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12"
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GLUCK 012EP
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"Berlin based producer David Pher was born in 1982 close to Frankfurt. He discovered his passion for electronic music during a sojourn in Ibiza in 1997. After studying Popular Music and Media he moved to Berlin and worked for Sonar Kollektiv as well as attending the SAE Institutes electronic music producer program. His first EP on Glückskind was released in 2008 and quickly became a big success. Phers releases hit the style of contemporary club music in a very unique way. His style of fresh, deep, and minimal house brought his tracks into the DJ cases of many well known DJs like Barem, Tiefschwarz, Steve Lawler, Gabriel Ananda, and many others. His new release for Glückskind is the Return to Harare EP. For all the vinyl lovers it includes the massive Digital-Smasher 'Harare' and three handsome, fresh songs which have this so called warmth a track need to be special."
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12"
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GLUCK 011EP
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"It's a really clever go lucky move that the never resting Glückskind founders Michael Klang and Jürgen Kirsch got Samuel Knob on board. The Valencia-based producer really knows how twist those knobs... to come up with the craziest noises. His skills, honed during his residency times at Barraca Music and Narita Club, are perfectly put into use with this crafty release that should have people dancing on the roof tops -- naked. Samuel, a drummer who jumpstarted his musical career at the age of sixteen in a pop-rock band, is exploring the outer realms of percussive beats, incorporated in a tight yet not at all minimal sounding house construct. Inspired by his father who is also a drummer and programmer, he does not hesitate to foray into unknown dimensions, making this eleventh Glückskind release a very special piece of black gold: Samuels tracks resonate the unrest and disquietude of someone who is longing to break through. The A side is simply to die for: With gripping African chants which wave in and out of the fidgety, compellingly percussive track, 'Pintoresco' conjures a whole movie, not just images. Jazzy snippets and funky filters complete the picturesque, erm, picture. 'Makanie' on the flip is like an even more extensive excursion into the same dimensions. Extremely wobbly beats are combined with the finest filtered jazz trumpet sounds while hypnotic African incantations take over. The true stunner of the record is safely stashed away on the last half of the B side: an amaaaaaazing work-out that offers the same elements stripped down to the core but that's what makes it even richer. Rich like 'Chocolate.'"
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12"
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GLK 009EP
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"Time to remember: the rolling glass bottle in all its time- and mind-bending frequency fullness that opens the phenomenal Water In Mexico. It was the first record that Someone Else, field recording master mind genius mother god of invention, churned out for Glückskind Schallplatten a couple of years ago, and it still sounds as fresh and crisp as a mountain spring fountain quenching a raver's post-dance marathon thirst. Leaving us in a constant state of higher euphoria as he is never one to refuse the call of reinvention and innovation, Berlin dweller Sean aka Someone Else has gone deep. His new outing, the Kitchen Song, is carried by a solemn profoundness seldom found in such a funky context. Talking of which: Sean's music, almost always fun loving rump shakers- his interest in moving the lower parts of the body is of much more than just anatomical in nature -- is famed for its subliminal shuffle basses that carry you right through the night, thanks to an absolutely empowering, warm groove. What actually went on in that kitchen, and which sumptuous stir-fry low-down went on to get these frequencies, we will never know. Also quite a mystery: Sean's fascination with cacti. These spiky little desert dwellers seem a constant source of inspiration for Someone Else, who even manages to get field recordings of the sound of grass growing. Just as gripping: the breath of a cactus. Bass-laden and pressurizing, due to its steam-infected deep, rolling grooves that swirl along in a giant space filled with field noise and sound recordings."
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12"
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GLK 007EP
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"Santos Resiak, a 24 year-old Argentinian musician who happily ventures out to invade the strangely limited world of minimal techno, is an open-minded guy. Just what we need to fuel the floors! Santos' deep and downright dirty sounding, relentlessly jolty, pounding bass drums wake the party instinct in every rhythm-conscious being while also stirring up some deeper sense of emotion. 'Georgina,' far from monotonous, involves little clicks and shuffles while grooving deep down and dirty and hitting you in the right places at the right times. Well hidden in the breakdown lurks a tiny Kraftwerk reference that ties in nicely with the fine arrangement and well-placed sounds. 'Derrape,' in contrast, does not hold back at all. Heavy hitting bass drums stir up old techno affiliates and ignite dancers hungry for moments that let you rise above. For those in need of a swinging groove full of sophisticated funkiness in a reduced context, there is always the Ryan Crosson remix to turn to. Crosson, Detroit's ghetto answer to Ricardo Villalobos, is an excellent producer who keeps a caring eye for percussions and bass, while keeping it real, true Motorcity style: when the sparse keyboard sifts reminiscent notes, the waft of Detroit lets true blue hearts bleed."
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12"
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GLK 005EP
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"Shane Berry was born in South Africa and presently lives in Japan's capital, Tokyo. There he creates his tracks, all of which go directly from the ears to the legs. He released an EP on Trapez and tracks on the New York label Synewave. His songs are played and charted by numerous DJs, and colleagues such as Richie Hawtin and Dominik Eulberg hold Berry's work in high esteem. The new EP on Glückskind might also please them. Again Shane takes two bass lines and twists the sounds for several minutes through an electronic meat grinder. Over the kick, it pulsates and holds it all together perfectly. 'Scrawlys' is refined, reduced minimal techno. 'Deep Space' goes a bit deeper, techno-wise. Indeed, there is also a dominating bass loop, but the insertion of reverb and delay leaves the track with far more room to breathe."
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