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viewing 1 To 13 of 13 items
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12"
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HU-MR12-SH
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Mistress Recordings welcomes Anthony Rother. For more than 25 years, the legendary producer from Offenbach, Germany aggregated a vast musical canon that reflects his unique career as a sound researcher exploring the aesthetics far beyond the boundaries of electro, techno, and pop music.
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12"
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HU-MR12-5-SH
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Mistress Recordings welcomes Anthony Rother. For more than 25 years, the legendary producer from Offenbach, Germany aggregated a vast musical canon that reflects his unique career as a sound researcher exploring the aesthetics far beyond the boundaries of electro, techno, and pop music. While Mistress 12 (HU-MR12-SH) features completely new electro techno endeavors including "Technic Electric" from DVS1's Fabric 96 mix (FABRIC 191CD, 2017), the second 12-inch is a re-release of Rother's Datapunk classic "Back Home" that comes with new vocal-centered interpretations, a never-ending acapella loop, and two club edits by DVS1.
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12"
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DTPLTD 101EP
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Brand-new double A-sided Anthony Rother 12" on Datapunk.
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12"
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DTPLTD 013EP
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Two tracks from Anthony Rother's Popkiller 2 album. "Mother" has an audibly compressed sound, using the unmistakable sounds of his singing voice once again, giving the Rother-style a brand new facet. "Cinema" is an abstract, minimalist party track: as funky and rocking as it is elegant, held up by a video-game tune and reaching its climax with a filter reverb.
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CD
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DTP 036CD
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Frankfurt-based producer Anthony Rother presents Popkiller II, the follow-up to 2004's Popkiller. After freeing himself from his last remaining existing constraints, Rother re-designed his website and turned Datapunk into an exclusive outlet for his own material. Where the musical journey will go in the future is revealed by "Big Boys," a track in a rocky electro style that has already united the pop world with the club world in an innovative way with the Popkiller sound of 2004. And yet somehow, Rother manages to not only tie in the ten songs with the Popkiller spirit, but to also breathe new life into his aesthetic. The first song "Night" is already a link and constitutes the counterpoint to Popkiller's predecessor "Day," at the same time. Similarly, instrumentals such as "Cinema," "Skyline" and "Gates" reflect Rother's musical range from sci-fi to abstract techno in an exceptionally diverse way. However, what makes Popkiller 2 distinctive on the underground music scene are its vocal-centric themes such as "Rotation," "Mother" (as a follow-up to the Popkiller hit "Father") or the dramatic "Grab Your Life." Practically vocoded unfiltered, Rother goes all out with his vocals once again and convinces with melodic tracks full of emotion, raw beauty and irrepressible energy. Completely self-determined and artistically concentrated once again, with Popkiller 2 we are the ear-witnesses to an Anthony Rother who once again produces music that is fully free.
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12"
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GIGOLO 247EP
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The legendary Anthony Rother presents "Hot Chocolate In The Milky Way," a journey through a melodic soundscape of beats and open chords, recalling the work of John Carpenter -- the inspiration behind Rother's formative work. "Green Star Drifts" is a techno track with more than a hint of electro. Both tracks explore both ends of the wide range that encompasses Rother's body of work.
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2CD
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MM 035CD
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Includes an unmixed bonus CD: 2 CDs for the price of one! Joining the ranks of Dave Clarke, DJ Hell, Joris Voorn, Steve Bug, Shinedoe, Adam Beyer, Technasia, and Deetron who have all been firm favorites at Belgium's illustrious techno mecca, Fuse, Anthony Rother presents a live mix to add some German techno spice to the series, taking us on a journey through the new stripped-down sounds of techno. For over 17 years, Anthony Rother has been working, playing, living and representing electro and techno. With his club label Datapunk, he has been transforming the aesthetics of electro into today's music for several years now. Some extraordinary singles, like productions for Sven Väth's Cocoon label, and Rother's fifth studio album Popkiller prove the timelessness of his sound. As the head of Datapunk and Stahl, Rother has been taking his production skills from the dancefloor to more experimental realms and back again, as he develops his DJ skills using a laptop, mixer and controller. With his first mix for Fuse, he tackles the minimally-edged dubs of Wolfgang Voigt's Studio 1, the unmistakable sound of Mad Mike/UR, the deep, dream-like grooves of Ricardo Tobar, Florian Senfter's (aka Zombie Nation) John Starlight alter ego and Pig & Dan's chugging minimalism, while taking it all back to the highly-polished electro stylings of Frank Kusserow's remix of La Rez's "Wo Kommen Wir Her." Other artists include: Boys Noize, Leke Da Loco, John Kelvin & Darmon D, Utku Dalmaz, Fetish &Me, Freakslum, Rother vs. Telekraft, Tony Rohr & Alexi Delano, and Baustein.
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12"
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DTPLTD 011EP
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The new 12" single from Datapunk mastermind, Anthony Rother.
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12"
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DTP 035EP
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Since 1990, the Detroit Underground Resistance collective around "Mad Mike" Banks has been a profound sociological network in sound. Remixes by the group are rare, and here they take on Anthony Rother's 2005 single When The Sun Goes Down. On the "Ain't No Sunshine" remix, the bass drum comes in after more than two minutes, contrasting dramatically with the "Flash Light Remix," whose psychoactively wandering chord hook will astonish both Detroit traditionalists and contemporary sound researchers.
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CD
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DTP 034CD
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This is part three of the Datapunk label's We Are Punks, CD compilation series, curated by Anthony Rother and including 4 previously-unreleased tracks. Almost a year has now gone by since the highly-acclaimed second edition of the Datapunk CD anthology -- high time, therefore, that the label states the position of its sound once more in the year 2008. We Are Punks 3 starts with something of a sensation: The remix of the 2005 Rother single "When The Sun Goes Down" is by none other than the Underground Resistance collective, which is headed up by "Mad Mike" Banks. The first tones that mark the cautious start to the remix, which is only available on this CD, and in which the bass drum only kicks in after two minutes, demonstrates that something interesting is going on at Datapunk right now. Also, in the trusted hands of main mix-man DJ Matthias Gustke, aka Ziel 100, an almost 80-minute long psychoactive cocktail has been created which impresses not least because the world of sounds continually avoids any clear classification of style. Unusually low key at the start, Bremen Herzblut and Spiel-Zeug-Schallplatten record producer Stephan Bodzin, and Patrick Zigon, known for his remixes for Cocoon, Treibstoff and Great Stuff, formulate a modern understanding of deep and harmonic techno which works really well, whether played in the nightclub setting or elsewhere. Later on, however, the energy levels increase considerably, and those who don't dance themselves into a sweat with the acoustic loss of control by Sven Väth and Anthony Rother ("S'Kränkt'), Hell + Rother's cryonic "Bodyfarm" inferno, the 2008 acid by Pig & Dan ("Dream Of Bells") or the tribal percussive dub-tech inferno of "Temperature" by Marcus Schmal aka Broombeck (previously known through his ambient project Guardner), surely aren't into techno. Other artists include: Loco Dice, Telekraft and Frank Kusserow.
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12"
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DTP 034EP
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Datapunk celebrates another year of great releases with their third installment in their We Are Punks mix compilation series. This 12" features four previously-unreleased tracks by Patrick Zigon, Broombeck, Frank Kusserow and Anthony Rother as remixed by Tony Rohr.
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2CD
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TELEKRAFT 001CD
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This is Germany-based electro artist/producer Anthony Rother's first release for the Telekraft label. Even in the fifth year after founding the Datapunk label, Rother still always surprises; he is a scientist whose name permits strange associations between mechatronics and the art world. After his acclaimed releases Popkiller (2004) and Super Space Model (2006), Anthony Rother concentrates fully upon the digital nature of the sounds, not just in the programmatic statement of My Name Is Beuys Von Telekraft. As Rother himself contextualizes, "Especially during the past few years, the aesthetic perception of music has been restricted to an extremely reduced and compromised code, between MP3s, mobile ring tones and modern telecommunication. Beuys von Telekraft adopts this development as his own. It was my aim to use the poor quality of compressed sounds, reduced frequency ranges, lowered sampling rates and strictly digital sounds as a self-sufficient stylistic device, and despite this to produce fat-sounding club music that sounds anything but lo-fi." In terms of content, the lyrics of "My Name Is Telekraft," "Welcome To My Laboratory" and "Girl Construction" -- which are delivered in English as well as in German -- stand in the tradition of the man-machine discourse that was already fascinating Rother on his Psi49net albums at the beginning of the millennium. New, however, with this reference to the golden age of science fiction, is a certain penchant for humorous overstatement. This applies particularly to "Liquid System," the modulated synth hookline of which stretches over 16 whole bars, remaining constantly in motion in its unpredictability, and which will thus burn itself inescapably into the collective memory of the dancefloor. And as if that was not enough, Rother comes up with another top-class musical experiment with the ten tracks on the bonus CD, Geomatrix, a kind of dark film episode of the sound experiments of Beuys von Telekraft. Completely without beats and yet keeping the aesthetic of energetic noises that is so typical of Rother, he designs a future-oriented form of modern ambient without any cuddly lounge aspects. Focused and radical at the same time, "Geomatrix" creates a deeply impressive atmospheric vision of the darker side of the urban experience. As "64 Bit Audio" puts it so nicely, "The system translates reality into frequencies."
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12"
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TELEKRAFT 001EP
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Parallel to the release of the album My Name Is Beuys Von Telekraft, Anthony Rother also thinks about all the vinyl lovers. The vocals on "My Name Is Telekraft" make Beuys von Telekraft into a more than likable sci-fi star. Distinctly more gradual and stripped-down in its formulation, "Digital Vision" is Rother's highly personal idiom of techno between programmer's code, Chicago and Rhine Main.
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viewing 1 To 13 of 13 items
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