Scheduled for September 3rd, 2k16 is "Vogelmixe" - a very special release by Berlin's underground staple Gudrun Gut
who has been around in the now-capital's music scene for more than three decades now and left her personal mark on many projects ever since. With her new album she is on a remix tip and reworks a bunch of eight folkloristic songs originally released on the compilation album "Heimatlieder Aus Deutschland"
, a conceptual work documenting the sound of these specific songs, partly rooted in the 15th century, that have found a new home in Germany due to the traditions of immigrants that brought those with them from their motherland and keep them alive where they're at home now. Coming from regions and countries as different as the Maghreb region, the Beti people in South Cameroon, Cuba, Transylvania or the Arab region, where the religious group of the Alevi hails from and many more, all these are taken out of their original context and more or less drawn onto the dancefloor by Gudrun Gut
who mainly uses a straight 4/4 as foundation to de- and reconstruct the original bits which are also to be found on a separate CD in their original form as they were on the "Heimatlieder Aus Deutschland"
sampler. As one might expect from a more concept-driven approach like this we don't get massive dancefloor bangers here when it comes to the results but more like dry and kinda bulky, cumbersome tunes that still are charming and functional in their own way - especially when it comes to multi-layered African SlowHouse of "ZaNeYen" which one easily can imagine to fit in Ricardo Villalobos' most trippy DJ sets or the heavy Rave-emulating sawtooth synth-attacks in the well-pumping rework of "Marhba" which, despite the lack of subs, might drive dancefloors crazy due to its ever spiralling nature in combination with tribalistic chants. With "Dobro Jutro" we're entering more haunting territories that are well informed by Illbient with a steady change of dynamics, use of echoes and backward loops before the mighty 4/4 brings revelation and fever'ish ecstasy to nightmare-inducing rituals, "La Sombra Del Ayer" brings in more of a relaxed but still twisted take on Latin Easy Listening before slowly evovling into dubbed out Minimal House and "Toma Da La Ca" caters the most pounding, yet disturbing variation on Balearic SlowHouse we've come across - like ever. With her rework of "Ein Kleines Waldvögelein" the Berlin-based producer explores a hypnotic and definetely fascinating crossover of Downbeat and distorted Electronica and finally "Dilmano Dilbero" somehow evokes distant memories of misty South American highlands and their ancient rituals whilst flirting with a modernistic take on distortion and echoes of echoes of DiscoHouse, kind of. Fascinating, although not necessarily easily accessible stuff that allows for an interesting one on one comparison of original material and remix not only for those interested in ethnic / folkloristic music but also for electronic music producers in general keen on learning more about an artists individual approach to the theme of remixing in general.
Album artwork on Instagram!