Re: Florence & Wladimir M release on Delsin
Hi Robin, it's been a while... On Thu, Mar 5, 2020 at 12:40 PM Robin Pinning wrote: > Thanks for sharing Marsel. I‘ve been sorting out my collection recently > and it’s techno like this I hold dear. > > Robin > (Yeah I’ve been here since 1994 like a few others - no intention to leave) > > > On 4 Mar 2020, at 19:56, Marsel van der Wielen > 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
Re: Florence & Wladimir M release on Delsin
Thanks for sharing Marsel. I‘ve been sorting out my collection recently and it’s techno like this I hold dear. Robin (Yeah I’ve been here since 1994 like a few others - no intention to leave) > On 4 Mar 2020, at 19:56, Marsel van der Wielen 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
Re: Florence & Wladimir M release on Delsin
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 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
Re: Florence & Wladimir M release on Delsin
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
Re: Florence & Wladimir M release on Delsin
There's a whole web of decent people in Europe -- sometimes rare in the music business -- and Marsel, Serge from Clone, Stefan from Eevolute, The Hacker and more who keep the dream alive. The Eevolute catalog is so good overall. I sent Stefan a couple of Speak & Spells to circuit bend and he sent back a whole box of Eevolute records, some pure unobtanium unless you get them from him direct. It's great that this stuff is getting repressed & re-released. On Wed, Mar 4, 2020 at 1:31 PM 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 >
Re: Florence & Wladimir M release on Delsin
Yeah I’m also glad he’s repressing Vortekz. On Wed, Mar 4, 2020 at 11:31 AM 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 >
Florence & Wladimir M release on Delsin
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
