Powerful and playful, Datach’i (a.k.a Joseph Fraoli) merges contorted, asymmetrical rhythms with winsome melodies, stretching the boundaries of IDM/Drill & Bass to create a sound all his own. His stunning debut ‘10110101 (rec+play)’ was a collection of complex sonic arrangements piecing together frenetic beats, a wide range of tones, bizarre samples and sugarcoated melodies seamlessly.

Datach’i’s follow-up, ‘We Are Always Well Thank You’, finds him moving ever forward, touching on varied themes from constraint to contentment, from madness to the mundane. ‘Free in a Box’ rolls in with carefully constructed beats, opening the album. If this is a confined space, Datach’i explores every inch and corner before breaking out on ‘Merrily We Roll Along’. This is little more than a glimpse of what is to come as Datach’i bombards our senses, taking us on an emotional and aurally stimulating roller-coaster ride. The title track is a cheerful but mischievous jaunt leading into the haunting ‘Clownman’ and placid ‘Memorandum’. Through each track, Datach’i shares his endless imagination with the listeners, inviting them to join him.

A truly refreshing album, ‘We Are Always Well Thank You’ redefines the term progressive and places Datach’i amongst the most prodigious producers in electronic music today.

Track listing:
1. free in a box
2. merrily we roll along
3. uma is dead
4. welcome to the jackalope
5. klahtmies
6. falp (318) + 15 degrees
7. we are always well thank you
8. cold shift
9. the business man
10. clownman
11. memorandum
12. animals coming home are excited
13. what it is

THE FREIGHT ELEVATOR QUARTET – BECOMING TRANSPARENT (2000)

The Freight Elevator Quartet returns with ‘Becoming Transparent’, the follow-up LP to last years ‘File Under Futurism’, their collaborative work with DJ Spooky, and the ‘Futurism EP’ with remixes by A Guy Called Gerald. With their latest effort, the FEQ establishes itself as one of the most original acts around, transcending the label ‘electronic’ through the incorporation of traditional acoustic instrumentation with pure downtempo and drum & bass influenced rhythms.

A truly multi-faceted album, ‘Becoming Transparent’ finds the FEQ venturing into more stylistically diverse territories, taking their signature dense basslines and cello orchestrations, that brought the ‘File Under Futurism’ album to life, to new levels. At times light and ethereal, at others deep and mysterious, ‘Becoming Transparent’ reveals previously unseen textures to its listener. ‘Transparent’ emerges as a delicate and airy commencement to the record leading into ‘Downtime is Becoming Less of an Option’, an irresistible groove spiraling into sensory overload. On ‘Exasperation’, synth-pop-like vocals join hyperactive beats and an atmospheric whorl of sound, while ‘Duplicity’, a study in aural ambiguity, leaves us in a state on wonderment and melancholy.

Witness the growth of the Freight Elevator Quartet, evidenced here by a follow-up that surpasses its predecessor in complexity and breadth of sound exploration. The FEQ’s careful separation of genres ultimately allows for a truly unique melding of them on this meticulously crafted album. A must for all attuned to radical convergence of styles.

DATACH’I – THIS IS MY EP (2000)

Powerful and playful, Datach’i merges contorted, asymmetrical rhythms with winsome melodies, stretching the boundaries of IDM/Drill & Bass to create a sound all his own. His stunning debut ‘10110101 (rec+play)’ was a collection of complex sonic arrangements piecing together frenetic beats, a wide range of tones, bizarre samples and sugarcoated melodies seamlessly. The album earned him a spot in Urb’s ‘Next 100’ list of artists to watch.

Datach’i’s ‘This Is My EP’, a precursor to the forthcoming ‘We Are Always Well Thank You’ full-length, finds him moving ever forward, sharing his endless imagination with the listeners, inviting them to join him. The opening track ‘We Are Always Well Thank You’ is a cheerful but mischievous jaunt leading into the fragmented ‘Animals Coming Home are Excited’. Remixing Datach’i for the EP are amongst the most exciting producers in music today. The acclaimed post-rock group Mogwai enters with a poetic remix of ‘Memorandum’, a continuous crescendo leading into Kid606’s frantic reworking of ‘Cold Shift’. Closing the 12″ is Rephlex recording artist Bogdan Raczynski, who does a soothing adaptation of ‘Leonard Park’ off Datach’i’s the debut album.

This EP blends the work of Datach’i with purveyors of the freshest electronic sound out of America and the production expertise of Mogwai, bridging the worlds of electronic music and post/indie rock, for an album that is both thematically strong and diverse.

Track listing:
a1. we are always well thankyou
a2. animals coming home are excited
b1. memorandum – mogwai remix
b2. cold shift (tigerbeat6 all stars mix) – kid606 remix
b3. leonard park (memories of you carried away by the spring breeze) – bogdan raczynski remix

SOUND TRACK – THE COOLER (2000)

Sound Track (a.k.a. Savvas Ysatis) began what has become a prolific recording career in 1993. In 1998, he was one-half the duo behind ‘Tower of Winds’, volume 1 of Caipirinha’s Architettura series, produced with Taylor Deupree. His most recent recording, ‘Highrise’, was released on the highly influential German techno label Tresor.

As his first full-length release under the Sound Track moniker, ‘The Cooler’ represents a crisp amalgamation of the worlds of techno and house, marrying Thomas Brinkmann-esque minimalism with warm house grooves for an album that is as at home on turntables as it is in a discman. Movement is built subtly. The opening title track features a regal house loop commingled with slight static pops and digital interference, soothing and conditioning the listener. By the fourth track ‘Sugarloaf’, a quintessential tech-house track, the album has migrated, focusing on more dance-oriented elements. The album exits with ‘Bel Air’. Deep bass forms a hollow space where organic sound impurities echo and reverberate through its closing.

‘The Cooler’ is a mesmerizing look at the Berlin-style of tech-house. It is a search for the perfect loop, a fixed state in and of itself, but not stagnant. Gentle and hypnotic, ‘The Cooler’ is a chilled-out lull, freezing time, slowing motion.

Track listing:
01. the cooler
02. avalanche
03. time out
04. sugarloaf
05. mule
06. frosty
07. go fish
08. bel air

CAIPIRISSIMA – BATUCADA ELETRONICA (2000)

The worldwide growth of the electronic music scene happened smoothly in most places – as a result of the effort of dedicated believers who often transformed their sonic experiments into original, yet commercial, ventures. In Brazil the electronic revolution happened guerrilla style – with producers and DJs smashing boundaries with their innovative concepts. The best of the collision of these different worlds is now featured in “Caipiríssima – Batucada Eletrônica”.

Several names emerged from the musical hurricane that swept Brazil in the mid-90s. From the urban beats of Ramilson Maia to the groundbreaking creations of Craotian-turned-Brazilian Suba, the electronic scene in the country has evolved to be a cultural movement never seen since Tropicália’s heyday in the late 60s. Contributions from names like João Parahyba (a percussionist behind the first experimental tracks using synthesizers in Brazil) and young producers Bid and Apollo 9 (responsible for some of the most innovative tracks of the past few years) appeared in this record side by side with internationally based musicians like DJ Soul Slinger, Arto Lindsay and Amon Tobin (all of them acclaimed in Europe and the U.S. for their daring production skills).

Tracks such as Anvil F/X’s “1000” and Mestre Ambrósio Underground’s “Pupila Dilatada” accurately represent a new language that has been developed by DJs and producers throughout the country – a trend that is at the same time groundbreaking and listener-friendly. Experimental meets classical , technology meets roots in the delicate sounds found in Cynthia Z’s “Zumbi” or DJ Dolores’ “Monica No Samba (She Loves Drums n’ Cavaco)”. Compiled by one of the true believers in Brazil’s new culture, producer/A&R Béco Dranoff (the man behind “Red Hot + Rio” and “The Best of Os Mutantes” – with David Byrne), “Caipiríssima – Batucada Eletrônica” elevates Brazilian music to a higher plateau. Together, the 13 tracks of the album form a daring, yet accessible body of work. These new Brazilian sounds blend the beauty of Bossa Nova, the innovative aspects of Tropicália’s psychedelic experiments and the organic grooves that fill global dance floors. These visionary artists are responsible for a musical invasion of epidemic proportions. And the best of this culture is here to become part of your world, forever.

GUTO BARRA
New York, February, 2000

Track listing:
01. joao parahyba: “central do brasil”
02. dj dolores: “monica no samba”
03. bid: “batuk de amor”
04. arto lindsay: “whirlwind”
05. amon tobin: “sub tropic”
06. suba x m.a.u: “pupila dilatada”
07. dj soulslinger: “master plan”
08. apollo 9: vai quem vem (nao fique ai)
09. anvil fx: “1000”
10. cyz: “zumbi”
11. i.n. project: “santa teresa”
12. ramilson maia: “bahia sou”
13. chelpa ferro: “miniatura chelpa”

PANACEA: BRASILIA – ARCHITETTURA VOLUME 4 – (2000)

volume 4 of the series, composed and performed by german tech-step artist panacea, was inspired by the preplanned city of brasilia. designed by renowned architect oscar niemeyer, brasilia is the capital city of modern-day brazil and known for its bizarrely futuristic look. unlike previous volumes, in which a single structure was examined, this piece takes an entire city into its scope. panacea leaves the listener with a void, echoing the desolation of this once buzzing metropolis.

Track listing:
1. suicidal – 1. (ongoing)
2. suicidal – 2.
3. no verve – 1. (ongoing)
4. pong/ping – 1. (ongoing)
5. pong/ping – 2.
6. assumptive
7. plain
8. we have never arrived
9. depopulate
10. embark
11. frustrated
12. no verve – 2.
13. void of safety
14. onerous (my slickness)
15. concrete
16. no tension
17. highly developed
18. languish – 1.(1,6 mio $ ongoing)
19. languish – 2. (individual)
20. fucked up mcknzm

ATAU – BIORHYTHMS (2000)

Atau Tanka has been an active player in the electronic music movement since the mid-80’s, bridging cultures of America, Europe and Asia into his music. Atau first gained notoriety in San Francisco as the preeminent performer on the BioMuse, a biosensor musical instrument. In Europe, he formed Sensorband with Edwin van der Hiede and Zbigniew Karkowski – a power trio of sensor virtuosi with releases on Sonoris, Touch, and Alien 8 Recordings. His work has stretched across the globe, opening for Can in San Francisco in 1998 and performing widely at such festivals as Sonar, Meltdown, DEAF, Musique Action, Victoriaville. In addition, Atau has collaborated with such luminaries as John Cage.

Biorhythms is Atau’s first solo release. It captures his view as an international traveler across the scene of electronic, experimental, and noise music in Japan, Europe, and North America. The musical horizons represented are wide and varied – from acid and downtempo to microsonics to noise. The unifying thread in the CD is Atau’s musicality and the Biorhythms concept – the loops and grooves are based on the polyrhythmic nature of our body’s biorhythm cycles. Atau is a pioneer in biosensor music – this music from the body is translated to CD for a musical journey that traverses international borders of culture of style.

Track listing:
1. heart:beat:monitor – pure heartbeats open this cd. The body processed by electronics
2. arteries:of:tokyo – out of the heart comes vessels rushing through the veins. In this rush of sound, we externalize from the body to the urban landscape
3. delull – the groove kicks in. New Orleans second line beat meets downtempo electronica
4. 28:23:33 – the frills are peeled away and the polyrhythms remain. The complex interaction of our body’s physical, emotional, mental cycles in pure blips
5. f:m:r – the acid house track. f-m-r = ephemeral, but the beat keeps on in this quintessential club track
6. surge – the big sound that japanese noise artists make in their tiny spaces. Here, analog modular synthesizers are contorted to the extreme, and are joined by pure data hacked into sound.
7. adagio – the beast meets beauty – a lush classical string adagio realized on hybrid analog/digital synthesizers. Infinite chords, seamless melodic loops build an orchestral richness
8. otaku – Otaku culture in Tokyo – grooving to mangas and cyberfood, hiding out and hacking. Keep the MD player headphones to keep that incessant beat as you float through the maze of Tokyo
9. alias:tothe:nexttime – -The remains of the day, shrill quiet beauty and digital artifact bid us a tempoary good bye until the next meeting

EARLY MODULATIONS: VINTAGE VOLTS (2000)

THE ROOTS AND WIRES OF ELECTRONIC MUSIC

Early Modulations, a collection of nine compositions covering a 30 year span from the late 1930’s to the late 1960’s, is an introspective look at some of the early pioneers of electronic music. The compilation aims to introduce early electronic music to an audience familiar only with the techno movement, while also attempting to introduce those already familiar with names like John Cage, Pierre Schaeffer and Iannis Xenakis to other influential pioneers like Vittorio Gelmetti and Luc Ferrari.

Early Modulations finds an equilibrium between historical reference and musicality. It is a stylistic collection that takes the listener from John Cage’s avant garde orchestrations of the 30’s to works by Ussachevsky and Luening, created at one of the premier centers for the exploration of electronic music, the Columbia and Princeton Electronic Music Department. The listener is then lead through musique concrète and the first traces of oscillating rhythms found in Morton Subotnick’s work.

Early Modulations is the second volume in the ‘Modulations’ cd series, inspired by the film ‘MODULATIONS – cinema for the ear’, which traces the history of electronic music. Volume 1 of the soundtrack looked at electronic dance music since disco and featured Donna Summer, Afrika Bambaataa, Derrick May, Goldie amongst others. In keeping with this multimedia exploration, this second album, Early Modulations, will be accompanied by an extensive cd booklet with photographs, detailed artist biographies and liner notes, written by The Wire’s Rob Young, providing an insightful commentary on the significance of each composition as well as explaining its role in furthering the realm of electronic music. We hope with this album to remove the artists from their permanent fixture of “Classical” composers and place them in the reach of today’s “electronic” lovers who have the desire to learn how this genre of music originated.

Track listing:
1. John Cage: Imaginary Landscape no.1
2. Pierre Schaeffer: Etude au chemin du fer
3. Xenakis: Concrete PH
4. Morton Subotnick: Silver Apples of the moon
5. Luc Ferrari: La tete et queue du dragon
6. Vittorio Gelmetti: Treni d’onda a modulazione d’intensita
7. Luening and Ussachevsky: Incantation
8. Ussachevsky: Piece for Tape Recorder
9. Max Mathews: Bicycle Built for Two

DATACH’I – 10110101 (1999)

Track listing:
1. Deconstructing Man
2. Leonard Park
3. Midnight Cowpoke
4. VCR Powered Carcass (X)
5. VCR Powered Carcass (2)
6. Turtle Head
7. Jafbox
8. Leonard Park (Blank)
9. XOR A+B (10110101) ≈ (You And Me) 13
10. Take Off Your Face
11. Piecing It Back Together
12. Fried Notes
13. Dizzy Fizz

DJ SPOOKY VS. THE FREIGHT ELEVATOR QUARTET – FILE UNDER FUTURISM (1999)

“File Under Futurism” is the culmination of a six-month collaboration between DJ Spooky That Subliminal Kid (a.k.a. Paul D. Miller) and the Freight Elevator Quartet (R. Luke DuBois, Paul Feuer, Rachael Finn, and Stephen Krieger). The recording presents the key elements and ideas of the artists involved, and represents a coherent musical work that takes DJ Spooky’s immense talent for aural recontextualization and cultural commentary and merges it with the electroacoustic improvisation and digital savoir faire of the Freight Elevator Quartet. The result is a commentary on cultural and aesthetic oppositions, through a musical exposition and juxtaposition of early twentieth century Futurism (imagining a sublime technology) and the exponentially accelerated culture in which we live today.

DJ Spooky That Subliminal Kid, the combined inspiration of a sci-fi hero in a William S. Burroughs novel and an old commercial for Count Chocula cereal is recognised as one of New York City’s pioneers of the “illbient” genre.

The Freight Elevator Quartet are at the forefront of a new breed of electronic music that bridges genres and schools of thought seamlessly – where jungle and downtempo beats, the electronic avant garde, hip hop rhymes, improvisational melodies and ethereal vocals can all exist and interact in the same space. The FEQ sound is a startling celebration of the possibilities of digital culture.

Track listing:
1. file under futurism (grooveprotocol mix)
2. interstitial A
3. bring me my mental health
4. the rca mark II synthesizer
5. downtempo manifesto
6. infrared
7. the revolution will be streamed
8. experimental asynchronicity
9. interstitial B
10. this is what happens (live)
11. variation on a freight theme (live)
12. chromatic aberration

UNIT – NARCOLEPTIC SYMPHONY (1999)

Mr. S. Pants (aka unit) can write an album in his sleep – literally. Practically writing music in a slumber due to an unending battle with fatigue, unit has managed to put his semi-conscious visions to sound. Thanks to the full-time care provided by the finest doctors no money can buy and his vast array of electronic gadgets, out of the bedpan comes this chef d’oeuvre…

unit’s first full-length album: THE NARCOLEPTIC SYMPHONY.

Starting with what resembles the fast forwarding of some interstellar answering machine, then taking you to a captivating landscape where lush future classical orchestration, fragments of unidentifiable conversation and a veritable orgy of other sounds all couple with unit’s fiercely bastardized version of a breakbeat to create a sound not quite like anything you’ve heard. Perhaps a soundtrack to a not so distant future, unit’s NARCOLEPTIC SYMPHONY is a taste of something new and old, soft and heavy, beautiful and distorted…so sit back and savor the sound you cant quite put your tongue on.

You might find it tastes pretty sweet.

Track listing:
1. static beef
2. ring*worm
3. no, i’m just bored so i was looking at your vitamins (drug store jerk)
4. crank
5. sponge blend
6. blue/grey wallpaper
7. i’m in chicago
8. phyllis braineater 052
9. sleep sequence.a
10.
11. sleep sequence.b
12. haldol (panacea remix)

DEUTSCHER FUNK VOLUME 2: VARIOUS ARTISTS (1999)

“Caipirinha has become the first American label to document Germany’s late 90’s flourishing musical left bank” – THE WIRE

“Mapping the soundsphere of experimental sampling, Deutscher Funk puts ears into outer orbit!” – XLR8R

“Deutscher Funk is melodic free-flowing background music perfect for Spring cleaning or bath time” – MIXMAG

Building on the runaway success of their 1998 “Deutscher Funk” compilation, Caipirinha unleashes this second installment of cutting-edge German electronica. Burnt Friedman of Nonplace Urban Field (who also compiled the original “Deutscher Funk”) gathers together Germany’s most innovative and influential electronic pioneers onto one trail-blazing compilation.

Featuring tracks by Jazzanova, Lithops (Jan Werner from Mouse on Mars), and Tarwater

Wonder what’s happened in the world of Krautrock electronica since “Deutscher Funk”?

Now “Deutscher Funk 2” follows those Teutonic techniques into the next era.

Track listing:
1. Jazzanova: Caravelle
2. SubtleTease: OverlookingIs
3. Lame´Gold: HeartbreakHotel
4. Tarwater: NoMoreExtraTime
5. SadRockets: E.j.
6. FelixKubin: BruderLuzifer
7. Wunder: Noitz`sKakao
8. Lithops: Chubmond
9. H.”Sack”Ziegler&F.Schueltge”Blumm”: Toygrooves
10. Naturalist: 12
11. Flanger: MusicToBeginWith,2
12. HematicSunsets: GaudeMihi
13. Holosud: Alaune

compiled & edited by burnt freidman

DAVID TOOP – ARCHITETTURA VOLUME 3: MUSEUM OF FRUIT (1999)

“. . . a rhythm suggestive of an entirely new kind of nature architecture as a second nature, a hanging garden that anticipates the near future.”

When I first saw a photograph of Itsuko Hasegawa’s Museum of Fruit, the impact was immediate and breathtaking. Located in Yamanashi, Japan, within sight of Mount Fuji, the Museum of Fruit is a cluster of three domes – a tropical green house, an atrium event space, an educational workshop for teaching. Odd-shaped and assymetrical, the structures suggest a variety of natural forms: marine molluscs attached to a seaweed-covered flat rock at low tide; armadillos, beetles or seed pods, squashed fruits fallen from a tree and eaten by insects from within, sleeping snails, even the bulging eyes of some giant, supine creature.

If there can be a correlation between music and architecture then it must be a meeting of ideas. My own music always searches for forms, sounds, rhythms and audio transformations that suggest a fictional utopia that encloses the listener in an invisible, impermanent environment. In its way, this is a kind of architecture.

Track listing:
1. An Arthropod Raising Its Head To See the Sirakami (9′ 20″)
2. A Second Nature (00′ 41″)
3. Utopia In Fiction Form (01′ 22″)
4. Breathing Chaos (8′ 01″)
5. Transluscent World (00′ 37″)
6. Glass For Paper (11′ 20″)
7. Seeds In Flight (02′ 09″)
8. Smell Of Human Life (26′ 07″)

MICROSCOPIC SOUND: VARIOUS ARTISTS (1999)

Microscopic Sound is a collection of experimental electronics, pure-tone synthesis and computer-generated sound.

Featuring Thomas Brinkmann, Mike Ink, Ryoji Ikeda and new tracks from Kim Cascone and Germany’s Rastermusic/Noton collective, this compilation delves into the more scientific, intellectual elements of electronic music. Much of this music is the result of “techno maturing”. It’s still very synthetic and rhymically robotic, like German techno, but it’s definitely NOT for the dancefloor. Instead, this music explores the inner-workings of sound and synthesis and often involves the use of ultra-modern synthesis techniques – in this case, the latest computer software and sound generators. This is experimental post-techno, an up-and-coming genre of sound, and it is intended for the listener who can appreciate its bold sense of exploration, as well as the surreal beauty of the world it evokes.

Computations and calculations, alternating current and electrical discharge, sine waves and static – these become the tools by which this new music is forged. Made up of polyrhythms and random, transient frequencies, this music is not the latest in electronic music…it’s the next.

Track listing:
1. noto – crystal.s2
2. ryoji ikeda – zero degrees 3
3. produkt – rotor
4. thomas brinkmann – studio 1 variationen gelb
5. kim cascone – vortex shedding (bluecube_recombinant_02)
6. goem – comp twee
7. digital – ROM
8. sound track – zenith
9. komet – reihen
10. s-nemek – hep

compiled & edited by taylor deupree

CINEPLEXX – POSOLOGIA (1999)

Sebastian Litmanovich (aka Cineplexx) has been creating music since his childhood in Buenos Aires. At age 8 he was given a small Casio organ, the first of a diverse number of instruments he would eventually master. His subconscious mind told him that he would one day have use for that “nasty sounding toy organ”. His intuition seemingly paid off since he uses it along with a wide array of accoustic and electric instruments on his darkly beautiful new album, Posología.

Sebastian has taken his cue from a wide array of musical influences that ranges from Miles Davis, Juan Atkins, and The Beatles to Film Noir soundtracks, early 80’s New Wave and the seductive sounds of his homeland, Argentina. He produces a sound that is unclassifiable, with its elements of Ambient, Post-Rock, Techno, Jazz and a run of other styles that shouldn’t work together……but somehow do.

Track listing:
1. descender a delta
2. espritu pal
3. naranja
4. en mi boca
5. moulinex
6. descuentro en donde
7. denme la voz
8. t.3 etílica
9. dormir miles de veces
10. mundo barroco
11. distante (REAL AUDIO)
12. paranoia
13. mortimer riganti
14. asesinos por vértigo
15. fruta salada
16. ascendiendo
17. senal
18. distante en el cosmos

MODULATIONS: CINEMA FOR THE EAR: SOUNDTRACK (1998)

From the makers of Synthetic Pleasures, comes Modulations, a film which captures a moment in history where humans and machines are fusing to create today’s most exciting sounds.

Modulations traces the evolution of electronic music as one of the most profound artistic developments of the 20th century. From Giorgio Moroder’s glacial euro-disco through Detroit techno pioneers Derrick May and Juan Atkins, to the current reign of jungle with Goldie, the soundtrack CD masterfully and seamlessly covers all the bases.

Modulations will be released in the theaters this fall and play in over 50 cities in the States, then continue throughout the world.

Track listing:
1. Donna Summer: I Feel Love
2. Afrika Bambaataa: Planet Rock
3. Juan Atkins/Model 500 : No UFOs
4. LFO: Simon From Sydney
5. Derrick May: Strings Of Life
6. Jesse Saunders: Yeah
7. Aphrodite: Amazon 2
8. Panacea: Stormbringer
9. Goldie & Rob Playford: The Shadow
10. Ryoji Ikeda: Luxus 1-3
11. Coldcut: Atomic Moog 2000
12. To Rococo Rot: Kritische Masse 1

SOMATIC – THE NEW BODY (1999)

Since his arrival in NYC in the 80’s, Hahn Rowe (AKA Somatic) has been involved in many facets of the city’s music scene by drawing upon his musical history as an electric violinist, guitarist, and programmer. Perhaps best known as a member of the 80’s pop experimentalists Hugo Largo, Hahn has also appeared as an instrumentalist on recordings by Ikue Mori, Swans, Foetus, Firewater, That Petrol Emotion, Michael Stipe, & KRS-1, and Moby.

Hahn has programmed, engineered, and produced for musicians such as Mimi Goese (Hugo Largo singer) and David Byrne. He has created muscial scores for film, including Susan Aikin’s Emmy award-winning documentary The Transformation.

As an active member in New York City’s growing electronic music and multimedia community, and drum ‘n’ bass enthusiast, he performs as part of the jungle/dub duo Circuit Bible (a force in the NYC underground electronic music scene that is being coined as illbient) and deejays hard dancefloor tunes as Somatic. Drawing upon his vast experiences in the wide array of musical settings, Somatic combines hard beat manipulation, analog textures, and melodic interplay to create a personal brand of future funk for for the next generation of breakbeat enthusiasts, emerging as one of the stateside’s most impressive Drum ‘n’ Bass producers.

Track listing:
1. raw dog
2. venusian jazz
3. out there
4. infinity train
5. nu detroit
6. knuckles
7. space jelly
8. choppin block
9. red rubber ball (believer xtraction mix)

H.E.A.D. – 97-98 (1998)

after wanking together, khan and kerosone started tweaking together and here it is: techno chacha, back to fun in electronic music.

h.e.a.d. was founded in1993 by Kerosene (Frankfurt/Germay) and Khan (NYC). There debut album “EFS” released on the Cult Label Blue out of Cologne was a big success with the international press and the global electronic scene. At that point ambient hit the techno world and h.e.a.d. turned it up side down by adding noise and randomness to it. what came out was a heavy psychedelic wall of sound. This concept was perfected on their second long layer “Hedonist” which included house elements that took this sound to the dance floor. The third release, on the German label Harvest, was called “James Dean” and was released as both CD and EP the new album “97/98” includes influences such as R&B, Electro lounge and South American ryhthm. The idea was to put the fun back into electronic music without diminshing the high standard of sound h.e.a.d. had already achieved. Both producers bring their very own sense of style to the music such as Khan’s “4E” funk (Mille Plateaux/Pharma) and Kerosene’s “Tennage Secret” on Caipirinha. “97/98” sees the pre-millenium-trauma of an electronic society and a splash of cha cha.

“Our multi cultural approach combines and contrasts such things as pop art, classic hip hop and rock, poetry and techno. The musical language is transformed into pure energy and becomes understandable to anyone in this Universe.”

Track listing:
1. little asian girl
2. welcome illegal immigrants (ship edit)
3. notorious dead
4. i’ll be dissing you
5. it’s funky enough, it’s fast enough
6. you got to chill 97
7. get the point
8. it’s a shame
9. too packed to rap, too drunk to rock
10. suff daddy got the blues
11. winnetou, what’s up?
12. denver clan (forever)
13. welcome illegal immigrants (special radio version)

TETSU INOUE – WATERLOO TERMINAL: ARCHITETTURA SERIES, VOLUME 2 (1998)

The Channel Tunnel Railway Terminal at Waterloo is the gateway to the high speed rail tunnel beneath the English Channel that connects England with Paris. The terminal serves the same function as an airport, housing immigration, customs, arrival and departure lounges serving 15 million passengers per year at a rate of 3,000 people traveling in each direction per hour every day. With an average travel time of three hours from start to finish, the Eurostar rail service based in the Waterloo Terminal provides an attractive alternative to the prospect of journeying out to distant Heathrow Airport only to encounter all the attendant delays that seem inescapable in the operation of air traffic.

Tetsu Inoue has responded to the challenge of composing for the Waterloo Terminal with a vocabulary specifically suited to a marvel of technology. Unlike the timeless dreamscapes of his previous work, here the foremost element is the crackle of electrons in motion. Here, the ambiance of a large enclosure; there, the roar of the crowd echoing into random background noise; everywhere the dance of electrons pulsing through the circuitry of a vast and complex structure.

And remarkably &emdash; even startlingly &emdash; the music was not merely inspired by the Waterloo Station, but in a very real sense it was composed by Tetsu in collaboration with the station Tetsu scanned over 1000 real and digitally altered photographs of the station into his computer and dumped them into his music software, which mathematically translated the arches and surfaces of the structure into electronic sound. It is as if the station itself were given voice, which Tetsu then shaped by altering pitch, timbre, resonance and rhythm, creating a linear collage born from his artistic interpretation of the architecture itself.

Track listing:
1. ROOM FX
2. DSP TERMINAL
3. DIGITAL FICTION
4. ARC TEXTURE
5. SYNTHETIC DOOM
6. HI-FI STATIC
7. FORMANT PINK
8. SYSTEM.0.1 IN C MAJOR

SI BEGG – COMMUTER WORLD (1998)

In this ‘Commuter World’, Simon (Si) Begg has created a seamlessly woven collage of sonic soundscapes and electronic headcharge. This 25 year old has produced under such aliases as Cabbage Boy, Buckfunk 3000 and Bigfoot. Recording for such cult favorite labels like Ninja Tune and Ferox has not been enough for young Si. He also co-owns the popular Mosquito label with techno legend Christian Vogel, and independently owns and operates the Noodles imprint.

Track listing:
1. GOOD MORNING
2. COMMUTER WORLD
3. RUSH HOUR
4. OFFICE POLITICS
5. R.S.I. & M.E.
6. LIKE YOU JUST DON’T CARE
7. JOURNEY HOME
8. ALL NIGHT SESSION
9. I WAS THERE
10. 24HR GARAGE MISSION
11. WALK HOME THROUGH SHOE BOX ESTATE
12. POST JACK JOURNEY
13. WAVE STATION PLATFORM 3
14. DELAYS ON THE MET LINE
15. SIGNAL FAILURE
16. VIADUCT ROUTE AT SUNSET
17. LIVING IN SUBURBIA

RE-INVENTING CULTURE: THE CAIPIRINHA MUSIC SAMPLER (1998)

Groundbreaking electronic music from the best of the Caipirinha catalog…at a special low price. Si Begg, Prototype 909, UMO, Khan, Aprodite & Mickey Finn, Kerosene, Sum and much more!!!

Track listing:
1. Si Begg: Like You Just Don’t Care
2. Somatic: Knuckles
3. Sum: Holocene
4. UMO: The Number
5. Khan: The Demonic Screen
6. Nonplace Urban Field: Roll Over Ehrefield
7. Visit Venus: Stellar Jungle
8. Aphrodite & Mickey Finn: Bad Ass
9. Prototype 909: The Kids Don’t Care
10. Savvas Ysatis & Taylor Deupree: May 1, 9:06PM

HERE COMES THE DRUMS: HIP HOP DRUM ‘N’ BASS (1998)

A slammin’ streetwise look at the connection between Hip-Hop and Drum ‘n’ Bass, showing how hip-hop evolved into jungle and splintered off into a hugely popular musical movement. Features major players Roni Size, Aphrodite, Doc Scott, and several others from the London underground.

From floor-filling rollers to tracks heaving with serious bass pressure, Here Come the Drums: Hip-Hop Drum ‘n’ Bass collects 13 of the toughest, funkiest, rinsing tracks from the past seven years of drum ‘n’ bass’ love affair with hip-hop.

Track listing:
1. DMS: Vengeance
2. DJ Red Alert & Mike Slammer: In Effect
3. Sonz of a Loop da Loop Era: Far Out
4. Doc Scott (Nasty Habits): Here Come the Drumz
5. Tek 9: A London Sumtin’
6. Roni Size: Music Box
7. Foul Play: Stepper
8. Elementz of Noize: Stick Up
9. Gang Related: Tear It Up
10. Urban Takeover: Bad Ass
11. Dream Team: Public Enemy
12. Click ‘n’ Cycle: Walkdawalk
13. Jungle Brothers: Brain (Natural Born Chillers Mix)

SUM – SUM 1 (1998)

FROM THE DEPTHS OF THE NEW YORK SCENE, DANNY BLUME (AKA PRESET) AND CHRIS KELLY (AKA CV) KICK OUT BOUNDARY-BREAKING ELECTRONICA IN THEIR DUO, SUM.

Sum is NYC pair Preset (aka Danny Blume) and CV (aka Chris Kelly). The sentient cousin of downtown electronica denizens Liminal, Sum’s music swings from amped, dub-style mixes laced with sci-fi melodies and high energy grooves, to chilled-out spells of lush melody. Loops, processing, synthesis, and samples are tweaked and mutated into a seamless mass of atmosphere and rhythm. Sum has already toured Europe and will continue to pursue live gigs.

MORE ON SUM: Informed by Drum ‘n’ Bass, Techno, Hip-Hop, and all other manner of musical and cultural flotsam, Sum’s music is beautiful, brooding, body-shaking, and tuneful. Live, Sum uses a unique and completely interactive electronic matrix of devices including loops, processing, synthesis, and samples&emdash;all thrown into an amped-up, dub style mix, laced with sci-fi melodies and oblique grooves.

PROCESS: The idea that electronic music need not be relegated to a pre-programmed close-and-play style approach is not a new one. To this end, Sum (Chris Kelly and Danny Blume) have put together a highly interactive modular system utilizing all manner of esoteric and generic devices in an elegant matrix as to allow for a great deal of musical freedom and interplay. This system allows Sum to effectively improvise electronic music of any style at any time as a duo, playing off each other’s inspiration while the beats carry on perfectly in-sync to what they are doing. To understand Sum’s particular approach to the problems of electronic improvisation it is really necessary to think of the many and varied devices they use as one instrument – a veritable sonic hydra – a multi-headed electronic monster given life by these two unlikely subterraneans. As consequence, they spend all their time in their laboratory mixing up alchemical solutions in an ongoing attempt to satisfy their android’s insatiable appetite for voltage and decibels. This first CD aptly titled Sum 1 reflects that adventurous endeavor.

Track listing:
1. nag champa
2. giant’s eyes
3. taxi!
4. grace under fire
5. fata morgana
6. slip
7. holocene
8. fidel’s bass
9. slave
10. york st. station

KEROSENE – TEENAGE SECRET (1998)

DEEP AND ATMOSPHERIC ELECTRO-LOUNGE ON THE FIRST FULL LENGTH FROM THIS FRANKFURT BASED PRODUCER.

Teenage Secret is one deep infusion of rhythmic infection after another. Drawing from a number of different sources, Kerosene (a.k.a. Roger Cobernuss) has put together this amazing assemblage of tracks. Exploring downbeat, dub, lounge, film noir, and trip hop all at the same time, Kerosene has escaped the techno trap and come up with something all his own. Sure to be useful on the dancefloor, this record goes much deeper into the listener’s psyche. Look for more amazing work from Kerosene on Caipirinha.

Kerosene has been a part of Ultrahigh (Force Inc.), H.E.A.D. (EMI/Harvest) with Caipirinha recording artist Khan, Zulutronic (on his own label Pharma) with UMO’s Jammin Unit, Restgerausch (Mille Plateaux) as well as tracks on Macro Dub Infection, Electric Ladyland, Trance Europe Express, and Smile’s Acid Resistance. He is a fan of Elvis.

Kerosene also appears on UMO II, another great Caipirinha release.

Track listing:
1. When You’re a Young Girl
2. Supercrash
3. Trip to Mae Bad Boy
4. Motherfucker
5. Your Muscles
6. Bar 69
7. The Demolition Orchestra
8. Mambo of Terror
9. Teenage Secret
10. Homeboy Hawaii
11. Nylon Stockings

UMO – 2 (1998)

GERMAN ELECTRONICA SUPERGROUP COMES THROUGH WITH THEIR MIND-BENDING SECOND FULL LENGTH.

UMO means: unidentified musical objects.

there are lotz of different thinx goin’ on here at our studio. people come and go. each and every one of them leaves some strange idea or sound. scratches we’d like to share with anyone who’s interested. for those guys who aren’t, we’ve spent hours working on beats to supply everyone with some vibing shit. then we mixed them up real carefully and treated them with some fx to make them last longer. we care about what you’re hearing – so should you. we discover unknown spaces by expanding our musical abilities: and that’s our definition of umo.

UMO is Adel Dior, Jammin’ Unit (Cem Oral, Khan’s brother), and their pan-German posse. Their first record “UMO I” was released on Liquid Sky records. This, their second record, will come out on Harvest/EMI in German speaking countries and Caipirinha in the rest of the world.

Track listing:
1. Stop It!
2. The Number…
3. Green for Go
4. In Memoriam Of Chou Chou
5. U.M.O. Four
6. OX
7. Gutter Juice Ghetto Blaster
8. Fly Over
9. Inner City Low Live
10. High Noon
11. Warom?
12. Avus 80

DEUTSCHER FUNK – VARIOUS ARTISTS (1997)

A COMPILATION OF ADVENTUROUS GERMAN KRAUT-ROCKIN’ ELECTRONICA. IF ONLY THE RADIO IN GERMANY SOUNDED LIKE THIS.

The electronic music scene in Germany is HUGE. While most of the music created is pounding techno and house to fill the packed discos of every city in Germany, there is an increasing amount of underground sounds coming out of this scene. Compiled and produced by Cologne based musician Burnt Friedman, best known as Nonplace Urban Field, this compilation highlights the best of new German electronica. Deutscher Funk means both “German Radio” and “German Funk”, and this double entendre takes on new meaning when presented with this great music. With great liner notes and cutting edge music, Deutscher Funk highlights some present and future stars of avant-electronica. This is one of those rare compilations that sounds like a seamless piece of music created by a single artist. Where else do you get prepared piano and amplified refrigerators grooving so hard?

Track listing:
1. Workshop – Eskapade
2. The Bionaut – Wild Horse Annie
3. Beige – Yakumo Dippel
4. Mono™ – Inflatable Rasta Wig (deflated)
5. General Magic & Pita – Spring Fridge
6. Pluramon – Syth
7. Nonplace Urban Field – Roll Over Ehrenfeld
8. Pole – Berlin
9. Beige – Bomb Schiller
10. F. X. Randomiz – Dirtum
11. Kobat – Harq-al-ada
12. Mao II – Der kleine rote Rächer
13. Mouse on Mars – Chromantic

compiled and mixed by Burnt Friedman

SAVVAS YSATIS & TAYLOR DEUPREE – TOWER OF WINDS (1998)

DEUPREE FROM PROTOTYPE 909 & GREEK ARTIST YSATIS COMPOSE ELECTRONIC MUSIC INSPIRED BY JAPANESE ARCHITECT TOYO ITO

“I want to design architecture like an unstable flowing body” -Toyo Ito, 1993

The “Tower of Winds” is a metallic structure located in Yokohama, Japan that becomes a “kaleidoscope” of color as a light show is created by flood lights that surround it. By using these lights on this simple structure, Toyo Ito is able to represent the visual complexity of Tokyo metaphorically in terms of a never-ceasing, ever-changing wind.

I found your project extremely new and interesting.
It became one of my favorite pieces of music.
It is a great pleasure that the music piece is composed from the
inspiration of my work, as I used to represent this work as “visual ambient music” when I introduce my work “Tower of Winds” in lectures.

– Toyo Ito, 1998

Track listing:
1. sleeper, there is much to do
2. DEC.18 7PM ideas in every language
3. DEC.19 11:57PM magic tower of magic
4. MAY.19:06PM picking up the change
5. JUNE.17:06PM emitting: one thousand three hundred and twenty two
6. AUG.31 11PM – SEPT.1 8:40AM endbegin
7. endbegin
8. OCT.20 6:30PM taking rain
9. DEC.18 6PM six o’clock phenomenon
10. JAN.2 3AM spiraling against anything
11. APR.3 8:27PM it’s good to be here

KHAN – SILENT MOVIE/SILVER SCREEN (1997)

KHAN (A.K.A. CAN ORAL, 4E, GIZZ TV, BIZZ OD) PAYS HOMAGE TO THE CULTURE OF CELLULOID.

Silent Movie/Silver Screen is Khan’s homage to the world of celluloid. The music is inspired by two different and complimentary film scenes. The first section is inspired by Berlin in the early 20’s.This music is linear and elegant, with minimal beats that evoke the black & white work of the early German expressionists. The second part takes on the world of Hollywood.Ready to go anywhere, from tacky disco to steamy hip-hop, this music is a cut-up Hollywood dance pastiche.

Track listing:

Berlin
– The Demonic Screen (Max Reinhardt)
– Somnabulist (Dr. Caligari)
– Leni on the Cross (Olympia)
– On Route to the Turkish Camp (Muenchhausen) (REAL AUDIO)

Hollywood
– B-“boy” Movie (It’s All About Class)
– Hawaiienfruitstarpunch (Carmen Miranda)
– Frequent Flyer (The Fly)
– The Book of Wheels (Scorpio Rising)
– Shut and Open (Doors)

PROCESS (1997)

TOP ELECTRONIC ARTISTS DESCRIBE THE MUSICAL PROCESS BEHIND THE CREATION OF THEIR TRACKS IN THE BEAUTIFULLY ANNOTATED BOOKLET THAT ACCOMPANIES THIS SMOKING COMPILATION.

CURATED BY DIETRICH SCHOENEMANN.

Track listing:
1. Nonplace Urban Field – “Jetzt Kommt Was”
2. Subhead – “Merkabah”
3. Mika Vainio – “Kuvio”
4. Critical Mass – “Public Address”
5. Freddie Fresh – “Boris Karloff”
6. Khan – “Space House”
7. Surgeon – “Mimi Momo”
8. Si Begg – “Dope”
9. DJ Cam – “Hip Hop Opera”
10. Vibra – “Installation View”

BENTO BOX (1997)

TASTE THIS TRIP-HOP, DRUM ‘N’ BASS SNACK!

The proliferation of affordable recording technology has turned lonely, gear-obsessed geeks into imagined dancefloor dons. In the Sound Factories of their minds where rhythm is a texture that is as individual as a nervous tic they groove to their own personal drummers. By reconfiguring the drum and the bass as vehicles to open up headspace, producers like Si Begg (Cabbageboy), Tom Jenkinson (Duke of Harringay) and Amon Tobin (Cujo) have uprooted dance music from its foundation in the social realm and grafted its techniques and sounds on to a singular worldview that communicates only its own eccentricity.

The touchstone for this re-manipulation of rhythm is the jazz-fusion period of the 70s when virtuosity, technique and skill actually became funky. The ghosts of fusion pioneers Jaco Pastorius and Billy Cobham are exhumed in the expansive basslines and ornate rhythmic complexities of tracks by Jimpster, Cabbageboy, Duke of Harringay and Cujo. Meanwhile, Lisa Carbon translates Brazilian bossa-nova into Martian, while, in the hands of DJ Vadim, hip-hop- once the ultimate party music- embodies the sensation of being stuck in quicksand. Moving from the lacquered sheen of Visit Venus’ “Stellar Jungle” to the raw, biting groove of Egg’s “Big Duck (Maffs’ Mix)”, Bento Box offers a taste of what it’s like to dance in your head.

Track listing:
1. Visit Venus – ‘Stellar Jungle’
2. The Egg – ‘Big Duck (Maff’s Mix)’
3. Little Aida – ‘Time’s Not Waiting’
4. The Duke of Harringay (Squarepusher) – ‘Sarcacid Part 1’
5. Lisa Carbon + Friends (Atom Heart) – ‘Sounds Like Preset Rhythm’
6. Cujo – ‘North Star’
7. DJ Vadim – ‘Call Waiting’
8. Cabbageboy (Si Begg) – ‘Mod You’
9. Boards of Canada – ‘Turquoise Hexagon Sun’
10. Jimpster – ‘Stateside on Monday’

PROTOTYPE 909 – JOINED AT THE HEAD (1997)

Caipirinha Music is proud to announce the release of ‘Joined At The Head’, the third album from acclaimed New York techno trio PROTOTYPE 909. Since 1993 the band has been steadily building a fan base through their constant live shows, albums and bootleg live tapes. The three individual members of the group (Taylor Deupree, Jason ‘BPMF’ Szostek and Dietrich Schoenemann) have also released CDs separately as SETI, Futique, Rancho Relaxo and Human Mesh Dance, among others.

The band calls ‘Joined At The Head’ their most live feeling album to date, or ‘freeform electronic for the dancefloor’. PROTOTYPE 909 will again be touring extensively to promote the album, and 2 different promotional 12″s will be released on both Caipirinha and Jason ‘BPMF’ Szostek’s own label Schmer.

All of PROTOTYPE 909’s previous albums (‘Acid Technology’, ‘Transistor Rhythm’ and ‘Live 1993-1995’) have met with commercial and critical success, and their track ‘Devil Dog’ was featured in the film ‘Synthetic Pleasures’, as well as on Volume 2 of the accompanying soundtrack, also available on Caipirinha.

Track listing:
1. Housebroken
2. Betatest
3. Noisefloor
4. Theme To ‘Ravewatch’
5. Squirt
6. Pac 9
7. The Calling
8. The Kids Don’t Care
9. Parameter
10. Out.

TERRE THAEMLITZ – COUTURE COSMETIQUE (1997)

TRANSGENDERED ELECTROACOUSTIQUE AMBIENT MAKEOVER FROM COMPOSER TERRE THAEMLITZ

On ‘Couture Cosmetique’, Thaemlitz theorizes that ‘technologies come to have multiple associations with gender and sexual orientation in popular media and ‘counter culture’ discourses’, and goes on to explain that the ‘methodological framework for constructing audio has many similarities with non-essentialist factions of transgenderism [from gender confusion to Drag Kings and Queens], which also seek to complicate social processes.’

As Thaemlitz writes in his liner notes, ‘the sounds developed for ‘Couture Cosmetique’ emphasize residual noises produced by some of today’s more popular digital synthesis techniques – including granular synthesis, pitch/time convolution and heterodyn filter analysis – bringing into focus those sounds which currently exist in a repressed state at the periphery of popular contemporary music production.’

‘Couture Cosmetique’ solidifies Terre Thaemlitz’ name as one of the leaders in contemporary electronic music.

Thaemlitz’ reputation in the ambient/electronica scene speaks for itself. Not only has he released three acclaimed albums under his own name, but he has collaborated with the likes of Bill Laswell (‘Web’) and the Golden Palominos (‘Pure Remixes’). Thaemlitz’ own label, Comatonse Recordings, issues vinyl-only electronic excursions. His track ‘Hovering Glows’ was featured in the film ‘Synthetic Pleasures’, and on the accompanying soundtrack album. ‘Slots (Love Theme From Las Vegas)’, a track he produced with the Memphis-based duo Chugga, is included on the CD ‘Synthetic Pleasures Volume 2’. ‘Couture Cosmetique’ is Thaemlitz’ first full length release through Caipirinha Productions.

Track listing:
1. Trans Am (Punched to the Floor) 1:45
2. Silent Passability (Ride to the Countryside) 9:07
3. Residual Expectation 8:56
4. Fragmentation/Standardization (Love Now Angrily in Protest) 10:53
5. Facilitator 9:55
6. F/S (Fragment) 0:59
7. Abandoned Left 10:20
8. D.C. D.O.A. 1:12
9. Trans Am (Transgendered American) 10:50

SYNTHETIC PLEASURES, VOLUME 2 (1995)

ELECTRONICA FROM THE CYBER-FILM FEATURING: DJ SPOOKY, PROTOTYPE 909, UMO, & DJ SOULSLINGER.

Following the successful ‘Volume 1′, Synthetic Pleasures Volume 2’ features music both inspired by or featured in Iara Lee’s film ‘Synthetic Pleasures’.

From the metal electronica of U.M.O., to the beautiful, introspective moods of Pete Namlook, to the classic beats of Single Cell Orchestra, and the synthesizer chemistry of Prototype 909, ‘SP2’ follows the path forged by SP1, and features some of the most well known and respected names in contemporary electronic music.

Recently released on home video after playing in over 130 cities worldwide to great acclaim, ‘Synthetic Pleasures’ has proven to be a brand name with staying power. The film, which the New York Times called ‘a trippy, provocative tour’, was an official selection at the Sundance Film Festival, and has received positive responses from all over the world.

Track listing:
1. U.M.O. – “U.M.O. Three”
2. En Guy – “Sanctus”
3. DJ Soul Slinger – “Musical Section”
4. DJ Spooky – “Zero Gravity Dub (Principia Schizophonica Dub)”
5. Pete Namlook – “Est-ce Que L’amour Fait Mal?”
6. Datacide – “Flowerhead:
7. Chugga – “Slots”
8. Single Cell Orchestra – “Knockout Drops (200 Proof Mix)” (REAL AUDIO)
9. Prototype 909 – “Devil Dog”

SYNTHETIC PLEASURES, VOLUME 1 (1995)

Conceived as an electronic road movie, Synthetic Pleasures, directed by Iara Lee and produced by George Gund investigates cutting edge technologies and their influences on our culture. It explores the idea that mankind’s effort to tap the power of nature has been so successful that a new world is suddenly emerging, an artificial reality, a supernature. The film presents the implications of having access to such power as we all scramble to inhabit our latest science fictions.

Synthetic Pleasures is set to be the cult movie of the 90’s. The ongoing Synthetic Pleasures project however has a truly multi media format, moving beyond celluloid, it encompasses a web site, a line of clothing, a book and a merchandising range.

The first in a series of soundtrack albums has been compiled by Caipirinha Productions and Moonshine Music president Steve Levy from music included in the movie. With an all-star track listing this album is in essence a time capsule of early 90’s electronica.

“It’s a trip into some serious recent classics. An all killer, no filler soundtrack.”
Tamara Palmer – URB Magazine

Track listing:
1. Young American Primitive – Over and Out
2. Terre Thaemlitz – Hovering Glows
3. Tranquillity Bass – Cantamilla
4. Human Mesh Dance – Wet Moon
5. John Cameron – Religion Impossible
6. Single Cell Orchestra – Transmit Liberation
7. Hardfloor – Confuss
8. Banco de Gaia – Mafich Arabi
9. Tylervision – Purdy Deyenol
10. Jaydee – Think For A While