Availability: Out of stock
PRE-ORDER ITEM : Expected January 1st 1970. This item will only be shipped to you on or after the official release date. Please note any orders containing pre-order items won't be shipped until all items are available, so please order this separately to avoid delays. Please remember that release dates are at the mercy of labels, distributors, and pressing plants and will change constantly.
FORTHCOMING ITEM : Expected January 1st 1970. Please click the 'EMAIL ME WHEN AVAILABLE' button to be notified when the item is in stock. Please remember that release dates are at the mercy of labels, distributors, and pressing plants and will change constantly.
Upon its release in 2011 Narcosa quickly garnered support and love from Tobi Neumann, Ellen Allien, Steve Bug, John Selway and Anthony Collins, to name a few. The WetYourSelf! crew now release a killer remix package as they enlist the talent of Jennifer Cardini, Faster and Luke Solomun to reinterpret Cormac's cerebral techno ballad of 2011 ‚ "Narcosa", as well as showcasing an all-new original from Cormac. The Original track on this release, "Haus", sees Cormac's continue his exploration of the Machina-Melancholia he has been refining over his past few records. Drum vocabulary is provided courtesy of the Roland-TR legacy, whilst subtle textures and sound design form a decisive nod to modern and established techno methodologies. Deep, fresh and seductively satisfying, this tune was designed for the discerning dancefloor. Jennifer Cardini delivers an delirious wayward journey into Cormac's Narcosa. Deep synth notes, murky textures and drum machine hits are soaked in reverb. This mix recalls the work of Goblin and the glacial sounds of the 80s underground. Cardini has created an incredible hypnotising lullaby soundtrack for the now. Offering up a streamlined dish in minimalism, Romanian talent Faster constructs an elegant labyrinth of percussive dub textures and sinusoidal tones whilst a firm kick drum and fast shuffling hats propel the track toward serious dancefloor language. Luke Solomon takes us on a journey of a post-dystopian disco where human beings have been replaced by machines and robots who have learnt to dance. A dangerously funky bassline threatens to consume all with the help of flying hi-hat saucers and an armada of synths, pads and textures. An authoritarian voice creeps out from the wilderness. If DBX had been commissioned to soundtrack 1984 in a futuristic alternative universe, it would probably sound something like this.
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