP
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2x12" version. Elektro Guzzi deliver one of the most thrilling live performance models for techno and an innovative leap in the art of band performance at the very same time. It's almost the antithesis to what a band is supposed to be. While they use guitar, bass and drums only, they take the most unusual playing techniques and put them together into a rigid mechanical form where it all makes instant, evident sense. Yet, if they had not performed live extensively, becoming audience favorites from Mutek to Sónar or Berghain to Fabric, it would be hard to believe this is really how the music is created. Parquet, their second studio album, sees them in an unprecedented monomaniacal techno mode. Throughout the nine tracks, the distinctions between instruments and roles are totally vaporized. While their instrumental approach is at the core of their aesthetics, it really doesn't matter anymore if one sound comes from a guitar or bass or drum -- it has all been merged into one sonic unit and all there is, is the music as a unified entity. While all the qualities of live performance are at hand -- real-time interaction, visual plausibility, instant miniscule adaptations -- it is a radical break with what group performances have been about so far. Parquet is as much a straight-up club music record as it is rich with nuances and details. Astonishingly, while being their most rigid and dance-centered work to date, it also holds outbursts of beauty with tonal lines, ringing overtones and warm resonances. The rhythms are stripped down to the core and structured for affecting longer stretches of perception. Every track comes with a distinctive, almost "branding" feature -- like the hypnotic meter-shifting line of "Affumicato," the gated chords of "Pentagonia" or the abridged rhythm of "Absorber." Actually, it all was recorded directly to analog tape. No edits, no overdubs. It's the man-machine in real time and a hint at the love Elektro Guzzi put in the process.
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CD
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MACROM 027CD
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Elektro Guzzi deliver one of the most thrilling live performance models for techno and an innovative leap in the art of band performance at the very same time. It's almost the antithesis to what a band is supposed to be. While they use guitar, bass and drums only, they take the most unusual playing techniques and put them together into a rigid mechanical form where it all makes instant, evident sense. Yet, if they had not performed live extensively, becoming audience favorites from Mutek to Sónar or Berghain to Fabric, it would be hard to believe this is really how the music is created. Parquet, their second studio album, sees them in an unprecedented monomaniacal techno mode. Throughout the nine tracks, the distinctions between instruments and roles are totally vaporized. While their instrumental approach is at the core of their aesthetics, it really doesn't matter anymore if one sound comes from a guitar or bass or drum -- it has all been merged into one sonic unit and all there is, is the music as a unified entity. While all the qualities of live performance are at hand -- real-time interaction, visual plausibility, instant miniscule adaptations -- it is a radical break with what group performances have been about so far. Parquet is as much a straight-up club music record as it is rich with nuances and details. Astonishingly, while being their most rigid and dance-centered work to date, it also holds outbursts of beauty with tonal lines, ringing overtones and warm resonances. The rhythms are stripped down to the core and structured for affecting longer stretches of perception. Every track comes with a distinctive, almost "branding" feature -- like the hypnotic meter-shifting line of "Affumicato," the gated chords of "Pentagonia" or the abridged rhythm of "Absorber." Actually, it all was recorded directly to analog tape. No edits, no overdubs. It's the man-machine in real time and a hint at the love Elektro Guzzi put in the process.
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12"
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MACROM 021EP
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The Extrakt EP captures the latest state of Elektro Guzzi's incredible live sound, recorded in London with the outstanding capabilities of Brendon "Octave" Harding, the trusted engineer of dub legend Lee "Scratch" Perry, and mixed by mega-producer Patrick Pulsinger. The four cuts capture Elektro Guzzi's raw side, turning out dark, sexy grooves with an almost indie edge -- probably their most danceable and DJ-friendly studio material to date -- specifically produced for the vinyl format.
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CD
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MACROM 023CD
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This is the second full-length release from Vienna's Elektro Guzzi, who play their brand of techno 100% live: no laptops, no loops, no sequences. Their unparalleled live success has made them a leader in the field at Sónar, Mutek, Berghain, Fabric, Amsterdam Dance Event, Time Warp, etc. Elektro Guzzi had the biggest head-start on the 2010 circuit, and it has always been considered a main advantage of having a band on stage: you can see and feel what you hear, and in techno this is only true for Elektro Guzzi. What sounded incredible on their debut album is a revelation live. They have made most laptop acts sound rather dull, and since then, they have been in fast-forward evolution mode. Live P.A. captures the latest state of Elektro Guzzi's incredible live sound, recorded in London with the outstanding mixing capabilities of Brendon "Octave" Harding, the trusted engineer of dub legend Lee "Scratch" Perry. The set, originally recorded for Resident Advisor, captures Elektro Guzzi's raw live side, turning out dark grooves with an almost indie edge -- probably their most appealing material to date. The CD version has been newly mixed by their producer Patrick Pulsinger (Hercules & Love Affair) and is available in full resolution for the very first time.
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CD
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MACROM 018CD
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Vienna's Elektro Guzzi challenge the meaning of "live" in electronic music. Bored of laptop sets? With a "classic" set-up of guitar, bass and drums, Elektro Guzzi align themselves with an unheard level of discipline, tightness and danceability. No computers, no pre-recorded loops, no solos. Probably the first time techno is really played live. As sequential as they may sound, they couldn't be more analog. The quest for the ultimate live presentation of techno has come to an end. Produced by Patrick Pulsinger (Hercules & Love Affair, M-Plant, Cheap), the album is a masterstroke resulting in great dancefloor movers, state-of-the-art analog recordings and a prime showcase of Elektro Guzzi's incredible creative capabilities. Played live with no overdubs, this record breaks down the demarcation line separating man and machine. Everything in techno has been done? You ain't heard nothing yet. Elektro Guzzi are not interested in exploring their minimal and dubbed-out soundscapes in long, epic jams, where coincidental ideas born out of improvisation are the unofficial band member. Elektro Guzzi are interested in structure. They produce and perform like any modern electronic producer and performer wanting that every element of a track is exactly where it is intended to be. There is no computer backup material they prepared earlier, no loops and things, no overdubs. However hard it is to believe, what you hear is 100% live. There, they connect the hypnotizing force of their analog techno with the visual treat of a band doing it all right in front of your eyes. You hear it, you witness it, and you dance.
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2x12"
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MACROM 018LP
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2x12" version. Vienna's Elektro Guzzi challenge the meaning of "live" in electronic music. Bored of laptop sets? With a "classic" set-up of guitar, bass and drums, Elektro Guzzi align themselves with an unheard level of discipline, tightness and danceability. No computers, no pre-recorded loops, no solos. Probably the first time techno is really played live. As sequential as they may sound, they couldn't be more analog. The quest for the ultimate live presentation of techno has come to an end. Produced by Patrick Pulsinger (Hercules & Love Affair, M-Plant, Cheap), the album is a masterstroke resulting in great dancefloor movers, state-of-the-art analog recordings and a prime showcase of Elektro Guzzi's incredible creative capabilities. Played live with no overdubs, this record breaks down the demarcation line separating man and machine. Everything in techno has been done? You ain't heard nothing yet.
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10"
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MACROM 016EP
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Vienna's Elektro Guzzi challenge the meaning of "live" in electronic music. Bored of laptop sets? With a "classic" set-up of guitar, bass and drums, Elektro Guzzi align themselves with an unheard level of discipline, tightness and danceability. Produced by Patrick Pulsinger, these tracks are great dancefloor movers, state-of-the-art analog recordings and prime examples of Elektro Guzzi's incredible creativity. Played live with no overdubs, these tracks break down the demarcation separating man and machine.
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viewing 1 To 17 of 17 items
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