Dazion
Blood Moon

Third iteration in OEW’s VA series, WITNESS03 brings over a fresh new quartet of heaters from another of its carefully curated cast of up-and-rising producers. Delving in the vaults of 90s rave, and spanning all things from atmospheric techno to spine-tingling bass, via electro, acid and further afield electronics.Engaging first, CLJL flings a brick of breaksy sedition into the matrix with the mighty “System Research”. Fusing 303-emulated traction with jaw-crushing freq shifts, ruff snares and fluttering synth spirals gone astray, this one is pure woofer-busting material. Second in line, Naone “Silhouette” is an aggressive slice of dopey, bass-heavy cosmonautics, tailored to have the listener zoning out into a magnetic field of alien echoes, delays and reverbs.Flip sides and here is LVCA and Sidd taking over your brainwaves with “Stranger” - a squelchy joint connecting the dots between Bochum Weltian spaciousness, pop-laced ethereality and a propulsive programming bound to astral project yourself into a whole other dimension. Last but not least, N-GYNN’s “Fire Rave” engineers a jagged and easy-going carnival of funkster machine talk, weird organic noises and sleazy boogie.

The debut release from Cerrot, a Puerto Rican artist delivering some energetic modern raving techno tracks. The Plasma distortion unit pedal is at the core of the EP's raw, harsh and undone style. "Iteritax" is defined by a strong percussion and a variety of modular synth recordings. "What started out as daily jam sessions effortlessly transformed into tracks and ultimately this EP. This approach has allowed me to tap into an infinite source of inspiration. Once I started jamming I had so many routes to take and it all just flowed for me. This same sense of freedom is what I aim to bring out in people with these tracks." - Cerrot

We are delighted to present a raw, young talent from Copenhagen - the city of fairy tales. Indeed, Parks at Night, the debut album from 17 years old Teis Ortved, could very easily provide the soundtrack for a recently unearthed Hans Christian Anderson story. In fourteen moves, the devoted multi-instrumentalist tells us the tale of his relatively short journey so far with confidence that belies his age. There's no ego or showboating here as this modest musician brings together seemingly disparate technologies with apparent ease, marrying sequenced beats and plaintive pianos overlaid by ethereal vocals that take his very special music somewhere other-worldly.To fully appreciate Teis' universe we need to dip a toe into his upbringing, his wonder years and the family unit that has had so much influence on his fascinating musical output. Both his father and mother are musicians - the former having previously been a drummer in a danish band, and almost from birth, Teis would sleep backstage at his parents shows. Teis has been immersed in music his whole life - even his sister is a renowned violinist. There was no escape from the arts in the Ortved household, nor was there been any desire to do so, which probably explains the sense of calmness in Teis' productions. His music feels like a pleasure; a natural outlet; one that's never been stifled and always been encouraged.

Eros’ Go For It is a fearlessly original take on Paradise Garage disco, mixed in a way that feels equally Mad Professor and Walter Gibbons. The story of Eros begins in a high school in Vauxhall, New Jersey in the mid 70s when four kids began a friendship based around their mutual love of soul, funk, rock, disco, and bands like Earth, Wind & Fire and Funkadelic. Assanouan G’Bado, Fletcher Gaines, Bobby Jones and Mike Freeman started off jamming after school, playing occasional gigs in New York and honing in on an original sound. When the group graduated, Assanouan and Bobby went off to the service and Fletcher went to university. Eros reunited in the late 70’s and began taking things more seriously, producing a set of songs with the intention of getting a deal with Motown. The morning after recording a full album’s worth of material, the group flew to Detroit hoping to sign a record deal. The legendary label was interested in the songs, but made them an offer that didn’t feel right for the group. The songs were shelved and Fletcher and Bobby moved on to new ventures. Mike and Assanouan pursued a self-released single on their own DAP records, reinterpreting two of their Motown demos with drum machines and overdubs to fill in for their two missing bandmates. Go For It was their individual take on disco, and the new 1985 remake took the AOR-oriented demo version, and transformed it into a transcendent dance floor illusion, that, in an alternate universe, would have turned dancers at the Paradise Garage upside down. Similar to Stephen Encinas’ un-classic, the song mutates deftly at the half-way point, opening up into a stripped-down and dubbed-out denouement, adorned in cascading electronics and the soaring vocals of Barbara Green. Go For It is the first of two releases from Eros on Mixed Signals, and pairs the group’s expanded electronic remake with the original Motown version, rescued from the last surviving demo cassette. Stay tuned for the unreleased demo album Motown missed out on, slated to come out later this year.