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viewing 1 To 21 of 21 items
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12"
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12BACH 006EP
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Justus Köhncke unveils new tracks with An Alle EP. Five songs in German with interpretations of material by Howard Carpendale, Juliane Werding and Nik P., plus English-into-German translations of two pop classics, "Twist In My Sobriety" ("Ein Riss in meiner Nüchternheit") by Tanita Tikaram and "Captain Of Her Heart" ("Der Herzenkapitän") by Double. These five compositions mutate into Justus's very own vision of "nu-German comps-soul" while retaining his unique sound. Features Dem Chor Der Kulturen Der Welt and Gina D'Orio.
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2LP+CD
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KOM 280LP
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Double LP version housed in a gatefold sleeve, comes with a CD copy of the album. Justus Köhncke & The Wonderful Frequency Band -- his first major release in five years after Safe and Sound (KOMP 063CD) -- is Justus Köhncke & The Wonderful Frequency Band's long-awaited return to the full-length format: neatly coinciding with Kompakt's exuberant 20th anniversary activities, the leftfield house virtuoso, former Whirlpool Productions member (see From: Disco To: Disco) and producer of seminal cuts such as "Was Ist Musik," "2 After 909," and "Timecode," hits the floors with an entirely new set of future classics, remedying desolate crowds in dire need of a party to remember. A format the artist evidently feels most comfortable with, albums prove especially well-suited for the quirky detours and iconoclast tropes that one-man-band Justus Köhncke & The Wonderful Frequency Band likes to weave into his disco narrative. It's with Justus Köhncke & The Wonderful Frequency Band, however, that Kompakt's leading dance music troubadour might just have trumped himself: over the course of 10 lushly twinkling tracks, he plots a perfect party scenario full of bright starbursts and crisp optimism. "Hello, come on in," says a voice at the beginning of opener "Flitter Und Tand" (trans. "Frippery and Kitsch"), and it happens to be accompanied by one of the slickest bass lines to ever come out of Justus' studio, making this an offer you simply can't refuse. Once inside, you'll find the party in full swing with the opener's bleepy boogie ingenuity giving way to the sensual thrust of disco bait "Tell Me" (featuring Whirpool Productions buddy Eric D. Clark), the introspective vocal cut "Das Selbstgespräch" (trans. "The Soliloquy") and sparkling house manifesto "New Direction." Emotional (and numerical) centerpiece is "Wonderful Frequency Band," a love-struck tribute to Burt Bacharach and the golden age of songwriting. This immensely infatuating pop operetta, a collaboration with Mouse On Mars' Andi Toma, finds Justus Köhncke & The Wonderful Frequency Band's composing prowess peaking yet again, a veritable paradigm shift in the album's dramaturgy that allows for successor "Idee, Prozess, Ergebnis" (trans. "Idea, Process, Result") to break into a different gallop and boost its lyrical dancefloor musings with fusionist techno. A stroke of utter club genius comes in the form of uptempo acid ballad "Loop," that bolsters its hopelessly romantic vocals with raw Chicago beats and an achingly beautiful melody. Hot on the heels of love, it's another massive showstopper before the album's final triptych is introduced with sonic trompe-l'oeil "Unaufmerksamkeitsblindheit" (trans. "Inattentional Blindness"), an uncanny cross-breed from the master of interspecific hybridization. Manic banger "Nucleus Accumbens" -- also a region in the human brain that plays an important role in reward, pleasure, addiction and impulsivity -- torches the last car of the night, followed by vocoder aria "Now That I Found You," the cover of a cover (the original inspiration being Nashville country star Allison Krauss covering Northern Soul legends The Foundations) and an appropriately dreamy conclusion to a genre-bending record full of magic and wonder.
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CD
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KOMP 112CD
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Justus Köhncke & The Wonderful Frequency Band -- his first major release in five years after Safe and Sound (KOMP 063CD) -- is Justus Köhncke & The Wonderful Frequency Band's long-awaited return to the full-length format: neatly coinciding with Kompakt's exuberant 20th anniversary activities, the leftfield house virtuoso, former Whirlpool Productions member (see From: Disco To: Disco) and producer of seminal cuts such as "Was Ist Musik," "2 After 909," and "Timecode," hits the floors with an entirely new set of future classics, remedying desolate crowds in dire need of a party to remember. A format the artist evidently feels most comfortable with, albums prove especially well-suited for the quirky detours and iconoclast tropes that one-man-band Justus Köhncke & The Wonderful Frequency Band likes to weave into his disco narrative. It's with Justus Köhncke & The Wonderful Frequency Band, however, that Kompakt's leading dance music troubadour might just have trumped himself: over the course of 10 lushly twinkling tracks, he plots a perfect party scenario full of bright starbursts and crisp optimism. "Hello, come on in," says a voice at the beginning of opener "Flitter Und Tand" (trans. "Frippery and Kitsch"), and it happens to be accompanied by one of the slickest bass lines to ever come out of Justus' studio, making this an offer you simply can't refuse. Once inside, you'll find the party in full swing with the opener's bleepy boogie ingenuity giving way to the sensual thrust of disco bait "Tell Me" (featuring Whirpool Productions buddy Eric D. Clark), the introspective vocal cut "Das Selbstgespräch" (trans. "The Soliloquy") and sparkling house manifesto "New Direction." Emotional (and numerical) centerpiece is "Wonderful Frequency Band," a love-struck tribute to Burt Bacharach and the golden age of songwriting. This immensely infatuating pop operetta, a collaboration with Mouse On Mars' Andi Toma, finds Justus Köhncke & The Wonderful Frequency Band's composing prowess peaking yet again, a veritable paradigm shift in the album's dramaturgy that allows for successor "Idee, Prozess, Ergebnis" (trans. "Idea, Process, Result") to break into a different gallop and boost its lyrical dancefloor musings with fusionist techno. A stroke of utter club genius comes in the form of uptempo acid ballad "Loop," that bolsters its hopelessly romantic vocals with raw Chicago beats and an achingly beautiful melody. Hot on the heels of love, it's another massive showstopper before the album's final triptych is introduced with sonic trompe-l'oeil "Unaufmerksamkeitsblindheit" (trans. "Inattentional Blindness"), an uncanny cross-breed from the master of interspecific hybridization. Manic banger "Nucleus Accumbens" -- also a region in the human brain that plays an important role in reward, pleasure, addiction and impulsivity -- torches the last car of the night, followed by vocoder aria "Now That I Found You," the cover of a cover (the original inspiration being Nashville country star Allison Krauss covering Northern Soul legends The Foundations) and an appropriately dreamy conclusion to a genre-bending record full of magic and wonder.
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12"
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KOM 270EP
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A true Kompakt staple since the ground-breaking Was Ist Musik? album in 2002, Justus Köhncke never fails to impress his audience, sporting an obscene amount of revered classics in his repertoire. A well-known connoisseur of exquisite house and deep disco, he weaves an intricate web of vintage references and contemporary club aesthetics... a method coming to full fruition with 2004's mythical dancefloor hit "Timecode," now accompanied by two stunning remixes from Tyree Cooper and Axel Boman.
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12"
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KOM 185EP
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Following his own tradition of creating one modern disco monument after the next, Justus Köhncke once again straddles the line between past and future, kitsch and avant-garde, German precision and total lunacy. With its infectious hook and breakneck bass line, "Don't Go" is nothing short of another instant classic. Dirk Leyers presents a deeply pounding remix of "(It's Gonna Be) Alright" off Köhncke's album Safe and Sound (KOMP 063CD), slingshotting the track to the middle of the main floor without sacrificing its soul.
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12"
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KOM 178EP
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This is a remix record following Justus Köhncke's highly-acclaimed Safe and Sound. Aaron Carl remixes "$26" which, in its original version, already is a tribute to Motor City. Carl turns it into an even more authentic piece of tearjerking Detroit house. Robert Babicz remixes "Yacht" -- the bacchanal homage to Grace Jones' "Slave to the Rhythm." Surprisingly, his superb remix reminds of another stellar moment in pop music: Michael Jackson's "Thriller." But of course, not a beat got sampled here.
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CD
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KOMP 063CD
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Almost three years after the release of Doppelleben (which many credit as triggering the still-raging neo-disco/Balearic craze), Germany's Justus Köhncke delivers his third album for Kompakt. With Safe and Sound, Justus delivers a product that represents a disjunction of his two lives... from now on we'll have to address the electronic discoteer Justus Köhncke and the troubadour/songwriter Kinky Justice as separate entities. While Kinky Justice's debut Music and Lyrics was recently released on the re-activated ICI Records label, Köhncke focuses his work on the instrumental, floor-friendly side of things. The 10 tracks on Safe and Sound resonate with the screams of today's dancefloor, while also featuring Justus' long history of enigmatic dancefloor wisdom. Right from the album opener "Yacht," Justus' trademark disco universe rips wide open, thanks to its brilliant "Slave To The Rhythm" references. Three more pure disco bangers follow with "Molybdän," "Love And Dancing" and the ecstatic "Parage." What's new is a certain technoid rigor, a vehement approach to his music that is new to Justus Köhncke's oeuvre. But wherever Justus takes you, his music never loses that soulful humanity that emanates throughout his music. Beyond the disco crackers and floor shakers, "(It's Gonna Be) Alright," "Tilda," "Spukhafte Fernwirkung" and the title track all confront the overall euphoric vibe with a special enigmatic melancholy you may find in many Kompakt releases and which lays a foundation for the album's undisputed highlight, "Feuerland," a cover version based on an original from 1974 by Michael Rother who some of you might know for his legendary recordings with Kraftwerk, Harmonia and Neu!. Justus beams Rother's synthetic Kraut sound smack dab in the middle of today's contemporary dancefloors, certain to hit you like a vitamin injection and serving as an affirmation that change is in the air... something big, something new.
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12"
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KOM 169EP
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12" vinyl EP -- the vinyl version of the new Justus Köhncke album will be broken up into two parts. Part 1 features 2 tracks, "Yacht" & "Molybdän". The tracks on Safe and Sound resonate with the screams of today's dancefloor, while also featuring Justus' long history of enigmatic dancefloor wisdom. "Yacht" -- Justus' trademark disco universe rips wide open, thanks to its brilliant "Slave To The Rhythm" references. Another pure disco banger on side 2 with "Molybdän,"
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12"
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KOM 170EP
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12" vinyl version. Part 2 of 2. Features the tracks "$26", "Spukhafte Fernwirkung" & "(It's Gonna Be) Alright".
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12"
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KOM 166EP
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Justus Köhncke covers "Feuerland," the early '70s cult-track from Kraut-electronic legend, Michael Rother. Although the track has no four-to-the-floor bass drum, the feeling is 100% techno. On top of the hymn comes a melody that should convince the hardest harmony haters. "Parage" is a synth-disco monster that we all know Köhncke so well for. A tough ride at the disco.
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12"
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KOM 141EP
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This is the seventh 12" coming from Mr Köhncke on Kompakt and again it's there to bring joy to the world. Some bright person once said that real advance is only possible if you dare to look back. You need to know the past if you want to create the new. Justus certainly is one of those history-conscious renovators. While self-sufficient functionalism is dominating the sound of our times, Justus' erected index finger is pointing towards decampment and renewal. And on the mirror ball above. Joy to the world. DISCO is back.
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CD
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KOMP 038CD
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"Often you will find that one life is not enough to deal with all the things that you would like to do. Yet, as an exception, we are not talking about the traditional objective values like: a house, a child, a tree. If you have an artistic bent, it is more about the question of how to express all the ideas a creative mind is obsessed by. When it comes to Justus Köhncke, he is actually obsessed by a helluvalot of things. This guy is really like a sponge and seems to have soaked in the whole history of pop music with all its inherent, structural beauty and styles. Five years after his debut album Spiralen der Erinnerung (ICI Rec.) and two years after his album Was ist Musik, it was high time to wring out the sponge again that was full of impressions he has collected during his numerous spectacular freestyle DJ-performances all over the world and where he combined both, Kompakt's techno message with the disco jewels of the last three decades in a breathtaking way. And he is full of knowledge that originates from his regular, quasi-scientific analyses of his all-time, most favourite songs. Köhncke is someone who sometimes loves to pass composing C parts as his hobby. (the C part is the part of a song that is neither strophe nor refrain; most of the time, it is the third part of a song indicating the final refrain; the C part is often combined with changing harmonies. A wonderful tool, but unfortunately, it has almost disappeared since the late 1980s in favour of more clubby structures). And it is this highly emotional combination of exploratory spirit with unlimited obsession that makes Justus Köhncke the Alexander von Humboldt of pop music. 'Doppelleben' seems to integrate again the apparent contrasts in a most natural way: 'Schwabylon' is hard and elegant cruising disco funk Daft Punk would have loved to add to their recent album; Herz aus Papier is a cosy ballad called made in cooperation with Barbara Morgenstern; an there is the intoxicating, exotic and psychedelic version of 'The answer is yes' and of course Köhncke's famous brand, his German electronic pop music for the charts of tomorrow ('Wo bist du', 'Alles nochmal'). Heart of the album is the 10-minutes disco monster track 'Elan', because in this track everything starts to vibrate that has made Justus Köhncke the noblest disco knight of modern times. An oscillating promise, a great, seducing gesture, but the promised redemption remains unattainable. Because the disco act has to last all night long. And because of: Who'll be the 'late' to come, will be the last to smile." -- Michael Mayer.
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12"
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KOM 113EP
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"With 2 photons in the neck, Justus is out for the next disco meeting in Walhalla." Single version of "Elan" (unlike the extended dub on the CD), plus the non-album track "Taste".
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LP
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KOM 112LP
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Ten track LP version. "Often you will find that one life is not enough to deal with all the things that you would like to do. Yet, as an exception, we are not talking about the traditional objective values like: a house, a child, a tree. If you have an artistic bent, it is more about the question of how to express all the ideas a creative mind is obsessed by. When it comes to Justus Köhncke, he is actually obsessed by a helluvalot of things. This guy is really like a sponge and seems to have soaked in the whole history of pop music with all its inherent, structural beauty and styles. Five years after his debut album Spiralen der Erinnerung (ICI Rec.) and two years after his album Was ist Musik, it was high time to wring out the sponge again that was full of impressions he has collected during his numerous spectacular freestyle DJ-performances all over the world and where he combined both, Kompakt's techno message with the disco jewels of the last three decades in a breathtaking way. And he is full of knowledge that originates from his regular, quasi-scientific analyses of his all-time, most favourite songs. Köhncke is someone who sometimes loves to pass composing C parts as his hobby. (the C part is the part of a song that is neither strophe nor refrain; most of the time, it is the third part of a song indicating the final refrain; the C part is often combined with changing harmonies. A wonderful tool, but unfortunately, it has almost disappeared since the late 1980s in favour of more clubby structures). And it is this highly emotional combination of exploratory spirit with unlimited obsession that makes Justus Köhncke the Alexander von Humboldt of pop music. Doppelleben seems to integrate again the apparent contrasts in a most natural way: 'Schwabylon' is hard and elegant cruising disco funk Daft Punk would have loved to add to their recent album; Herz aus Papier is a cosy ballad called made in cooperation with Barbara Morgenstern; an there is the intoxicating, exotic and psychedelic version of 'The answer is yes' and of course Köhncke's famous brand, his German electronic pop music for the charts of tomorrow ('Wo bist du', 'Alles nochmal'). Heart of the album is the 10-minutes disco monster track 'Elan', because in this track everything starts to vibrate that has made Justus Köhncke the noblest disco knight of modern times. An oscillating promise, a great, seducing gesture, but the promised redemption remains unattainable. Because the disco act has to last all night long. And because of: Who'll be the 'late' to come, will be the last to smile." -- Michael Mayer.
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12"
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KOM 095EP
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"If Chanel would do techno it would sound like this... Tres elegant and supereuphoric. He did it again..."
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12"
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KOM 077EP
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"Early in 2002 Justus Köhncke's second 12" for Kompakt. '2 After 909' became something of an immediate and what proved to be highly enduring anthem for the Minimal Techno scene, still a fixture in jockeys' boxes to this day. Justus showed himself to be the master of suspense, Daft Punkish electrofunk building tension and excitement with enormous breakdowns and pickups designed to cause pandemonium at the biggest parties. Early words on this twelve, indicated that when Michael Mayer dropped this on his recent visit to Fabric/London, the audience went absolutely ballistic. The title cut is oscillating house-funk-disco shrouded in an intoxicated sheen, reaching an ambient stillpoint until a huge break ensues, as it threatens to reach crescendo point, it continues -- the feeling's almost too much -- it drops and Justus sweeps all before him. Total anthem alert! Flip for some more, err, homogeneous action, a more rolling feel, all tomtom stabs and synthed strings, huge orchestration and yet still the one note jams kill us."
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12"
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KOM 068EP
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"Everybody's darling-track 'Was ist Musik?' taken from the most successful album of the same name by Justus Koehncke starts to conquer the dancefloor. After all the worldwide craziness his maxi singles 'Jet' and '2 After 909' have caused, here is finally a fat extended club version and an instrumental version of his track 'Was Ist Musik?'. When talking about German acid schlager music, we also have to mention Wassermann aka Wolfgang Voigt -- the sole pioneer of this genre. In his famous Grungerman-tradition (see remixes he did for Andreas Dorau/Ladomat), he comes up with two chic minimal acid remixes: the one as dry as dust, very pure and structured, the other a real pumping hammer which, and that's for sure, will set your local club on fire."
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2LP
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KOM 057LP
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CD
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KOMP 017CD
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"Justus Köhncke is on to release his second solo album and his first for the Kompakt label. For some years now Justus Köhncke is an integral part of the German dance community, releasing records as a member of Subtle Tease and the immense successful Whirlpool Prod. (their Dancefloor hymn 'From: Disco To Disco' was heard all over the world). What distinguishes Justus Köhncke from other producers of dance music is his extraordinary pop sensibility, his eclectic taste (which is by no means at haphazard) and his feeling for the future of dance music. So it is no coincidence that Was Ist Musik? is the second album on Kompakt after the recent release of Closer Musik's brilliant After Love album that features the extensive use of vocals, merging Pop music with the minimalistic approach of the Kompakt sound. But Was Ist Musik? shows a broader range of styles: From the abstract tech-house of '2 After 909' to true pop ballads like 'Weil Du Mich Verstehst' (which features guest vocalist Dirk Von Lotzow of Tocotronic fame) Justus Köhncke offers an electronic universe that includes Brian Wilson as well as Bernard Edwards. Next to his own compositions Justus Köhncke features three cover versions. The first is Jürgen Paape's 'So Weit Wie Noch Nie' from Kompakt's Total 3 compilation, then there is 'Der Augenblick' by artistic friend Barbara Morgenstern, but the real surprise is the cover of 'Du Bist Nicht Allein' by German MOR Band Münchner Freiheit, which is transformed into rare and pure beauty. It is often said, that an album functions as well at home as it does in the clubs. This one does."
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12"
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KOM 054EP
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"After his glorious start at Kompakt with the 12inch 'Jet/Shelter' (which is already proofed to be a real club banger) he now comes up with a mouthwatering new one taken from his album Was ist Musik. The track on the A-side, '2 after 909', is definitely a homage to 'Metro Area 4', one of the groundbreaking consense records in 2001. Koehncke destils and synthesizes the funk. The result: it's minimal, it's retro-modern, it's ecstatic. In other words: It's a real bomb! The track on the B-side features a prominent guest of the German pop music scene: Tocotronic's Dirk von Lowtzow. Dirk and Justus, singing a duet, dash forward with the track 'Weil du mich verstehst' (engl. 'Because you know me') and straight into our hearts. It's a ballad. It's about love ... an ode to the children of the night."
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12"
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KOM 049EP
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"The dream of flying is as old as mankind. But what's left is a daily jet race. The airspace is completely jammed. I repeat: The airspace is jammed! And it's vast, the airspace! That's why Kompakt tower has decided to better reroute Justus Köhncke`s virtual supersonic jet into the club. First tests have proved highly satisfactory flight qualities and a 100 percent guarantee against pressure drops on the dance floor. A real turbo-blast by the ex-Whirlpooler! Fit to loop the loop, too, though in a less vertiginous tuning, the remix by M. Mayer, who cuts down the energy consumption by 50 percent and doubles the propulsive force. And it goes without saying -- at constant aerodynamic. When it comes to 'Shelter', there's nothing more to add than this track crushes 'Marmor, Stein Und Eisen' (english: marble, stone and iron...), and that love is back on firm ground again."
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viewing 1 To 21 of 21 items
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