This album is a mysterious offering for the heads out there looking to get transported to the macro space around us while reminiscing the dancefloor – the sort of thing you’d play for your friends after a night out that blows them to smithereens”. In dem Zusammenhang ist auch die Anonymität des Projektes verstärkend, da keine persönlichen Informationen das Augenmerk von der Musik lenken: “Maintaining anonymity all these years is something to admire and respect, and PS is a reminder that the music itself and the imagination of it is compelling enough without the need to attach the name, face, or any context to the listening experience – going against the grain of trends”. Das Album ist auch digital erhältlich.

@ Marionette

“Experimenting with repetition of tones through controlled breathing and phrasing, Razen arrive at a synesthetic playground of auditory textures and colorful imagery. The ensemble is carefully orchestrated for every occasion with the intent and desire to escape to environments unbeknownst to them, taking shelter in the fleeting ego-dissolving moments that arise, whether divine or disturbing. While the formula of instrumentation and like-minded peers may appear mundane on paper, it’s Brecht and Kim’s outlook and imagination beyond musical references that’s the immeasurable catalyst to their peculiar pursuits. Conversations about paintings, books, or films ultimately manifest themselves into live performances or album recordings – with the philosophy of embracing playfulness and exploration through the lens of a child’s eye.

[...] The album’s earthly elements deal with survival, timelessness, and simplicity; such as the life affirming rewards of finding refuge and the wonders of observing the interstellar. The unearthly elements pitch this narrative into the realm of mythology and superstition, in the hopes of trying to understand our primeval universe and thrive in the unknown. Regression also addresses Razen’s fascination with inhospitable places and how to adapt to the sorrows that come with this sort of brutalism. The resulting destination is a mind and time bending zone – one that can be reached by riding sound waves that transcend the past, future, and present.” (Marionette)

Porträt © Niels Latomme

“Since his Beat Diary debut (a 12xLP box set comprising 365 beats recorded daily over the course of a year), Julian Sartorius has immersed himself in unique and ambitious projects – trekking the path not travelled to arrive at rhythmic life forms through found objects and prepared instruments. Equally as mighty are his two other escapades, the most recent being Locked Grooves – 112 beats cut as endless loops on vinyl spanning 56 dense 1.8 second compositions per side. Preceding that is his auditory hike into the mountains (Hidden Tracks: Basel – Genève), wading through and playing the landscapes around him like a lithophone.

While Julian’s previous releases focus on innovative and conceptual approaches to realizing an album, his new venture on Marionette (titled Mux) is a culmination of all his efforts thus far to mimic a synthesizer and drum machine. This seemingly impossible feat challenges Julian to experiment and develop a musical language that bridges the gap between organic timbres and electronic music. When listening to Mux, one might simply forget that the seemingly electronic sounds are only constructed organically via hand movements. The common thread in all his works thus far is that the drums are treated as resonant bodies – free to flow and form rhythm and harmony in spacetime.” (Marionette)

Foto © Patrick Principe