Awesome! Glad to see these tunes back in the wild. I don't even mind the game us old heads have to play "do i have this already?" via discogs. Points for the lovely packaging as well!
On Wed, Mar 4, 2020, 2:56 PM Marsel van der Wielen <mar...@nomorewords.net> wrote: > it's my pleasure Patrick > > hope you don't mind me sharing the liner notes > > == > > Florence / Wladimir M. Eevo Lute Retrospective liner notes by Oliver > Warwick > > “Discover how to dance. Discover how to move. Explore yourself. Move > yourself. Use all of your skills. Use all of your energy. Move yourself > in the music.” > > The message couldn’t have been clearer to anyone dropping the needle on > the very first transmission from Eevo Lute Muzique. In 1991, it was a > useful guide to have (from an Atari ST speech synthesizer, no less). > From the Detroit flash point to the early European adopters, techno was > changing month on month, and reaching uninitiated ears with every new > outpost and iteration. A little advice from our electric friends made > clear this was experimental music that required a little cognitive > interaction. > > Of course all those tentative steps towards a European take on Detroit > techno manifested in the shadows of the pioneers, so it was significant > that both EEVO001 (aptly named U.S. Heritage) and EEVO002 received > explicit approval from the source via a licensed US release on Planet E. > Carl Craig’s label had only put out one single prior – his own seminal 4 > Jazz Funk Classics 12”, before opting to showcase this emergent sound > from Europe. > > That sound was the work of Stefan Robbers and Wladimir Manshanden, who > were embarking on a new adventure into electronics with Eevo Lute > Muzique. Florence was a new alias for Robbers, who was already one of > the undisputed pioneers of Dutch techno. His releases as Terrace > inaugurated Eindhoven institution Djax-Up-Beats, Saskia Slegers (Miss > Djax)’s seminal troublemaker of a label. The feeling from Eevo Lute was > different though, less indebted to gnarly Midwestern jack and more in > thrall to Detroit’s loftiest dreamscapes. > > Much like the Detroit pioneers though, the inspiration behind Eevo Lute > went back further than the late ‘80s. Robbers and Manshanden were > drawing on the synth-fuelled, lyrically-charged soothsaying of Anne > Clarke, Trisomie 21 and Pet Shop Boys as much as the pure machine > messages of the Belleville Three et al. It’s a quality that became one > of the defining factors of Eevo Lute’s early run, and in particular > Manshanden’s techno poems. This embrace of verbal expression lent a very > human heart to the music, and afforded them the chance to carry more > overt political messages in the music too. It’s a quality that carried > through to the records themselves – hand-drawn illustrations and > graphics channeling the counter-culture street energy of graffiti rather > than the often-faceless mystique of conventional techno aesthetics. > > Eevo Lute provided early support for many of the artists who would go on > to define Dutch techno in the ‘90s – Jochem Peteri (as Ross 154), Dylan > Hermelijn (as 2000 and One), Erwin van Moll (as max 404), David Caron > and more besides. There were others lighting the way too – it would be > remiss to ignore Jochem Paap releasing on Plus 8 Records as Speedy J as > early as 1991, or some of the other Djax-Up alumnus such as Random XS > and Like A Tim. But just as important was the growing international > techno scene, which Eevo Lute was naturally patched into. Beyond the > aforementioned early link with Planet E, Robbers and Manshanden were > also exchanging ideas, remixes and releases with the likes of Baby Ford, > Kirk Degiorgio, Underground Resistance, New Electronica and General > Production Recordings. > > There were plenty of other styles that took shape as techno culture > spread throughout the world – some harder, some softer, some dafter, > some sterner – but this particular interconnected swirl of artists and > labels holds true to the original vision the Detroit pioneers had for > the music they were making. It wasn’t just music as function, but a > vessel for expression. Listen to any one of the tracks gathered here > from the early run of Eevo Lute’s archives and you’ll hear the synths > speak as lyrically as Manshanden’s vocals. The beats often skitter > around the 4/4 meter, but rarely feel beholden to the rigidity that > could be found in other iterations of techno. It’s also worth stressing > this music had its own particular slant. It would be hard to name a > particular precedent (or indeed descendent) of a track like “Robotica”, > a veritable mess of crunchy drum break samples and erratic monophonic > blips that wrestled its own groove out of the grid. > > Having these works gathered in one consolidated release across 10 sides > of vinyl, it’s easier to marvel at the coherence of what Robbers and > Manshanden were pursuing. The sound is joyous at times, moody at others, > but always rooted in the human experience. It’s a well-worn trope that > the best science-fiction is about people more than technology, and so it > goes here. Even at its most intricate, the emphasis is on composition > and narrative rather than sound design and studio trickery. That’s > precisely why the message reaches across the decades and still > resonates. The same goes for Manshanden’s poetry. The monologue at the > beginning of “Planet E” is a chilling case in point – a damning > indictment of the state of the world that feels even more grimly > relevant in 2020 than it was in 1991. The human race has been grappling > with its own future since the industrial revolution, and it’s up to > artists like these to try and make sense of it all with a necessary dose > of compassion. > > “How can I live in a world where ‘to have’ seems to be more important > than ‘to be’?” > > On 04-Mar-20 20:30, Patrick Wacher wrote: > > Hats off to Mr Delsin for getting these two releases together... > > music, packaging are just spot on. > > > > > https://www.delsinrecords.com/release/6266/wladimir-m/leaves-fallin-recklessly > > https://www.delsinrecords.com/release/6268/florence/analogue-expressions > > > > Thanks, > > ⌘⌥P >
