#premierecf — Public Fediverse posts

CF Signals: Esteban Miranda – Gripen [Warum nicht? Kollektiv]

Warum nicht? Kollektiv (which translates to «Why not? Kollektiv») is a Berlin-based record label and event organizer specializing in deep, cerebral, and hypnotic techno. For its latest release, Warum nicht returns with its second compilation, bringing together ten producers whose work we deeply admire: ten distinct perspectives bound by a shared vision of raw, singular, and uncompromising techno.

https://clubfuries.com.mx/2026/08/15/cfs-esteban-miranda-self-determination-iarblo003/

Esteban Miranda stands out as one of our favorite current producers. With releases on labels such as Illegal Alien Records, K4LTURA, and Virescence Records, he has been curating one of the sleekest and most sophisticated sounds in both the local and international circuits.

https://soundcloud.com/clubfuriess/cfs-esteban-miranda-gripen-wnva002

«Gripen» highlights the deep techno side of the Roldanillo-born Colombian producer. Built upon steady, precise sequences that weave seamlessly over crisp, bright, and cold layers, the track forms sheets of ice that condense with the heavy pressure of carbon turning into diamond. It is a profound process that Esteban Miranda’s sound design encapsulates and texturizes with total precision.

Artist: Esteban Miranda
Track: Gripen
Album: WNVA002
Label: Warum nicht
Catalogue: WNVA002
Format: Digital
Genre: Electronic, Techno

Release date: September 18, 2026
Support & Buy: Bandcamp

Credits
Mastering: Pulso
Artwork: Iciar Ayuso
Released by Warum nicht, Germany

Tracklist
01. Red Egma – subbreboot
02. Serna – Prima Lux
03. Pause – Black Sun
04. E2NMN – Cemento
05. Esteban Miranda – Gripen
06. Matthieu Benjamin – Saint Rita
07. KEROSENE – Veiled Breath
08. THEGOD01 – Blue Beam Agenda
09. Goon – I Rituali della Steppa
10. Icarus in love – Nevrosthetica

Esteban Miranda

SoundCloud | Instagram | Threads | Bandcamp

Warum nicht?

SoundCloud | Instagram | Bandcamp

Club Furies

Website | SoundCloud | Instagram | Threads | TikTok | Facebook | Bandcamp | Linktree

CF Signals: Monotone – With U [tentapes]

The deconstruction of the contemporary club finds a field of absolute subversion within the hybridization of artistic identities. Monotone is the live electronic music project formed by Francesco Presotto and Kimi Recor—artists with extensive backgrounds under their monikers Ex.Hale and DRÆMINGS across imprints like Sonic Groove, Voidance, or Sumerian Records—whose proposal geographically oscillates between Venice and La Coruña. Joining forces, the duo deconstructs common compositional standards to erect a vision characterized by dark textures, atmospheric weight, and a distinctive ability to provoke a feeling of artistic and textural asphyxiation within the listener.

For the sixth release in the tentapes catalog, we welcome Monotone with Fictional Science, an immersive experience composed of four deeply emotional pieces blending field recordings and powerful low-end. The closing point and peak acceleration of this sonic universe concentrates on With U. The cut completes the release’s emotional circle in a definitive fashion, driving a continuous high energy from the start that drifts between the idyllic and the ineffable.

https://soundcloud.com/clubfuriess/cfs-monotone-with-u-tentapes

The track’s architecture manages tension with analog mastery, reaching sonic deltas that dip straight into silence—structural containment voids suspending the room’s breath—before forcefully reclaiming the flight previously undertaken. Altogether, it solidifies as one of the week’s most refined works, where sound design and physical force advance in flawless harmony.

Towards the denouement, the composition avoids complacent solutions; the structure interrupts its rhythmic drive abruptly mid-sonic effervescence, leaving the synths’ echo and emotion floating like an unfinished interference in the dark. With Fictional Science, Monotone and tentapes sign a sharp editorial stance: a manifesto proving that avant-garde live electronic music reaffirms itself when capable of jarring both the body and the psyche.

Label: tentapes
Artist: Monotone
Title: Fictional Science
Catalogue: TNTPS006
W&P Ana Artalejo Moreno & Francesco Presotto
Master Ravi Raisa

Release Date: July 23, 2026
Support & Buy: Bandcamp

Tracklist
1. Deep Forest Dream
2. Endless
3. Fictional Science
4. With U

Monotone

SoundCloud | Instagram | Linktree

tentapes

SoundCloud | Instagram | Bandcamp | YouTube | Linktree

Club Furies

Website | SoundCloud | Instagram | Threads | TikTok | Facebook | Bandcamp | Linktree

CF Interview | AMAS & FRITHJOF-MARTIN GRABNER – SRDGN × LPZG: The strictness of Bach, dissolved

Editorial Introduction

What happens when the mathematical rigor of Johann Sebastian Bach is stripped of its classical facade? AMAS and Frithjof-Martin Grabner spent three years finding out.

SRDGN × LPZG is not a reinterpretation. It is a dissection. The duo AMAS — two old friends from southern Germany, one handling production and sound design, the other artistic vision and concept — began the project in the raw isolation of Pula, at the southernmost tip of Sardinia. There, they extracted the rhythmic and tonal skeleton of 14 Bach works and fused them with field recordings of the surrounding landscape, building a hypnotic framework of electronic structures rooted in Minimal, Dub-Techno, and Ambient.

That foundation then traveled to Leipzig, where it met Frithjof-Martin Grabner: solo double bassist, professor at the HMT Leipzig, and one of the most rigorous interpreters of the Baroque tradition in Germany. In an intense session at the historic HMT hall, Grabner improvised freely over the material — not from a score, but from instinct, in the spirit of Miles Davis scoring «Ascenseur pour l’échafaud»: atmosphere over technical perfection. The result blurs the line between analog depth and synthetic texture, between the 18th century and the club.

We spoke with AMAS and with Frithjof-Martin Grabner about the making of a record that is both an act of radical respect and radical transformation.

I. The origin — Sardinia and the idea

01 AMAS & GRABNER

SRDGN × LPZG took three years and two very different geographies to come together. What was the original impulse — what made you decide that Bach was the right starting point for this project?

— A: We didn’t actually think about these specific genres [Ambient and Dub Techno] at the beginning. After our first five releases, which were still very closely oriented toward the rigid structure of classic techno productions, we wanted to break away from this rigid scheme in our next work. The goal was to create tracks that could breathe more freely. We have also always had a great love for Ambient and soundtrack music. Ultimately, we combined both in the 14 tracks: the free approach all the way to tracks in a classic guise. The idea was to produce exactly 14 tracks. 14 is the «Bach number»; he was fascinated by numerology, prime numbers, and cryptograms (B=2+A=1+C=3+H=8=14). This number defined the framework. Afterward, it moved forward intuitively: we listened through Bach’s MIDI directories and looked for interesting sequences we wanted to work with. Before we left for Sardinia, 14 respectable sketches had already been laid out, providing a framework for our musical journey.

— G: By the time I joined the project, the first tracks had already been recorded in Sardinia. The Bach pieces had therefore already been incorporated. It seemed natural for me to draw inspiration from my surroundings, from the incredible complexity and profound depth of Bach’s music, and to improvise during these recordings in Leipzig. The result was a blend of jazzy, contemporary classical and completely free sounds. On top of that, I have been studying Bach in depth for over 40 years. However, it was important to us that Bach’s influence should remain an inspiration rather than being overtly audible.

https://soundcloud.com/clubfuriess/cfs-amas-fm-grabner-vernunft-amas006

02 AMAS

You began in Pula, Sardinia — extracting and digitally dissecting the rhythmic and tonal essence of 14 Bach works while recording the surrounding landscape. What did isolation do to the music? Would the album sound different if it had started in a city studio?

— A: We wanted to go on a musical journey and incorporate the location directly into the music. That changed the fundamental mindset in the production process; it felt less like «production.» Our house was right by the sea with its own garden and access to the water. This contemplative mood, the vastness, and the silence put us into a completely different state of mind compared to our usual studio environment; we weren’t entirely ourselves and could forget almost everything. For us, the isolation was ultimately a blessing. It was late March with incredibly erratic weather—just right for absorbing all the diverse moods, sounds, and living things of the island around us and letting them flow directly into the project. If we listen to the different tracks today, it teleports us right back to that little house by the sea.

https://open.spotify.com/intl-es/track/2ZO9TuUHfPSS3kYt7VHcGi

II. The encounter — Leipzig and the double bass

03 AMAS & GRABNER

The session at HMT Leipzig was described as spontaneous improvisation over rudimentary sketches — closer to Miles Davis scoring a silent film than to classical rehearsal. How did you both experience that session in the moment?

— A: After the time on Sardinia, we went to Leipzig to record the tracks with F.M. Grabner. The session took place in one go over an entire day. He played completely freely over our sketches. Working with such a renowned and classically trained musician was surprisingly easy, though that was also due to F.M. Grabner and his easygoing nature, as well as our shared love for jazz, improvisation, and red wine.

-G: At the beginning of our recordings, there was a slight «fear of contact» on my part. This made me question whether I could meet the «expectations» for these improvisations, for this kind of music. That quickly faded with intensive engagement. We moved on to the recordings just a few minutes after listening to the tracks from Sardinia. Particularly interesting was when I played loops onto the first tracks and could then improvise on top of them again. That was a completely new dimension in my forms of expression, which usually tend to have a more «reproducing» character.

04 Grabner

Your career has been built inside the Baroque tradition — Bach Collegium Stuttgart, the Berlin Bach Academy, decades interpreting this repertoire. What does it feel like to approach Bach not as a score to be performed, but as raw material to be dissolved into techno?

— G: The Bachian music, which I obviously know, played more of an inspiring role here. For example, we rearranged, mirrored, inverted, and heavily distorted the notes «b a c h» so that they wouldn’t just «jump out» at the listener. For me, the final result of our production contains so many different facets of musical expression: highly percussive elements, the sonic spectrum of free jazz, all the way to aleatoric music.

05 AMAS

When Grabner’s double bass arrived into the electronic framework you had built in Sardinia, what changed? Was there something in the material that you hadn’t anticipated — something his instrument revealed that the machines couldn’t?

— A: It was as if we were entering a completely new tonal universe. Previously, we had only recorded short cello sections in Stuttgart and then integrated them into our earlier albums; here, we suddenly had entire improvised pieces, which were also played in a much more complex way than simply reproducing “normal” notes. There are bow strokes, and in some cases Frithjof even played the wood with the strings—we had to figure all of that out for ourselves first and then integrate it accordingly. Fortunately, through various technical maneuvers and experiments, the two universes merged quite beautifully, and we were able to combine the perfection and precision of the machines with the analog, organic play of Frithjof.

https://open.spotify.com/intl-es/track/2ZO9TuUHfPSS3kYt7VHcGi

III. Bach as material

06 AMAS & GRABNER

The press kit describes this as a «radical reimagining» rather than a translation of Bach. Where is the line between respect for the source and freedom to transform it — and did that line shift over the three years of the project?

— A: Just as we wanted to break away from the logic of common techno productions, the idea was to «free» Bach—who built his music according to almost rigid architectural principles. This often happened intuitively, frequently through unpredictable moments in sound design by sending note sequences through complex effect chains. It was supposed to be an AMAS record first and foremost. Some note sequences were processed so heavily that a layperson might not associate this soundscape directly with Bach—though surprisingly, F.M. Grabner always heard it. In other tracks, however, it was important to us to work explicitly with the original tone sequences. In up to 15 iterations, we kept reducing the material and carving out the «distillate.»

— G: Respect and admiration for the “Fifth Evangelist” are always present. It is precisely this freedom to engage with these roots that has made the current result possible. We have not imposed any limits on ourselves, but have consistently created work with an open-ended outcome.

07 Grabner

You have spent your career teaching and performing Bach with extreme precision. In post-production, your double bass often blurs the line between analog depth and synthetic texture — almost losing its identity as an acoustic instrument. Did that feel like a loss, or a liberation?

— G: I find that totally exciting. The «sonic layers» shift, but all the «played notes and effects» were left intact. Of course, they were distorted, overtone vibrations were made audible in a different way, and so on. In the final result, we experience a fusion of completely different stylistic elements into a new whole.

IV. The sound — Minimal, Dub-Techno, Ambient

08 AMAS & GRABNER

The album moves across Minimal, Dub-Techno and Ambient — and the tracklist reads like a single conceptual arc: Ankunft, Weite, Verirrung… through to Vernunft and Abschied. Was that arc composed intentionally, or did it emerge from the material itself?

— A: From the very beginning, the intention was to make an album with 14 tracks; it wasn’t meant to be a string of individual songs, but rather a single piece with 14 chapters. We wanted to capture our journey at that time musically, and the structure actually came together quite naturally. We always work with a strong concept, an idea that helps us stay on track and focus on the concept. With 14 tracks/chapters, it’s easy to lose sight of the big picture or the central theme, but thanks to our clear concept from the start, that fortunately didn’t happen to us. Frithjof was also part of the concept from the very beginning; he just didn’t know it yet.

— G: The structure, the sequence and the 14 tracks were all part of Philip and David’s plan from the very beginning. The fact that the ‘dramaturgy’ has turned out so cohesive is down to the interplay within the music, the arrangement of the tracks and the constant re-examination of them. This is the result of Philip and David’s immense hard work.

https://open.spotify.com/intl-es/track/20f8plybp9ThT4pOlR4SnN

09 AMAS

Your sound has been described as multilayer, melodic and warm — personal and always conceptual. How do you balance those qualities when the source material is as structured and mathematical as Bach? Where does the warmth come from in a record built on Baroque rigor?

— A: Debussy once said: «Music is what happens between the notes.» Perhaps that is exactly what reflects the counter-design to the mathematical rigor of Bach. Between these two poles, we transport a large spectrum of personal states—melancholy, vulnerability, but also vitality. That is what art should fundamentally always do. The warmth also comes from our sound design. Field recordings are an essential part of the sound. From the voices of the neighbors to the sound of the sea, bird chirping, or the sound of a metallic lamp bowl, everything was co-processed. Especially that plastic chandelier in WEITE almost managed to sound like a synthesizer. Furthermore, it was important to us to send the central instrument—the double bass—into the exact same acoustic «space» across all tracks. For this, we developed our own preset based on an Eventide reverb.

https://clubfuries.com.mx/2026/05/26/cfs-amas-fm-grabner-amas006/

V. The release — vinyl, limited edition, AMAS Studio

10 AMAS & GRABNER

SRDGN × LPZG comes out as a limited double LP — 200 copies worldwide, 180g vinyl, a 3D effect cover. For a record that began in isolation in Sardinia and was shaped by improvisation in Leipzig, what does the physical object mean? Why does this music need to exist on vinyl?

— A: «Audiophile» means to us that we rely on 180g vinyl. We put a lot of love for detail into our physical releases and have been working since day one with the team from Matter of Fact in Güstrow, who do fantastic work. Ultimately, it is most likely an album for the HiFi system and especially for the turntable; the vinyl mastering [by Brian Sanhaji / Calyx Mastering] is simply outstanding here and brings the entire depth and complexity of all 14 tracks into the ear with appropriate warmth and intensity.

— G: The tactile experience of holding such a ‘heavy’ record in your hand is something quite special. I’ve heard from students and colleagues that they’d love to own this ‘physical LP’ from AMAS Studio and add it to their collection. Of course, platforms like Apple Music or Spotify are widely used, but putting a record on the turntable at home and listening to it (with a glass of red wine in hand) is a real treat.

11 AMAS

This is AMAS006 — the sixth release on your own label. What does it mean to release something this ambitious on AMAS Studio rather than an established electronic label? What does keeping it in-house protect?

— A: We just want to go at our own pace, produce when we feel like it, and approach our art the way we see fit. We don’t rule out releasing on another label at all; it just happened this way. You gain certain freedoms, but you also take on responsibilities, like paying the bills on time, haha… In the end, it’s just a blessing to be able to manage the number of people involved yourself—from mastering to the photo shoot.

VI. What this means

12 Grabner

You have performed in symphony halls across Europe, Asia and America, and taught at conservatories for decades. How do you think your students — or your peers in the classical world — will receive a record that places your double bass inside Dub-Techno and Ambient structures?

— G: Whenever I told colleagues with my classical background about our project, there were questioning looks and rather a lack of understanding. As soon as the music was played (in a quiet setting and over a good sound system), there was enthusiasm.

https://soundcloud.com/clubfuriess/cfs-amas-fm-grabner-amas006

13 AMAS & GRABNER

SRDGN × LPZG sits between two worlds — the Baroque canon and the electronic underground — without fully belonging to either. Who do you imagine listening to this record, and what do you want them to take away from it?

— A: There are pieces for the club or festivals, but also for the car or an evening at home with a glass of red wine, one track or another is suitable. We are proud that we were able to implement the concept so stringently. AMAS is allowed to challenge the listener and occasionally leave familiar listening paths.

— G: Ever since our music became available to listen to, I have received nothing but positive feedback. This has come from listeners of my own generation as well as from classical music enthusiasts, jazz fans, techno and pop listeners of all ages, right through to young people whose musical tastes have not yet been fully formed. Realy incredible!

https://clubfuries.com.mx/2026/06/03/cfr-2026-06-amas-fm-grabner/

Editorial Closing

SRDGN × LPZG is a record that shouldn’t exist — and that is precisely why it does. The distance between Johann Sebastian Bach and Dub-Techno is not a contradiction to be resolved; in the hands of AMAS and Frithjof-Martin Grabner, it becomes a creative space that neither tradition could have opened alone. Three years, two geographies, one radical act of listening. Out June 5th on AMAS Studio.

https://open.spotify.com/intl-es/album/08iZXlHzr3fy5O9yIOrSKW

Label: AMAS Studio
Artist: AMAS & Frithjof-Martin Grabner
Title: SRDGN X LPZG
Format: Album
Catalogue: AMAS006
Release Format: Vinyl LP, Digital
Distribution: DIG DIS!, AMAS/ Decks
Domain: amas-studio.bandcamp.com

Release Date: June 5, 2026
Support & Buy: Bandcamp

Pre Order Links Vinyl: Deejay | Juno | Decks

Tracklisting
1. ANKUNFT
2. WEITE
3. VERIRRUNG
4. NACHT
5. RAUSCH
6. ABSTRAKTION
7. STIMMEN
8. CHAOS
9. WEGE
10. LICHT
11. KLARHEIT
12. DUESTERNIS
13. VERNUNFT
14. ABSCHIED

AMAS / AMAS Studio

Website | Instagram | Bandcamp | Linktree

Frithjof-Martin Grabner

Website | Apple Music | Discogs

Club Furies

Website | SoundCloud | Instagram | Threads | TikTok | Facebook | Bandcamp | Linktree

CF Signals: Tia Ottman – Elastik [EABE]

From the sonic landscapes of Finland, EABE has established itself as a key platform for hypnotic and visceral techno, operating as a meeting point where Nordic austerity is transformed into deeply immersive listening rituals. Through a curatorial vision centred on atmosphere and emotional intensity, the label has built a strong identity that continues to expand through Seremonia, a sublabel that approaches electronic music not merely as functional structure, but as a practice connected to the ancestral, the essential, and the transformative.

EABE’s vision is not concerned with conventional expectations. Its catalogue is devoted to experiences where texture, tension, and emotional depth carry as much weight as physical movement. Each release reinforces an understanding of techno as a contemporary language capable of shaping perception itself, positioning the label among the most compelling outlets for listeners seeking personality, technical precision, and a clearly defined aesthetic direction.

https://clubfuries.com.mx/2026/05/23/cfs-janos-emporio-love-poem-eabe/

Its latest release marks the debut of Tia Ottman on the label. Based in Helsinki, the DJ and producer operates at the intersection of deep house, minimal, and an emotional sensibility that runs throughout her work. Her productions combine immersive grooves, melancholic textures, and atmospheres influenced by contemporary pop language, creating a sound where introspection and dancefloor functionality coexist naturally.

Her creative process is guided by intuition rather than adherence to stylistic formulas. The music develops through the relationship between body, emotion, and movement, resulting in fluid structures, subtle progressions, and carefully constructed sonic environments capable of supporting both collective energy and individual reflection.

Across her productions, emotional depth and rhythmic drive remain inseparable. Melodic elements introduce an affective dimension without interrupting the groove, while the percussive foundations maintain a constant presence that encourages immersion. The strength of her work emerges not through dramatic contrasts, but through gradual transformations that continuously reshape perception.

https://soundcloud.com/clubfuriess/cfs-tia-ottman-elastik-eabe

With this release on EABE, and another forthcoming on The Sound Collective, Tia Ottman continues to solidify a distinctive artistic identity within contemporary electronic music. Her work inhabits a space where club culture, emotional exploration, and questions of identity intersect naturally, resulting in compositions that function equally as dancefloor tools and spaces for introspection.

Elastik showcases those qualities from the very beginning. The track arrives with immediate presence, rapidly developing a dense texture that expands into soundscapes that feel both compact and vast. As it unfolds, melodic flashes emerge like openings within the rhythmic structure, constantly redirecting the listener’s attention. At this point the journey appears to split into multiple possible paths. Deep house, minimal, and techno impulses interact without any one of them taking control, creating a suspended state where each sonic decision opens a new direction. The intensity continues to build until it reaches elastic techno and house resonances that push the track toward its limits, sustaining a tension that never fully breaks but continues to vibrate long after the music has faded.

Label: EABE
Title: Elastik
Artist: Tia Ottman
Catalogue: EABE-LXXXII
Mastered by ODJ Pirkka
Artwork by Aito Kopisto

Release Date: June 17, 2026
Support & Buy: Bandcamp

Tracklist
1. Elastik 05:43
2. Elastik (Type-303 remix) 05:17
3. Elastik (drS remix) 06:45

Tia Ottman

Website | SoundCloud | Beatport | Bandcamp

EABE

SoundCloud | Bandcamp | Instagram | Facebook | Twitter | Linktree

Club Furies

Website | SoundCloud | Instagram | Threads | TikTok | Facebook | Bandcamp | Linktree

Club Furies Review | The Persistence of Form: AMAS & F. M. Grabner present SRDNG x LPZG

What happens when the mathematical rigor of Johann Sebastian Bach is stripped of its Baroque facade and relocated into the realms of Minimal, Dub Techno, and Ambient? On SRDNG x LPZG, AMAS and double bassist Frithjof-Martin Grabner propose a compelling answer. Rather than revisiting Bach as a historical figure, the German duo approaches his work as a living structural force, extracting rhythmic and harmonic architectures from fourteen compositions and projecting them into a contemporary sonic language built on repetition, texture, and spatial perception.

Developed over three years between southern Sardinia and Leipzig, the album draws its identity from the dialogue between two contrasting environments. Sardinia contributes openness, isolation, and contemplation. Leipzig provides intellectual density, musical tradition, and academic rigor. Throughout the record, these seemingly distant worlds converge into a coherent narrative where atmosphere and structure become inseparable.

The opening sequence immediately establishes this relationship. ANKUNFT unfolds like an arrival into remote coastal landscapes where human presence survives only as a distant whisper. Drones, subtle ambient layers, and Grabner’s contributions generate an expansive visual quality that feels detached from conventional notions of time. This sensation deepens with WEITE, whose immense spatial character functions almost as a rejection of contemporary acceleration. Its vastness transforms anxiety into stillness, allowing sound to occupy space with unusual patience.

As the album progresses, its conceptual dimension becomes increasingly apparent. VERIRRUNG introduces delicate sonic labyrinths that expand through shimmering repetitions and subtle harmonic shifts. The feeling of disorientation never becomes threatening. Instead, it emerges as a natural condition of exploration. This quality reaches one of its most evocative moments in NACHT, where darkness is transformed into a state of absolute beauty. Past, present, and future dissolve into a nocturnal landscape whose calmness feels strangely eternal.

The transition into RAUSCH marks a subtle yet important shift. Existing in that liminal territory between night and day, the track captures the fragile atmosphere of early dawn. Silence gradually gives way to the distant emergence of urban noise, creating a tension between introspection and awakening. This dialogue between serenity and unease becomes central to the album’s emotional trajectory.

One of the most striking achievements of SRDNG x LPZG lies in its ability to generate emotional complexity through minimal means. ABSTRAKTION pushes this quality toward its most intense expression. Extended high-frequency tones create a sensation of suspended inevitability, producing a strangely beautiful form of existential tension. The darkness it introduces finds immediate relief in STIMMEN, whose vocal elements bring warmth and humanity back into focus. Nostalgia remains present, yet its melancholic weight dissolves into comfort, tenderness, and quiet joy.

https://clubfuries.com.mx/2026/05/26/cfs-amas-fm-grabner-amas006/

The central section of the album further demonstrates the strength of the collaboration between AMAS and Grabner. The internationally acclaimed bassist, whose career spans some of Europe’s most prestigious musical institutions, contributes an organic dimension that continuously blurs the boundaries between acoustic performance and electronic processing. On CHAOS, this interaction becomes particularly evident. Elevated and low frequencies coexist within a delicate equilibrium where classical sensibilities and contemporary electronic abstraction merge without hierarchy.

From there, the album gradually reveals its deeper narrative. WEGE feels like a reflection upon the journey itself, exposing landscapes that are both contemplative and subtly threatening. The path forward appears uncertain, yet its permanence becomes undeniable. That tension eventually reaches its resolution through LICHT, arguably one of the album’s defining moments. Here, the artistic achievement of the project becomes fully visible. Complex conceptual foundations are translated into sound with remarkable elegance, creating music that feels intuitive despite the extraordinary sophistication beneath its surface.

https://clubfuries.com.mx/2026/05/31/cfs-amas-fm-grabner-vernunft-amas006/

The final stretch reinforces the record’s cyclical logic. KLARHEIT introduces clarity through agile, luminous electronic textures whose playful qualities provide a welcome sense of renewal. DUESTERNIS returns to anxiety, constructing dense sonic mazes that echo the psychological pressures of contemporary life. Yet even here, AMAS avoids simple pessimism. The darkness functions as an essential counterpart to illumination.

This balance ultimately finds its conclusion in VERNUNFT and ABSCHIED. The former transforms reason itself into sound, presenting an atmosphere that feels simultaneously unsettling and comforting. The latter serves as a fitting farewell to a work that understands the album format as a complete artistic statement rather than a collection of isolated tracks. Its ending does not seek closure as much as it invites reflection.

Limited to 200 copies on heavyweight double vinyl and accompanied by a striking three-dimensional sleeve design, SRDNG x LPZG extends its conceptual ambitions beyond sound alone. Like AMAS’ previous works, visual identity, narrative construction, and musical composition operate as interconnected elements of a unified artistic vision.

In the end, SRDNG x LPZG succeeds because it approaches Bach neither with reverence nor nostalgia. Instead, it recognizes that the structural principles underlying his music remain fertile ground for experimentation. Through Ambient, Dub Techno, Minimalism, and the remarkable contributions of Frithjof-Martin Grabner, AMAS transforms those principles into something profoundly contemporary. An ambitious, deeply immersive, and quietly avant-garde work that rewards patient listening with uncommon depth.

Label: AMAS Studio
Artist: AMAS & Frithjof-Martin Grabner
Title: SRDGN X LPZG
Format: Album
Catalogue: AMAS006
Release Format: Vinyl LP, Digital
Distribution: DIG DIS!, AMAS/ Decks
Domain: amas-studio.bandcamp.com

Release Date: June 5, 2026
Support & Buy: Bandcamp

Pre Order Links Vinyl: Deejay | Juno | Decks

Tracklisting
1. ANKUNFT
2. WEITE
3. VERIRRUNG
4. NACHT
5. RAUSCH
6. ABSTRAKTION
7. STIMMEN
8. CHAOS
9. WEGE
10. LICHT
11. KLARHEIT
12. DUESTERNIS
13. VERNUNFT
14. ABSCHIED

AMAS / AMAS Studio

Website | Instagram | Bandcamp | Linktree

Frithjof-Martin Grabner

Website | Apple Music | Discogs

Club Furies

Website | SoundCloud | Instagram | Threads | TikTok | Facebook | Bandcamp | Linktree

CF Signals: AMAS & Frithjof-Martin Grabner – VERNUNFT [AMAS Studio]

What happens when Johann Sebastian Bach’s mathematical architecture is removed from its historical setting and projected into the language of contemporary electronic music? What remains when the structures survive, yet the materials themselves are transformed?

With SRDNG x LPZG, AMAS and double bassist Frithjof-Martin Grabner venture into precisely that territory. This is not a reinterpretation of Bach, nor an attempt to modernise his work for contemporary audiences. The project operates on a deeper level. It extracts the internal logic of his compositions—their proportions, movements, and rhythmic relationships—and rebuilds them through the frameworks of minimalism, dub techno, and ambient music.

Developed over three years between two radically different environments, the album inhabits a unique temporal space. Sardinia contributes its rugged isolation and expansive landscapes. Leipzig brings centuries of musical tradition and intellectual precision. The resulting work feels suspended between eras, compressing multiple histories into a single sonic continuum.

The process began in Pula, at the southern edge of Sardinia. There, AMAS digitally isolated and deconstructed rhythmic and tonal fragments from fourteen selected Bach compositions. Rather than functioning as quotations or references, these fragments were dismantled and reorganised until they became entirely new entities. Field recordings captured across the surrounding landscape were woven into the electronic framework, allowing environmental textures to merge with hypnotic pulses, microscopic repetitions, and slowly evolving structures.

Back in Leipzig, the project gained a new dimension through the involvement of Frithjof-Martin Grabner. The double bass does not sit on top of the electronic foundation. Instead, it reshapes it from within. Wood, resonance, and physical vibration introduce a different sense of time altogether, bringing a corporeal memory into dialogue with the precision of digital processes.

Following our first premiere from the album, CHAOS, it was already clear that this project operated according to its own internal logic. With VERNUNFT, that vision becomes even more fully articulated.

https://clubfuries.com.mx/2026/05/26/cfs-amas-fm-grabner-amas006/

The title translates as «reason,» yet within the German philosophical tradition the concept carries far greater complexity. It evokes systems of understanding, frameworks of order, and the intellectual foundations of modernity itself. Listening to VERNUNFT, those historical echoes become impossible to ignore. Not because the track seeks to illustrate philosophical ideas, but because its structure continuously raises questions about what happens when rational forms migrate across different technologies and historical moments.

What makes the piece so compelling is its complete refusal of nostalgia. Bach is not treated as a monument preserved behind glass. His legacy appears here as living material, capable of mutation and reinvention. The modernity he once embodied is activated once again, this time through contemporary sonic languages.

https://soundcloud.com/clubfuriess/cfs-amas-fm-grabner-vernunft-amas006

At certain moments, the listening experience recalls the vision of Luigi Russolo, who imagined a future in which music would absorb the sounds of industrial transformation. More than a century later, that tension remains unresolved. Machines no longer arrive from outside. They exist within the very fabric of musical production, shaping perception, memory, and our experience of time itself.

VERNUNFT occupies that meeting point. A place where centuries-old compositional discipline and contemporary technology engage in genuine dialogue, neither one dominating the other. The result belongs entirely to neither classical music nor electronic music. Instead, it inhabits a fertile territory between categories, where forms continue to evolve and definitions begin to dissolve.

And this is only the beginning of the journey.

https://bandcamp.com/EmbeddedPlayer/album=613141444/size=large/bgcol=ffffff/linkcol=333333/tracklist=false/artwork=small/transparent=true

Label: AMAS Studio
Artist: AMAS & Frithjof-Martin Grabner
Title: SRDGN X LPZG
Format: Album
Catalogue: AMAS006
Release Format: Vinyl LP, Digital
Distribution: DIG DIS!, AMAS/ Decks
Domain: amas-studio.bandcamp.com

Release Date: June 5, 2026
Support & Buy: Bandcamp

Pre Order Links Vinyl: Deejay | Juno | Decks

Tracklisting
1. ANKUNFT
2. WEITE
3. VERIRRUNG
4. NACHT
5. RAUSCH
6. ABSTRAKTION
7. STIMMEN
8. CHAOS
9. WEGE
10. LICHT
11. KLARHEIT
12. DUESTERNIS
13. VERNUNFT
14. ABSCHIED

AMAS / AMAS Studio

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Frithjof-Martin Grabner

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Club Furies

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