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CD
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ASH 13-9CD
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Stefan Goldmann's Call and Response has been crafted entirely from artificial reverb and nothing else: historic and contemporary units, responding only to brief electronic impulses (clicks). All sounds stem exclusively from the intrinsic properties of machines designed to replicate spatial acoustics. These range from early mechanical means such as springs and plates to increasingly complex algorithms aimed at convincingly approximating the rich acoustic responses of real world environments. The devices' idiosyncrasies enable the creation of spaces that fall short of naturalistic expectations. Yet new possibilities of exploring physically impossible alternative realities emerge. Recorded music has a rich history of much beloved and highly unreal spatial designs -- from the slap-back sounds of rock n' roll and the echoes of dub to gated snare reverbs and the nonlinear reflection bursts of 1980s drum machine fame. Despite the expected obsolescence of most historic efforts in the age of convolution reverb technology, many odd spatialization techniques persist and are now the subject of contemporary emulation. In Call and Response, the capacity of artificial reverb to go far beyond what the reflections of physical surfaces can elicit is often amplified to gargantuan proportions, only to be folded back into what appears to be the most minuscule of entrapments. Hissing tunnels and threatening wells vibrate left and right. A succession of "frozen" reverbs solidifies what otherwise would be fleeting reflections. Rapid shifts create artifacts that tear the fabric of space, only to reveal the underlying mechanics of its simulation. Occasional feedback, a reverb's output looped back into a unit's input, produces eerie harmonic textures inherent in algorithmic response curves (analogous to resonance frequencies determined by a room's geometric shape). The continuously dynamic handling of parameters such as size, density and shape allows for the exploration of impossible architecture along impossible trajectories. An aural choreography, plotted along permanently receding walls, liquid ceilings and crumbling floors. This is Goldmann's first album for Ash International. He runs the Macro label with Finn Johannsen.
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12"
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4 46091EP
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Shimmer was the record that put Stefan Goldmann on the techno map when it was originally released in 2004. The dark, throbbing tracks, reduced to the essentials, captivated many of the DJs who ruled the scene that year. Josh Wink threw in one of his most focused remixes for Goldmann's debut on Ovum -- which was also the first release by a German artist on the label. Now reissued, for the DJs who play this prototype sound today. Meticulously remastered by Rashad Becker at Dubplates & Mastering, with the title-track cut to a full 12" side, it's never sounded better.
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12"
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4 46087EP
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Stefan Goldmann's very first release from 2001, thoroughly remastered. Long out-of-print, this is an extremely sought-after classic vinyl. In their day, these tracks created the prototype of today's stripped-down house sound. "Closing In," with its broken funk, predated a lot of current convergence between house and bass music. Lastly, Goldmann provides a brand-new, ultra stripped-down edit of the mesmerizing "Read That Lips." Essential all the way. Remastered by Dubplates & Mastering's Rashad from the original DAT source and cut to premium vinyl.
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12"
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4 46085EP
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Part 3 of the series of three EPs unraveling unreleased classic house tracks by Stefan Goldmann. The main tracks here are pure dancefloor material, with "Electric Bazaar" centering on in-depth drum design. "Zobel Network" provides a prime example of neurofunk. Hidden on the A-side, "Chapter 2" is an early hint at Stefan's experimental edge. Restored from the original master tapes and cut by Dubplates & Mastering's Rashad.
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12"
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4 46083EP
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Number 1 in a series of 3 EPs unraveling unreleased classic house tracks by Stefan Goldmann. Victoriaville continues its research into Stefan Goldmann's sweet back catalogue with the world premiere of a triple vinyl series of never before released house material. Revisiting the years 2000 - 2005, Emptying The Vaults highlights the era of Stefan Goldmann's "UK years." Restored from the original master tapes and cut by D&M's Rashad, here's some startling evidence of how deep the roots of house actually were in Berlin years before the hype set in. "Cirque Mecanique" is a throbbing groove workout with a dark edge, while "Warm Rush" brings sweet AND pure deepness. "True Dub" is an unreleased alternative version to 2002's "True" single -- no vocals, just bass.
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12"
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4 46084EP
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Number 2 in a series of 3 EPs unraveling unreleased classic house tracks by Stefan Goldmann. Revisiting the years 2000-2005, Emptying The Vaults highlights the era of Goldmann's "UK years." Restored from the original master tapes and cut by D&M's Rashad, here's some startling evidence of how deep the roots of house actually were before the hype set in. "Ghost Revisited" and "Crack It" build on lush house grooves, while "Heatwave" leans to the dub side of things.
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12"
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4 46079EP
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These two tracks by Stefan Goldmann were produced in 2001 and became the key works of his early years. Long out-of-print, they have been sought-after classics ever since. Remastered by D+M's Rashad from the original DAT source and cut to a whole 12" side each, they are finally available in unprecedented quality. "Missing Days" predated the recent huge deep house revival by several years and "That Ghost" sounds like the original prototype to much of today's other big tendency: totally stripped-down, drum-centered house.
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12"
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COR 064EP
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On his debut for Cocoon, Stefan Goldmann draws a mysterious but irresistible intersection from mild acid citations, dub-infected minimal house, francophile sound aesthetics and pumping bass kicks; almost ten minutes of hypnotic and opulent cinemascope broadband. "Under The Beam" shows an affinity to elementary freestyle within a strict beat and pizzicato strings as well as orchestral horn riffs. Unforgettable.
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12"
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4 46074EP
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"'Art Of Sorrow' has been one of the most raved about tunes over the last couple of months -- without ever being known by its name. Few of your favourite DJs had a copy of this, but this was more than enough to put crowds across the globe on their toes in order to find out what was just blowing their heads off every time it got played. Well, the secret gets unveiled right here: It's a Stefan Goldmann masterpiece. Coupled with the brandnew & dark Berghain style 'Radar Opaque,' it hits the street right in 2009. This record has been pressed in a very restricted quantity and will only be available for a limited time. You miss it, you never see it again."
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