Credit 00 returns to Pinkman with his trademark odd-beat electro chants. While each track tells a different story, what persists throughout the EP is the streetpunk attitude and nonconformity of the king of rats. His ‘Protest Love Songs’ bows to no shiny idol, and sweeping the ashes of utopia tames the apocalypse with no fear.
Credit 00 recorded live @ Altenburg 1964 (Prague) 28.06.2020
Serial Error was founded as a New Beat project when Jacob Korn was asked for a submission to the ‘Our Beat Is Still New’ compilation series on the Belgian We Play House label in late 2014. Knowing the retro-experienced skills of his label mates from Uncanny Valley, he teamed up with Credit 00 & Sneaker and they produced Drum Abuse, a track that finally became the cue for their first full 12” maxi single in 2018 on Rat Life Records; a label curated by Credit 00. Now they keep on malfunctioning with a 4-tracker featuring the bizarre title Afro Gothic. The eponymous track was the first shot when they got together for a second EP in Jacob’s studio in now demolished premises (the typical daily Rat Life). The slow, steamy roller captures the amateurish live percussion skills of Credit 00, while – on the other hand – he played one of the manuals of Jacob’s ‘Son of GX’ organ along with Sneaker playing the other manual of the leading voice synth. On top, they added a classic acapella – a sudden strike of genius – ‘perfectly matching the solemn vibe’ (in their opinion; artist quote). A2 ‘Unter den Helmen’ is ripping off the same organ’s preset drum patterns run through a brutal EQ. Talking of the 70s – a duet by two anti-nuclear activists from the German Sponti movement of the time became the theme of this politically charged protest song! Oh yeah, somewhere I had to paste the striking fact that all is mastered & sent via reel-to-reel at our TailOut studio. Check! B1 and B2 are two versions of the same song who share their lyrics drawn from school days. To be precise from the tacky Dresden art academy they both – Sneaker and Credit 00 – visited. The B2 of ‘Art Academy Talk’ features the typical Sneaker vocals on a 4/4 beat, while – due to Credit 00’s lean towards electro – the B1 got the vocoder treatment while Jacob and Sneaker went for lunch. As Jacob came up with the bass riff on his Chroma Polaris, Credit fiddled the knobs of his Ensoniq ESQ1 like a rusty raver. The freaked out FX-sounds we can cherish thanks to the Pearl DRX drum machine; modded and played by Jacob Korn. Due to the odd look also fondly nick-named ‘the VCR’. The Pearl, of course, not Jacob.
FM Label reconnects genres and builds new bridges between music, fashion and design. Established in 2019 by Milan Fatrla, the label enters Prague’s flourishing scene with a vision of music, in which the new revisits the old. A vision where strongly-rooted love for hip-hop merges with passion for everything electronic and danceable, to offer records where these two genres meet and intertwine. With its modular attitude, FM Label plays with norms of record sleeve design and fashion. In its first phase the label will put out three trilogies, each trilogy in a different package developed with local designers and artists. The first release sees an exciting mix of German’s Rat Life Records head honcho Credit 00, and LA’s Eight-Oh-Motherfucking-Eight don Egyptian Lover. Credit 00 is known to be inspired by American 80s Ghetto music, so this mix of artists is not so distant as one might think – see it as a study and application of this strain of music in two different parts of the world. Super Scratch 12″ is held in a special cardboard sleeve which can be reshaped into a vinyl display holder.
If you’re currently lucky to be in a position to spare some funds, please consider making a charitable donation in your community to help fight the Covid-19 outbreak. Should you still have any additional good fortune left, we have put together an Aid EP, to help support the artists on our label, currently under financial pressure due to the massive amount of event and DJ gig cancellations – and to keep the lights on in our collective, which is heavily dependent on income from event production.
The Aid EP additionally enables us to provide a bit of work for our mastering engineer, also a DJ and producer, financially impacted by event cancellations. All sales will be split 50/50 between the artists and ourselves, after mastering costs have been recouped.
Stay healthy out there – and if you have the means, we encourage you to find ways to reach out and support those affected in your local communities.
Merciless machine funk, haunting soundscapes and rugged electro styles, drenched in concrete and vigorously fortified by the iconic German producer’s sonic development through 90s street culture. Credit 00 moves like no one else.
We were very excited when, somewhere between July/August, we heard about Ombra festival and soon after we bought the tickets for the festival.
This was actually the first extended edition of the festival, since last year they just had a party in a club with 500 people, so we must consider ourselves really lucky for taking part in this.
The clouds pile up in the Dresden autumn sky, but Uncanny Valley still sees a little bit of blue on the horizon. And why not looking on the bright side of life for a change? It’s appropriate. At least if you have five killer tracks in your bag. Anyway, the collaboration with the Leipzig graphic designer Doppeldenk proved to be very fruitful and has now produced the fourth of seven children. So, after PINK, RED and ORANGE, here is BLUE. May life be good to you. The record opens with the aptly titled, Chicago-inspired ‘Mind Trip’ by Credit 00, the Aldous Huxley from your neighborhood. The Leipziger takes you on a journey on your own nerve pathway with occasional stops at the hottest spots in your body. Local buddy Gnista is piling up layer by layer for the UK meets Electro affair that is ‘Playtime Worktime’. It’s an atmospheric monster that needs to be climbed first. But as soon as this is done, a fresh breeze blows around your nose. In ‘Brecht Hat Er’, the mysterious Dresden underground formation AGB spreads wisdom in staccato mode, accompanied by Cold Wave-like music, which could also have been created in the shadows of the Berlin Wall. After a long time of hiatus, there is also a sign of life again from Uncanny Valley’s Break SL, who proves with ‘Bye Bye 627’ that he still masters the art of producing House music that is as edgy as it is catchy. In similar veines comes ‘In Treansit’ from Qnete who channels the ghosts in his machines into an emotional and powerful House track.
The Ratlife boss brings the noise with a cluster of hardwired dancefloor bombs. ‘Broken Glass Everywhere’ with broken snares ricochet off gutter-clank, clearing a path through shattered electronics and electro-murk. ‘Reject’ gears up for a dawn raid, inciting an illicit beat over janked-up loner funk, stalking empty streets for scraps. ‘Harder Faster Slower’ parades onto the B-side like a half-crazed maniacal grind show. Mardi gras drum rolls rattle over clown metal, drilled by chopped vox stabs ’n screwed hysterics. ‘Ghostride’ brings the reject party to a close, pointing a spectral finger to the exit before lending a sleazy hand for one last late-night runaround.
At the end of this month we will be heading to Barcelona for one of the most interesting electronic music festivals. Ombra is a project born from the hand of agency WeareWe and label Oraculo Records with the aim of creating a meeting place for lovers of analogue and avant-garde sounds that do not fit in the current cultural offer.
If you ask me, DT Camp is by far the best electronic music festival in Europe. The remote location is very beautiful, on the banks of an emerald-green lake, surrounded by the wild forests of Lithuania. The crowd is equally mixed with local and people coming from all corners of Europe, all in search for the same thing. A serious rave! The vibe there is unbelievable. Everybody is on the same page, thee is a great sense of unity and freedom. And on top of this, if the weather is nice you can bathe into the warm waters of the lake.
Rat Life Records presents Various Rats. A compilation of ultimate Party Hits for the downfall of society. Happy Doomsday everyone. If there is a rat there is life.
Alex Dorn aka Credit 00 takes a sidestep from his Uncanny Valley/Rat Life camp to showcase his rumbling, industrial machine funk and bad-ass attitude on Pinkman. Vision gets blurry and panic sets in as the A-Side track “Exctasy Overdose” blasts with vibrating basslines and shrieking sirens. On the flip we have the stripped slowbeat electro cut “Data Control”, showing a huge middle finger to online mass surveillance. The EP ends with the weirdo jam “Weg von diesem Ort” in which Alex samples synth and covers vocals of an obscure, industrial cassette tape from the early 80s.
For more than half a decade Alexander Dorn has shaken electronic sounds, stirring shapes and forms as Credit 00 that adhere to few genre tags. His Bordello A Parigi debut is no exception. The alumnus of Uncanny Valley and Ratlife arrives with four tracks under the banner of The Cosmic Funk collection. Drawing on a spectrum of influences, the Leipzig based musician melts reimagined house with broken beats, blends Eastern acid aromatics with jazz abstractions and achieves a sound that is stunningly unique. Within this sonic cocktail you’ll also encounter dashes of samples, a peppery head of 90s anthems and a liberal glug of freestyle funk. A one of a kind record from a one of a kind artist.
Mark du Mosch, Credit 00, William The Squid, Jared Wilson and Eluize join on Pt. 2 of this year’s War Child Fundraiser from Craigie Knowes. Acid, House, Disco-vibes and dreamy Electro sounds across this awesome 5 track EP – the second installment of the two-part series.
From Conrad Schnitzler in the 1960s to the pioneers of Detroit techno in the 1980s, experimental sonic artists were often inspired by the metallic noises of industrial factories. Schnitzler wanted to recreate the sounds he heard in his apprenticeship as a locksmith with musical instruments, and the sons and daughters of the midwestern automobile-industry generation programmed the motown soul into Japanese electronic music equipment. With his new piece The Metal Beat EP, Credit 00 wants to get in line with this tradition of transforming factory sounds into music. Each of the three tracks reflects on the role of the human being in an industrial environment. The never-ending movement of the machine becomes the rhythm, while the melody embodies our forlorn voices in the vastness of the factory site. The blues played by machines–modern work songs for a post-industrial society.