Unknown
High Voltage Music 001

Interactive View Of Emotions presents you with a new project called Unknown Resources. While searching the roots of The Unknown Resources’ influences it became apparent that there is a diverse but short bridge from KrautRock to the early 2000’ of Minimal Tech, the innovative grounds that are covered within IVOE003, the “Marching Machine” EP.Inspired by artists such as the legendary Kraftwerk to the Tech-house producer Ulysses and the Post-Krautrock band Fujiya and Miyagi, The Unknown Resources delivers a new interpretation in between the borders of these different eras in the music industry, blurring the lines between the distinctive genres.

This time round it’s a 3 track VA from Serbian artists Marko Nastic and Bosko Balos, plus another Banger from the UK producer Len Lewis.‘Music Is the Highway of Shared Experiences’A1 The Void, Len Lewis: “This track is a sinistertechhouse representation of when I died and went down to ‘the void’ in 2017. Then clawed my way back up through the earth to now!”B1 Thinking, Marco Nastic feat. Ryan James Owens: “One playful jam session in my studio resulted in this house/techno oriented track with Ryan’s vocal on top”. B2 Bag Me Up, Bosko Balos: “Starting 2022 I lost all of my projects from the last two years. Among a handful of wavs was Bag Me Up which marked a change in my sound. A combination of electro-break and old techno / house style”.

After the double LP entitled ”What He Does”, seekers return with a beautiful 4 dancefloor tracks recently produced on the other side of the Atlantic. Artwork by mona_bit_

return_backspace is excited beyond measure to present to the world the music of a young marco repettoconceived during the heydays of atari-sequencing, under his beloved moniker planet love, the bern-residing, italian producer at long last will disclose some of his earliest compositionsin nine tracks - spanning three extended plays - the headstrong musician demonstrates ingenuity once again; amalgamating otherworldly soundwaves and advanced production technique into a one-off kind of seminal technonew era e.p. makes the initial part in the triptych, and unfolds through its title track; an extraterrestrial soundscape sculptured autumn ’92, heavily reverberating repetto's profound fascination for 1950s science fictionflowers was recorded during the last days of ‘90, and is one the earliest experiments conceived under the alias. the track is a well balanced blend of measured psychedelic, and grand lushness, with vigour that has zero decayed. supremely effective at the end of a long night’s rave bird song is early ‘92 in full effect, and might just contain one of the catchiest bass-lines known to mankind. topped off with luxuriant pads, sweet samples, and irresistible bleep, repetto truly outdid himself on this one; romantic techno rarely gets more soulfulthree decades after their initial recording to digital audio tape, the natural naivety within each of these productions still is extremely tactile; reminiscent of a time when electronic music was in its infancy

After the resounding success of Vol.1, Needs return for a second instalment of their eco vinyl campaign in collaboration with Green Vinyl records in Holland. Needs continue their journey into the future of vinyl production, partnering with Green Vinyl Records in Holland to produce a 100% recyclable record which now uses 90% less energy cost compared to traditional vinyl production methods. This revolutionary chapter in vinyl history features the production skills of Maara, Priori, Rudolf C & HearThug.For Needs 010 we welcome yet another all-star lineup of producers from around the world across vinyl and digital formats. Featuring trancey techno from Montreal’s rising star Maara; chuggy, percussive, mysticism from Priori; sultry minimal grooves from Berlin based Rudolf C, and a constantly evolving spacey acid banger from Tunisia’s leading light HearThug.

"I couldn't exactly explain why these tracks created under my Lips Vago guise remained unreleased for so long. I didn't mean to 'hide' them of course, I always considered them on a par with my experimental music that had more luck instead. Perhaps the real reason is that during the years when I was most active there was not much room, and consequently interest, for these kinds of sounds in my social circles, and these pieces never reached the 'right' ears. Then the years passed and I never really tried to 'push' them anyway... I am really glad that things are changing now."Mostly recorded in 1996, the four tracks on the "Fictional Selfs" EP exhibit an attention to melody that is skillfully declined in different ways. Whether it is the epic build-up and refrain of "The Mobility of Her Features" - a track which the author admit was "dedicated to a girl larger than life, in many ways..." - or the incredibly cheesy keyboard solos in "Filler 4" - inspired by no less than Mike Paradinas / Mu-Ziq's alias Jake Slazenger: "I've got my Alesis HR16 drum machine just because I knew it was on his kit list..." - Marutti clearly knows his stuff and the entertaining qualities of his music ooze from every note.Anyone curious to hear the original version of "Laughing Stock" will have to wait a little longer, but the Remix gracing the second side of the EP offers a thoroughly enjoyable version, in which multiple organ parts playfully chase each other over a forest of assorted percussion and synthetic laughter. The last track, "VST Atlas", the only one in this collection dating to 1999, expands the sound range by using various samples - "That was the very first track I recorded using Cubase VST, hence the title." - and opens a window on the more recent productions of the project.As already mentioned, Lips Vago's "Fictional Selfs EP" only manages to scratch the surface of the author's large archive of unpublished recordings, but judging from these four pieces the 'dark side' of Andrea Marutti looks so bright you would not believe it.