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2LP
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OUIE 018LP
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"Basically my albums have developed into my personal field of experimentation" says Martin Gretschmann, aka Acid Pauli. Known primarily for his psychedelic, leftfield club sounds that weave between slo-mo beats and deep burners, his EPs, remixes, and collaborations have generally been more focused on the dancefloor. With his latest album, MOD (his third full-length released on his own Ouïe label), Gretschmann goes in a tangential direction, drawing inspiration from modular synthesis and the scene that has flourished around it over the last years. The result is an album produced almost entirely with modular systems, inspired by the possibilities and restrictions of carefully shepherding machines that sing to themselves. Experimental as MOD may be, it certainly isn't "difficult" or inaccessible -- or as someone put it, the nine tracks here are "soft, elegant, fluent, dreamy -- the tracks achieve the effect of space-time morphing -- magical states." Most of the tracks were recorded live in one take -- often with Gretschmann recording up to ten different versions before choosing the final piece. "Propagating Flip Flops" starts things off -- its glitchy textures and sync-shifting set the scene for the album -- the sounds evolving and developing before resolving into a warm, ethereal tone. "Intellijel Bell" is made up of deep loops of rhythmic sounds, while metallic sounds and a submerged jazzy undertone hint at the classic Acid Pauli sense of fun. "Acid On Yusef" uses looped up rhythmic pulses and bass tones, joined by modulated beeps and blips. "Sublime Frequencies Of Cairo" is another beatless, floating collection of loops that shift and morph -- seemingly suspended in space, before an ambient orchestral element resolves the track. As the title suggests, "Du Brecht, Ich Dub" revolves around a bass heavy sound, building up a rhythm of disparate elements that develop into a tense yet somehow weightless groove. "Life Polarizer" is further evidence that an Acid Pauli album will always somehow drift back towards the groove. "Peace Waer Schoen" also makes heavy use of delay to create a dubbed-out, wonky feel. The freedom of getting away from computer-based production is referenced sardonically in "Quantize Hell" -- its bleepy sounds find a rhythm and progression outside of the grid. Finally, "No Kick, No Cry" has the first and only kick drum of the album and adds a structure to the magical unpredictability of the looped sounds. Embossed gatefold sleeve; includes download code.
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12"
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OUIE 015EP
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Acid Pauli is back with another three-track EP on the label he co-manages with friend and collaborator Nico Stojan. This EP, self-effacingly titled Had To Get Rid Of Some Shit, showcases Martin Gretschmann's dancefloor prowess yet again. "Dancing In The Trunk" is a hyped-up loopy banger -- minimal in instrumentation but fully psychedelic in execution. "Goran Utan" has a deeper, darker edge, with a tension that will tighten the grip on many dancefloors. "Shakmat, But Happy" appears in "Pauli's Psychedelic Breakfast Take 9" and is a slow-building, loop-based groover, eventually opening up to reveal tinges of acid.
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12"
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OUIE 007EP
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Following the A remix package (OUIE 006EP), B brings another set of reinterpretations of tracks from Acid Pauli's BLD (OUIE 003LP). Stimming works over "Amadou" flipping the original into a techy bomb. A thick kick underpins a shuffling, off-kilter rhythm and beautifully treated melodics. "René" is reworked by Roman Flügel; arpeggiated blips and beeps and echo primitive electronic explorations with a subby kick drum. Alex Boman remixes "Jeanne" locking into his signature groovy, tribal approach. Dutch wunderkind Satori tackles "Jorge", twisting the original into a psychedelic groover with backwards vocals, marimba-like melodies, fat basslines, and shuffling breakbeats.
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12"
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OUIE 006EP
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Acid Pauli's second album BLD (OUIE 003LP) dropped earlier in 2017 to a rapturous reception. This is a collection of remixes of tracks from the A side of Martin Gretschmann's trippy, dance-centric opus. Sainte Vie brings his trademark "multicultural electro" sound to album opener "Abbebe" -- an ecstatic mid-paced groover. Oceanvs Orientalis drops a similarly exciting re-rub, finding new angles and dimensions to the track "Baris". Tel Aviv's Red Axes turn up the psychedelia for an amazing dissection of "Ayam" -- deep sounds immersed in acidic tones and tight-yet-wonky arrangements. Label co-head Nico Stojan produces a sleek and spacy remix "Majid".
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LP
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OUIE 005LP
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A 17-year-old boy is at the odds with himself and the world. Pretty normal. But the coming-of-age-story Es War Einmal Indianerland is not normal: it's exceptional. The narration is virtuosic, just as the attendant nominated novel by Nils Mohl who also wrote the screenplay -- in collaboration with Max Reinhold. A psychedelic city-western! Charged with pictures full of symbolism that are composed into a hypnotic whirl by Ilker Çatak, who won the Max-Ophüls price and who has been distinguished with the student Oscar for Sadakat (2014). Another highlight: the outstanding cast. Newcomer Leonard Scheicher as protagonist Mauser in between Jackie played by Emilia Schüle, and Edda played by Johanna Polley. In additional roles there's Clemens Schick as Mauser's father, and Joel Basman as Mauser's pal Kondor. Equally exceptional, thrilling, and inventive as the forthcoming film, is the soundtrack of Es War Einmal Indianerland. The soundtrack of Acid Pauli, aka Martin Gretschmann (The Notwist, Console) plays a central role and originates from the close collaboration between Acid Pauli and director Ilker Çatak. Çatak on the collaboration "When I confirmed the film project, I was at that time constantly listening to Acid Pauli's music. Everytime I looked at the screenplay one of his mixes were playing. So I thought: it would be awesome if the film was accompanied by this kind of music." Acid Pauli's music, as proved on his BLD album (OUIE 003LP, 2017), is as eclectic and adventurous as Acid Pauli himself: from dystopic, carnivalesque moods via moments of high intensity to deep melancholia and fragile atmospheres -- boundaries are being teared down. Sometime psychedelic and far-out, sometime focused, catchy with one eye on the dancefloor. But never expectable; a musical work for the adventurous. This was the basis for a close collaboration, a joint journey to Mexico and the fascinating soundtrack of an exceptional film. "His oeuvre is much more than the stuff he made as Acid Pauli. And that's what he offered me -- it was like you're going to a lake but instead you see an ocean." says Ilker Çatak. "He always grasped what I was looking for. The soundtrack is a mixture of his old and new tracks and music of artists that he knows." "Anan" features Miri.
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LP
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OUIE 003LP
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Acid Pauli is a name synonymous with certain aesthetic towards electronic music culture - both a part of the unhooked generation of that grew up experiencing his revelatory sets at places like Bar 25 and Fusion, and yet deeply rooted in musicality and adventurousness. BLD, the second full-length album from Martin Gretschmann, aka Acid Pauli, builds on his already impressive back catalog which spans back to 2005, and includes a debut album released on Nicolas Jaar's Clown And Sunset. Over the course of the eight tracks, Gretschmann explores some of the many facets that have made him one of the most trusted artists in his field. Released on his own label Ouïe, which he runs with Nico Stojan, the album is the perfect expression of the imprint's commitment to diverse, exciting sounds, freed of the conventions of traditional club music. The album covers a number of moods and emotions, from dystopian carnivalesque vibes to moments of high intensity, through to deep melancholia and synth-laden ambience. Gretschmann's well-documented love of the sampler shines throughout - tracks are textured and colored with different hues from his extensive sound palette, whether it's a part of his more psychedelic moments, or concentrated on his innate knowledge of dancefloor dynamics. As such, BLD sits together as a complete piece of music - to be relished just as much by blissed out home listeners as the left-field dancers. Includes a download code.
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