Giegling

Giegling  “*//**” (Giegling)

2018-02-19T00:51:21+00:00February 19th, 2018|

Evergreen innovators Giegling tickle the triple-G machine once more with this delicious double A from Konstantin. “Shadow” is a timeless ballad to the stars with a brisk breakbeat, delicate vocals and emotional tautness that whisks you back with a strong sense of northern exposure. Its beauty is cleverly balanced with a much wilier, slice of jazz theory as a sax lick rises, twists and eventually melts over a steady broken rhythm.

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Edward “Into a Better Future Remixes”(Giegling)

2017-12-17T20:32:54+00:00November 19th, 2017|

Three years on from the release of Edward’s fine sophomore set, Into a Better Future, Giegling has finally decided to deliver a set of remixes. On the A-side you’ll find Thomas Melchior’s interpretation of “At Ease”, a bustling, bass-heavy and slightly rhythmically off-kilter take rich in trippy samples, booming bass and layered percussion hits. While impressive and club-friendly, we’d argue that Kriedler’s flipside remix of “Let’s Go” – a hard-to-pigeonhole fusion of slowly-building broken techno beats, dewy-eyed synthesizer loops and manipulated guitar sounds served with a healthy side order of analogue fuzz – is an altogether more exciting proposition. For those looking for material to play at 8am in a Berlin basement, Kettenkarussell’s gently pulsing, pagan remix of “Yes” should do the trick.

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Kettenkarussell “Insecurity Guard” (Giegling)

2020-03-07T07:29:53+00:00August 20th, 2017|

At the tail end of 2016, Giegling released a fine EP of remixes of tracks from Kettenkarussell’s 2014 debut album, Easy Listening. It seemed like a strange move at the time (even if the remixes were excellent), but thanks to the appearance of this sophomore album now makes perfect sense. As follow-ups go, Insecurity Guard is rather impressive. Deep, atmospheric and, at times, otherworldly, the album flits between crackling, ambient-influenced haziness, locked-in dancefloor wooziness, twinkling, string-laden techno, dubbed-out goodness (the hissing goodness of “Your Hands”) and the kind of loose and languid fusions of electronic and acoustic instrumentation that defy easy categorization (see sublime closer “Brueder”).

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