Welcome to Fwonk*! To celebrate Netlabel Day we bring you the cream of the crop – a sampler of the very best Fwonkage from the last 12 months, and a couple of yet-to-be-released treats. This album gives you a taste of our output – with everything from left-field dance to industrial strength noise.
Insane, damaged, schizophrenic. Cardigan of Wasps takes a turn for even darker waters in the filthy noise-industrial mechanical monstrosity Goreshit Roadkill. The five unconventional remixes on this EP hack the original song to pieces, reassembling its remaining flesh and bones into beautiful depictions of ugliness.
Sakura Swarm: concept, composition, synth, bass, mix, artwork, additional percussion
o terceiro invisível: percussion, additional ambience
Dr. Decker: plugs & pedals, arpy stringed instruments, chuggy bits
April Anthrax: saliva
Studio Ersatz: ear-splitting noise
3dtorus says “The Initiation EP came together by reflecting on my initiation on techno, in 1996 in Berlin. I remember, back then this was something completely new, like an Underground Resistance album (“Galaxy 2 Galaxy – A Hi-Tech Jazz Compilation” – highly recommended!) says in the title: “Hi-tech Jazz”. That is the impression it had on me, like an industrial soul sound, machines singing, funky, dirty and futuristic.”
“From 1997 – 2001 I was completely absorbed into the nightlife, then my approach changed back again to producing for myself.”
“Anyway, this EP mirrors how I felt in my first night, which lasted for what felt like 20 hours.”
Industrial/electronic supergroup Cardigan of Wasps arrives with debut maxi-single Rose Red, featuring a stinging new song along with an experimental remix from every member of the band, each of which twists the title track in an entirely new direction.
Sakura Swarm: concept, composition, synth, bass, mix, artwork
o terceiro invisível: percussion
Dr. Decker: guitar, additional percussion
April Anthrax: voice, lyrics
Here it is, the second album of Berlin based electro pop artist Lie Craze, five years after the release of her positively reviewed debut album “Never Played With The Cool Kids” in 2009.
Lie Craze’s music has often been described as both catchy and honest, musically and lyrically. “Lyrics are very important to me. When I hear a catchy pop tune but the lyrics are just that same outworn sentence about love or la la la all the time I get really upset over the waste of a good idea.”
On this album Lie Craze kept the attitude of being a punk rock singer in her teenage years, the songs are hardly longer than 3:30 minutes and she couldn’t care less about any (genre) standards or formalities. But at the same time she kept an eye for details and melodies. “Maybe these 9 years of violin lessons I got as a little kid weren’t completely worthless.”
If you want to describe the sound of the album you need to look closer than just skipping into the first tracks. Starting with the hymn-like opener “Care For Yourself”, over more club and dance orientated songs like “Wise Girls” and “Dictionaries” to pensive songs as “Home Without Her” or the kinda-rap song “Love From The East”.
“I didn’t want to have the same sound in every song. I love the Berlin techno scene and of course it influenced my work. But growing up as a small town emo kid who spent most of its life heartbroken and in a constant state of rebellion, words and diversity still mean a lot to me. It’s good to stay open-minded and try something new without the need of tagging a label on it instantly. My music is not too experimental as I still aim to do pop music, but I think it stands out. What basically sums up my life: too weird for the normal and too normal for the weird people.”
Most songs on “We won’t ever be saved here” were formed with bumbovsky, who already did two remixes on her first release. Mixing and mastering has been done by Almark. “This album would not exist without the help of these two highly skilled and talented people. My debut album was almost entirely made as a one-(wo)man-production, but this one got a lot of help from my talented friends and I think it enriches it a lot.”
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3dtorus submerges his techno beats in the deepest fathoms, and Living Room Ambience is high quality minimal Berlin electronica relocated to the bottom of the Mariana Trench. This is the deepest of houses.
Yan arrives at the Fwonk table with a pair of huge big dance tracks: Super Pig is a noisey hard trance track with humongous long build ups and a duck‘n‘pump drop.
DJ GO COME ON! is a tech-infused hard hitter, absolutely riddled with ‘DJ’ samples from your favourite plastic Yahama Keyboards WOO! COME ON
The amazing cover art is provided by Robin Keizer
‘Mind Insert’ was chosen as the single for the simple reason that I found it to be the catchiest track of all 11 I produced to be released as the album ‘Rain (On Your Charade)’. To me it is as well a good example for why I think the whole album to be Post Techno. It definitely is techno if you look/listen at each element solitary – but together they do not appear as Techno. Yes, I have quite a strict idea what Techno is and what it sounds like, which is mainly because I experienced it during the 90s when it still was just raw and rough loopbanging all night long. Of course this still exists, but also nowadays all possible kinds of electronic music come under this label, which I took as a reason to show my love and respect for the origins by tagging this Post Techno. I´m very grateful for the epic remix by Heskin Radiophonic. It shows the track in a completely different context/light which also works fine!
Inspired by the growing Algorave scene, Anny FM creates iterative, semi-improvised (try-to-) dance music with code in Tidal. Pig’s Nose is his debut EP and heaviest, most aggressive piece to date: a single song in three acts, composed in the dark while drinking heavily and recorded in a single sitting, and best listened to similarly.
3dtorus writes: The ‘impact winter ep’ was fully produced before the ‘one source ep’ was even released. It mirrors a whole lot of emotions from happiest excitement to heavy anxiety and the last attack of winters depression.
I threw off tons of pressure by producing it – pressure of a half-year-lasting search for a musical home. I had sent the ‘one source ep’ to 38 different labels…maybe you get the point of ‘pressure’.
I had visualized my music to be released by someone and I reached this landmark!
A big loving shout to everybody supporting…before and after!
Enjoy my second release – the ‘impact winter ep’!