Mosaic Theory @themosaictheory - Tumblr Blog

Video of and by Rrose, recorded January 17, 2013 using two cameras and a CRT monitor.

Audio: Having Never Written A Note For Percussion (1971), composed by James Tenney, performed in the belly of the beast, September 20, 2012 with a single gong and two microphones (unreleased recording).

#Rrose #James Tenney

The History of the World (1997-2004) by Jeremy Deller

Excellent Techno mix for Dystopian by Felix K

#SoundCloud #dystopian-music #Techno #dystopian #Felix K #Hidden Hawaii

Wax - 50005 B

#wax #shed #hardwax #vinyl #techno #50005

#prologue #voices from the lake #shed #vinyl #hard wax #female #downwards #burial #hyperdub #ruffhouse #token #phase #techno #developer

Floris Neusüss: Ancient and Modern, Nudogram 1963

#Floris Neusüss #Nudogram

"You Don't Know What You Want, Do You?"

Dalhous - Mitchell Heisman (Blackest 12)

#dalhous #blackesteverblack #mitchell heisman #Young Hunting #blackest #Marc Dall #Alex Ander

Fall Apart - Tropic Of Cancer (Electric Voice II, LP) by Electric Voice Records

#tropic of cancer #fall apart #electric voice #camella lobo #post punk #dark wave

Interview with ØPhase: The Artist on to His Next Magnum Opus

“He hones it over time. He doesn’t rush things and that’s what makes him great,” Nick Dunton (65D Maverick) says of Ashley Burchett (aka Ø [Phase]), who released three EPs on Dunton’s Inceptive prior to joining Belgian label Token in 2007. ‘Honed over time’ is in fact an expression that resonates with Ø [Phase]’s production style and his streamlined, sharpened sound aesthetics. One look at his discography suggests that the London producer may not be particularly known for vast amounts of output, but for delivering a steady stream of quality EPs over a decade. Many traits can constitute quality; for Ø [Phase] one of them is the staying power of his music. Take his Binary Opposition EP that came out early this year – when a shot life cycle of many techno tracks is the nature of business, after almost a whole year of continuous rotation “Process 1” & “Process 2” shows no sign of fatigue, always giving a certain commanding power when deployed. Token’s label founder Kr!z says, “I keep on rediscovering his older Inceptive tracks, and even older Token tracks that I didn’t play a lot when they came out. They are getting heavy rotation now. He’s just that kind of artist, all his tracks have a timeless, classic feel, and you can go back to them and hear something you missed the first time.”

Ø [Phase]– Binary Opposition (Process 1) (Binary Opposition EP, Token, 2012)

One might argue Binary Opposition and its remix series Binary Opposition Reprocessed, both came out this year, are the ones that really put Ø [Phase] on the map in terms of recognition from a broader audience; which goes to say Burchett came a long way since releasing his first EP Module Overload on Steve Bicknell’s Cosmic Records in 2000. Surface Records co-founders Nick Dunton and Richard Polson, who were also releasing their music as Spirit on Cosmic at the time, struck up a friendship with Burchett that led him on board with Surface. “Both Rich and myself were fans of his sound,” recalls Dunton, and when they started Inceptive as a platform for showcasing lesser known up and coming talents, Ø [Phase] was ‘the perfect choice.’ Kr!z was another early fan of Ø [Phase]; “I was heavily into his first two releases on Inceptive Obscura and The Passenger. I liked everything on Inceptive, but for me that label ‘was’ Ø [Phase].” Noticing Inceptive gone quiet after Ø [Phase]’s third release in mid-2006, Kr!z, who had been toying with the idea of starting a record label of his own, thought he would ‘give it a shot’ and reached out to Ø [Phase] along with Inigo Kennedy. Ø [Phase]’s first Token release Mass EP was the result, which was an overall success - well received, supported by many DJs – and a great start of long-standing artist-label relationship. “I am very happy that Ashley has found a nice stable home with Token and Kr!z,” says Dunton, adding that his love for the producer and his music hasn’t changed.

Ø [Phase]– The Hyperorganism (Mass EP, Token, 2007)

Undoubtedly, Ø [Phase]’s sound identity has fully developed over the last couple of years since he found a home with Token. Touch of Detroit techno has been always there, especially with his earlier outputs from Cosmic/Inceptive era or even with earlier Token releases such as groovy Hoodian “Morodem” and Jeff Mill–esque Sci-fi feel of “Decode.” With a few recent releases though, he seems to be nailing even further down with obsessively menacing yet tightly controlled racing techno sound of Ø [Phase]. Regardless of the direction the producer’s heading towards, what strikes me the most is that he always seems to know how to pack the most energy into a track without overdoing, in the best optimized way possible. It’s that kind of efficiency and effectiveness – and the sense of elegance that comes with something well-made - that translate into the quality of his music, all of which go hand in hand with ‘timeless’ and ‘classic’ techno Kr!z is referring to.

Ø [Phase]– Plateau Station (Transantartic EP, Token, 2011)

Following is an interview with the man himself, who calls the recent Binary Opposition Reprocessed – a remix package of his Binary Opposition originals by six highly coveted names of techno 2012: Planetary Assault Systems, Ctrls, Sigha, Peter Van Hoesen, Ben Klock, and Inigo Kennedy - a learning experience. Currently working on his album due out next year on Token, Ø [Phase] answers a couple of questions to reflect a prolific and successful year that’s set to serve as a stepping stone in his career.

Your recent release Behind The Sun EP is a nice contrast to Binary Opposition EP, the aggressiveness seems to be toned down a bit but both tracks have very unique personality – especially with the title track that feels almost melodic. Were you in a slightly different mood?

“Behind The Sun (track)” actually dates back to the beginning of this year and came off the back of the original Binary Opposition sessions. It wasn't intentionally toned down. I tend to just take each track I'm doing in whatever direction it wants to go. I finished “The Chasedown” in the summer. We choose these two for the new 12" partly for the contrast as you say. Though I don't actually have anything quite like Token 20 in my archives at the moment and I don't believe in re-hashing for the sake of it.

Ø [Phase]– Behind The Sun (Behind the Sun/The Chasedown EP, Token, 2012)

Binary Opposition Reprocessed remix package is definitely a very successful, brilliantly thought out release of 2012 - not to mention the participating remixers are literally who’s who of current techno scene. How was the overall experience - were you involved in the selection of remixers at all, and are you satisfied with the outcome?

I was really excited having the remixes done. It's fascinating to see how someone else will re-order and re-design the sounds you've created. It also teaches you things about production if you’re prepared to listen carefully to the results. Kr!z was responsible for the selection of remixers, though we do discuss those kinds of things in depth before moving on. I'm happy with the results, yes. I think they're all really unique, interesting and usable.

Ø [Phase]– Binary Opposition – Sigha Process (Binary Opposition Reprocessed EP, Token, 2012)

Token’s Kr!z is known to be very keen on nurturing long-term relationships with the label artists such as yourself and Inigo Kennedy. What was that really clicked for you in the beginning that led you to join the label?

It was initially Kr!z’s personable approach that drew me in. I could see he was serious about his ideas. He's also fairly persistent!

Since you’ve became a part of Token in 2007, you rarely worked with any other labels. Do you feel that finding a right label as sort of a ‘home base’ is important for an artist rather than having relationships with multiple labels?

I have done a couple of other one-off bits for Surface Records and Ben Sims’ Theory Records during my time with Kr!z though those relationships were founded prior to Token. I'm certainly not against working with other labels but I don't have any real need or desire to go elsewhere at the present time. I think it's much better to stick with people where possible and endeavour to develop something interesting, also to create some exclusivity. I'm not sure it's an essential approach but it's certainly the one both I and Kr!z believe in.

Ø [Phase]– Decode (Fragmenta EP, Token, 2009)

To me Ø [Phase] has always come across as quality over quantity production wise. Do you tend to spend long time on producing each track or EP, or is it more of the case where you have a huge library of unreleased tracks but be very picky about ones to be released? Also, do you think is there a bit of pressure for a producer to put out releases and remixes constantly to stay viable?

There's all sorts of reasons why my output is like it is – reasons that have altered over the years too. The time I spend on a track has a part to play sure. I’d definitely rather take my time and attempt to make something lasting although I’ve wasted many hours polishing and tweaking then changed my mind entirely. There’s a lot of unreleased bits, many of which I play in my DJ sets but don't intend to put out. It's certainly important to release enough to stay present and it’s always my intention to release more frequently. You have to find a balance though.

Although Token is recognized as one of the stalwart labels for classic British techno, there’s also strong Detroit influence for both the label as well as your own output. UK, Detroit and beyond, who are the artists that were really influential?

I was always drawn to electronic sounding music. I was introduced to Detroit techno by an older friend (via cassette tape). My first experiences of dance music in a club environment were the UK hardcore scene, that sparked my enthusiasm for DJing but I didn't really become obsessed by techno till I heard the likes of Ritchie Hawtin (in his Probe/Fuse days) and Derrick May play at various parties London.

I'm influenced by all sorts of different artists and listen to a lot of different genres. There’s obvious ones of course; Robert Hood, Basic Channel, P.A.S, Blueprint, Sandwell District, Steve Rachmad, Jeff Mills etc. I never get tired of Kraftwerk either.

Ø [Phase]– Just Another Dance (End To The Know, Surface, 2009)

Did you go out a lot, spending a lot of time in clubs? What are some of the memorable gigs or parties you went?

The most influential parties were the ones I went to years ago - when I was at my most impressionable – Ritchie Hawtin at the Sabresonic parties - the first time I ever witnessed that kind of EQ manipulation. Jeff Mills and Derrick May blew me away countless times at Lost.

More recently I've been to some really cool parties in London's Corsica Studios - EarToGround did a Stroboscopic Artefacts Label night there featuring Xhin (amongst others). I also saw Function do a great DJ set then follow it up with a live session as Sandwell District. In fact I saw Regis tear the place up just a week or so ago! Gig-wise, the Token Label night in Berghain was the most memorable I've done this year. Brilliant fun.

Tell us a bit about the pre-Token era of Ø [Phase]. How did the relationship with Rich Polson & Nick Dunton’s Inceptive start?

I actually came in contact with Rich & Nick through Oliver Ho. Oliver came in to Whitfield Street Studios (where I worked at the time) to cut some acetates and we got talking that way. He put me in touch with Rich soon after. I did a 12" for Surface first. They set up Inceptive in 2003 and asked if I'd do the first release. I ended up doing the label artwork too.

Ø [Phase]– Spacetank (Timespace? EP, Inceptive, 2006)

Only recently few remixes by you have started appearing. I’ve noticed some polarizing opinions about the real value of remixing (including a more skeptic view such as a newcomer trying to take advantage of established name remixers) - but for what it’s worth remixing nowadays seems to be much comparable to making a new original with the remixing artist’s significant thumbprint on it. What’s your general view on remixing? And any new remixes by Ø [Phase] coming out or in the works?

There's about five Ø [Phase] remixes due out in the coming months though I won't announce who they're for just yet. I like the concept of remixing as a helpful way of giving context and association to new artists, but again, as is my general view on things, you have to keep a balance. Overkill, formulaic, just-because-the work-is-there remixing, for me just devalues an artist (and possibly, the entire genre).

Dax J & Gareth Wild– Revok (Ø [Phase] Extended Remix)

I heard that a full-length album is planned next year. Anything you can tell us about it?

It's still a work-in-progress at the moment. The final tracks are not decided on either so there's still a way to go. All I can definitely tell you is that it will draw upon ideas and pieces spanning the last 12 years.

In an interview Kr!z said that “Ø [Phase] should have been way bigger by now.” For a fact it’s not just recent times when your tracks started being played by pretty much every big name DJs including Berghain residents. Would you share the sentiment – that things have been unfolding a bit slower pace than one would hope for, considering you have been in the scene for a long time?

My rate of progress is only reflective of my own life learning curve, who I am, and the path I’m walking. There are really no other factors involved and I don’t pretend there is. Since I started releasing music, production has been mostly just a hobby. It’s only in the last two years I’ve actually had time to give it more attention.

I read that you’re also a mastering engineer and artwork designer. Are those pursuits still a big part of your life? What else do you enjoy outside of making music and DJing?

I haven’t done a great deal of mastering or artwork for some years now as mostly focused on production and DJing nowadays. I have a lot of interests and commitments outside of music and try to give most things a go. I also play the guitar so that affects my interest musically as well.

What are you looking forward to for the next 12 months?

The album will be my main focus musically in the coming months and gigging in between.

Ø [Phase] RA Podcast

Ø [Phase] on Facebook Token on Facebook

#tokem #techno #Ø [Phase]#Ø #Phase #Ashley Phase #Inceptive #Nick Dunton #65D Maverick #Kr!z #Ben Klock #Binary Opposition #UK

#rrose #ugandan methods #regis #dystopian #rodhad #vinyl #techno #hard wax #avian #developer #milton bradley #Marcel Dettmann #downwards #Horizontal Ground #dj skirt

Voices From The Lake: The Ultimate Love Story (Vinyl Release Special Interview)

Great things in life – such as love, friendship, or happiness – often just happen. Maybes the fact that they can’t be planned is what makes them so special. As it turns out Voices From The Lake, the ambient-techno project of two Italian DJ/producers Donato Dozzy and Neel, fits nicely into that rare and lucky kind. Listening to their stories, you realize that even to artists, sometimes art itself is not the purpose of life but simply the outcome of it.

Earlier this year, Voices From The Lake released an 11-track album of the same name on Prologue. The album was unanimously praised for its immersive nature and organic quality. True, it wins you over effortlessly with gentle and delicate layers of engrossingly imaginative sound texture and yes, the tracks are endlessly captivating. But what puts the album VFTL above a ‘nice album’ category is that it’s a prime example of complexity in disguise of simplicity; their music might sound simple and uncluttered, but if you listened closely you realize its rhythmic pulse and breathing are sustained by hidden structures that are built with precision. The album also tells a story with such an uncanny pacing and voice that listeners have no choice but to relish one never-ending loop to next. If it was a book, it’s simply not the kind you would skip chapters to arrive at the conclusion – not that you ever want to.

The album celebrates its 3 x 12” vinyl release that includes two previously unreleased tracks this month, and I’m very happy to share the wonderful story behind VFTL with readers and fans. And it’s not just their story that’s intriguing; it’s the close resemblance between VFTL’s music and the way how the circumstance it was born under unfolds – unforced, unhurried, and spontaneous.

Voices From The Lake feat. Donato Dozzy & Neel – Circle

The story begins with Donato, whose love for electronic music led him to DJ’ing in the early 1980s. In 1991, he began his residency at Brancaleone in Rome, a club well-known for its role as a key promoter of underground music. He ventured out to join the band Kitchentools in 2001, taking part in the electronic sound aspect of the band’s experimental music fused with jazz and acoustic element. “[In the music business] people normally would start from underground then slowly move to the mainstream. In my case, I started with something major then went towards underground.” Kitchentools was signed by Virgin Italy and the album had commercial success. “After that experience, the major thing was over for me. So I went on to get my own studio and started experimenting with music.” Donato continued DJ’ing at Brancaleone, the place he describes as where he grew up musically. His residency eventually lasted well over a decade.

“Then one night, a young boy started coming to the club,” says Donato as if he’s about tell a fairy tale. The boy was 17-year-old Neel, who had just moved to Rome to develop his skills and knowledge in electronic music. “I remember going there every Friday and Saturday,” says Neel. “The funny thing is during the first year, we didn’t even talk. I went there mainly to enjoy the music and research the sound.” But soon that changed. “Quickly it became clear that we were breathing the same air,” he continues, referring to the common interest in sound and music. “And I was at the stage of starting to experiment with music myself. So I’m happy that Neel was there to witness everything from the very beginning.” Donato adds.

Voices From The Lake Feat. Donato Dozzy & Neel – In Giova

Growing up in Curinga in southern Italy, Neel recalls what sparked his interest in music at the age of 4 or 5: a juke box at his grandfather’s bar. “I was surrounded by 7” records everywhere,” he continues, “I listened to all kinds of music from 50s to the beginning of the 80s from psychedelic to pop. My other passion was electronics in general.” It didn’t take long for young Neel to realize combining two would be the ideal. In Rome he started playing at clubs and became more interested in building his own sound. Soon the idea of production came along. “The day my first Mac arrived I called Donato. He told me to come to his studio and gave me a copy of Reason.” Despite their common interest in production, it wasn’t until much later when they started producing together. Donato moved to Berlin in 2004 and began his residency at Panorama Bar, where he would play long extended sets that allowed him to fully develop his unique style of DJing that’s often described as ‘trippy’ and ‘hypnotic.’ Beginning of 2006, after finishing his study in sound engineering in Rome and Rotterdam, Neel sent some of his production ideas to Donato, who then had started his second label Dozzy Records. He soon invited Neel to Berlin. “For a month, all we did was making music, nothing else. It was the start of our strong musical connection and experiments.” Donato reflects.

Labyrinth 2010, photo by kazuhiko kimishita.

Enter Labyrinth. It was 2007 when Donato was first invited to Labyrinth, a festival that’s known for its unique vibe cultivated from great music, quality sound, and beautiful nature of middle-of-nowhere in Japan, all carefully put together by veteran organizers. The invitation ultimately came thanks to the remix Donato did for Reynold’s ‘Over There’ on Persona Records, the label of Stewart Walker. “I was very happy with the remix, I felt like I was catching a new territory – ‘ok, I think I did something more closer to what I want to do.’” The record landed in the hands of one the organizers and co-founders of Labyrinth, Russ Moench, who thought Donato’s music would be perfect for the festival. Unaware of the existence of Labyrinth at the time of invitation, he was very surprised. “Russ wrote me a very passionate email. It was so passionate that, I don’t think I had ever received anything like that in my life before.” Little did he know the invitation was about to change his life (he also met his future wife during his time at the festival) in many ways; “Yet I realized that moment, something was going on, probably the next step in my career.” He’s since been returning to Labyrinth every year to become a resident for the festival. “What’s really important about Labyrinth is that, you realize there’s nothing to interrupt you being ecstatic with music. It’s just you and people who are waiting, craving for the experience. It’s like sharing food you’ve been preparing for everyone. It’s all about that feeling – not many places can bring such vibe, such feeling.” Donato explains.

“Labyrinth has been the constant inspiration for me, for improving what I am doing.” – Donato

In May of 2010, a group of close friends and family got together in the small town of Sabaudia for Donato’s wedding. “It was the peak moment of our friendship,” says Donato. “Our close friends – who are also the artists we love most – Mike Parker, Dasha Rush, C’io Dor, Peter Van Hoesen, and many others…they were all there. We were enjoying wonderful music – something we all love.” And did we mention he was getting married? “It was so pure, nothing but love,” he continues; “and we were by this lake.” You mean the lake of the voices’? Big laugh erupts. “Yes, the Lake of Sabaudia, near the small village of the same name, which is a part of the beautiful national park in Italy.” Neel played for the night of special occasion and 5 in the morning, a big storm came. Music stopped and the night was eventually over. The next day Neel – still feeling the vibe of the previous night and being inspired by the moments from the wedding – recorded a set and named it ‘Voices From The Lake.’ Donato loved the name and the idea. “The set I recorded was for Donato and Koto (Donato’s wife). It was about three of us – about our deep connection and also feeling connected to the place and the moment.” In the midst of the very personal occasion symbolizing love and friendship, the project was born.

“Nature – it’s the natural environment for us. It’s our base, our root….and I think that’s going to be the way for the rest of our lives.” – Donato

Voices From The Lake Feat. Donato Dozzy & Neel – Drop 1 (Silent Drop EP, Prologue)

The spontaneous experiment and collaboration between Donato and Neel continued despite the fact that they both moved around amongst various cities in Europe. Though there was never any specific plan for their musical venture, 2011 saw VFTL’s first EP Silent Drop on Prologue. Soon they were invited to Labyrinth to play a live set for the first time as VFTL. The preparation began, which took the entire summer of 2011. It was Tom Bonaty, the label head of Prologue, who took notice during a party where Donato was testing out Labyrinth live material. “Tom had no idea what I was playing, and just came up to me then said ‘What the fuck is this?’ ” He laughs. Donato gave him the CD containing Labyrinth material. The next day, Neel received a phone call from Donato and Tom to discuss developing the Labyrinth material into a full album. Soon the process of preparing an album and live went on simultaneously. “An album is normally 1 GB. To compose the album, we had 65 GBs of music recorded.” Says Neel. But it didn’t stop there – Donato recalls writing the same album almost two times and a half for the festival. “That’s just the way we work,” says Neel. “Our friends would make fun of us, ‘Guys, don’t worry! You still have at least eleven hours on a plane to Japan you can prepare!’”

“There are the cases, where this very subliminal note is out of the place. And it’s really not nice. It’s a very small thing, but you need to be very sensitive.” – Donato

After their very first live at Labyrinth, the VFTL debut in Europe was set to take at none other than Berghain in Berlin. When the place is as unique and extreme as the middle of Japanese forest and Berghain, a steel-and-concrete former power plant that now generates different kind of power called Techno, it becomes – well, more than just a place. Audiences are immersed into the relationship between music and their surroundings, which can be intimate or intense. “It was to be dedicated to a very different kind of environment,” says Donato. “I love Berghain. I’ve played at Panorama Bar for many years and I know the potential of that place.” Neel agrees; “For Labyrinth, we are in the open-air space, where our music fits well. But it’s also important to relate ourselves and our sound to other environments. The duo recalls working on the set for 20-22 hours every day to adapt VFTL’s forest sound to Berghain. “It was crazy. The first two days were great, we achieved a lot. By the third day – we were about to lose it.”

“It’s very rare to be productive all the time. There’s a moment when you reach a peak, then you have to ride that moment – because naturally that’s going to expire.” – Donato

Despite the vivid memory of tormented time of preparation, both insist they remember nothing about the live itself. “After arriving at Berghain absolutely exhausted, one hour live went by like a blink of an eye.” But they knew the effort was successful when their close friend Yuri, who traveled from Japan to attend the show, told them she could see ‘the trees and forest growing out inside of Berghain’ during the live. “That was exactly what we wanted to do. Hearing that from her, it was a validation.” What they do remember is the moment of celebration. “It was our very first live in Europe. My wife was there…all of our good friends, many of which I used to know when I was living in Berlin. They all came, and Yuri and Chris from Japan. It was like many chapters of my life, and consequently Neel’s life – coming all together, celebrating our lives,” says Donato emotionally. “Imagine what a heart full of love we had at Berghain!”

“Our friends are the first audiences of our experiments. We would throw a party to just sort of test out our sets, how it goes, see if they liked it.” – Neel

The bio of VFTL describes the live act ‘4 hands experimental techno project.’ Visually speaking, audiences see two very calm and focused faces that don’t really interact to each other, and frequent crossing hands and arms over their live set-up. Musically it’s about a series of dialogue between digital and analogue with Neel in charge of digital part and Donato taking care of analogue side. “I usually have 909 and mono synthesizer, and Donato has 303/808 and efx,” Neel explains; “we like to treat our gears in a way not exactly how they were intended to. For example, you can make all kinds of complex pattern with 909 but they all sound still very recognizable. But if you started treating them with different analogue processing, the sound starts to change.” “It’s more on the subliminal level. People can still feel that some of the frequencies are coming from 909, but it’s more subtle, the hi-hats might be still there but feel hidden…that kind of thing,” Donato explains.

“When you’re playing live, you’re sharing 100% of yourself from beginning to the end. You get completely naked. It’s intimate.” – Donato

As much as it’s about analogue-meet-digital-come-nature-via-machine, VFTL is ultimately about the extraordinary friendship between two. “We always have people come up to us saying “I never see you guys talk during the live.’” Neel laughs. “That’s because there’s no need to talk. It’s like having one brain, we agree on the substance from the start, if we discuss something it’s pretty much about the details. We are completely aware of each person’s skill sets but also respect each other’s space.” “It’s rare to have this kind of relationship – you just don’t have it with all of your friends. It really happens once or twice in your lifetime.” Donato agrees. When you see them together it’s not hard to notice love pouring out between two, albeit in a very entertaining way; it’s like watching an old couple who have been married to each other forever – not only do they finish each other’s sentences, but constantly bickering, and making fun of each other.

“Donato takes care of making everything in tune, and I make sure our music sound the best possible.” – Neel

As for their individual projects, both admit that the extensive nature of time and effort went into VFTL made them virtually impossible; “This project is like….” pauses Donato. “…it’s been sucking all our bloods,” affirms Neel. “It’s a vampire!” The attitude – or philosophy – of VFTL that ‘things come together at the right moment in a spontaneous way’ clearly colours everything they do. To the question on future release plans and whether VFTL would be focusing on its live act, Donato softly but firmly asserts; “That’s really impossible to answer for now. We have toured with what we prepared for Berghain, but after that it’s going to be a new period for us.” Uncertain, but neither of them are worried. “It all has to do with what will happen in our lives, which influences our music. What we produce is always the consequence of what’s happening in our lives.”

Voices From The Lake Feat. Donato Dozzy & Neel – S.T. (VFTL Rework)

The vinyl release is master by Neel and features the cover art by Donato’s wife Koto, who’s also responsible for the artwork of its CD/digital release. “We never asked her for it. But she knows our music so well. She simply took pictures of the lake then came up with the album cover. And when we listened to the finished album we knew they were perfect for each other.” Neel explains. It was also her contribution and caring for both men that made everything possible from the very beginning, both emphasizes. So she is the third member of Voices From The Lake? “Yes, she really is!” says Donato. Neel nods; “Actually she is the leader. She’s the owner, the boss, she’s everything.”

Listen to the preview and buy Voices from the Lake (3 x 12”) Vinyl on Bandcamp

Tracklist:

A1: In Giova Alternative Mix A2: Meyku B1: Twins in Virgo B2: Circe + St C1: In Giova C2: 01.12 N.

For other releases on Bandcamp

VFTL Facebook Prologue Music Facebook