Territory: WORLD

FORMAT 12” 180g vinyl, printed labels,
A4 printed inlay 170gsm, dl code,
black innersleeve, white outersleeve

TRACKLIST

A. Maintain 04:56
B. The Golden Ratio (Version) 04:43

INFO

Cybotron has re-emerged in our contemporary cybercultural age when artifactual futures begin a transition into a new era of
"Meta".

By combining their knowledge of philosophy, science fiction, and mechanical engineering, at a time when electronic instrument
companies were only just beginning to distribute their products to the masses, two prosumer audio technicians named Juan
Atkins and Rik Davis were able to re-engineer Cybotron – a combination of the words “Cyborg” and “Cyclotron” (an atomic
particle accelerator) – to be used as a home studio performance music that would change the course of independently produced
and distributed electronic music.

Dissolving the boundary between singer, songwriter, and producer, Juan Atkins named Cybotron’s future forward funkadelic
sound “techno” in reference to Alvin Toler’s concept of unlikely “techno rebels” against technocracy. Techno is music that
sounds like technology, and its purpose was to help society survive our collision with a universally felt “future shock” by inserting
an audio virus into the cultural matrix.

Techno’s blueprint spread across the Detroit-Berlin Axis between Metroplex and Tresor. As human society began its transition
from a post-industrial to an information-based market economy, Cybotron enabled a thorough system override of the human
senses towards a tangible man-machine hybridity and showed the world how to channel their emotions and imaginations into
new sound technologies and create new ‘sonic’ spatialities where listeners can transport themselves out of the physical world
into the future. The cover of their debut album Enter (1983) transmitted a fragmented view of a body in motion being digitized
mid-stride, dissolving physical and virtual reality into sonic fiction.

Today, the man-machine hybridity of Cybotron is still the truest form of techno, coevolving in conversation with the technological music they created and inspired. The latest data disk marks a new chapter that reflects a techgnostic musical expression of
the knowledge acquired during their decades-long hiatus. Unlike the dance music industrial replications of the Model 500
formula, acknowledging the content marketing expectations that segments music into specific, sellable genres, this techno
music is self-aware. Cybotron processes dance music tropes spawned from its very own blueprint with a meta-tactical precision
out of sync with our current rave new world.

Cybotron’s return demonstrates a studied engagement with what techno was and should be with a peerless update of Juan
Atkins’ initial inventive idea of do-it-yourself electrically reengineered music xeroxed onto both sides of the 12” – uploaded
directly into the alleys of your mind.
- The Rhythmanalyst





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Limited Green Transparent !

We are thrilled to kick off our label endeavors with one of the rarest and simultaneously best-recorded independently released German new wave singles in history: "Jede Nacht derselbe Traum" ("The Same Dream Every Night") by Total.

Back in late 1983, Total found themselves in a pivotal rendezvous with CBS Records in a Frankfurt hotel lobby. The entire band was present, along with the esteemed NDW manager Jim Rakete, who had played a role in launching Nena to national and international stardom. Also in attendance were the A&R representatives from CBS. It was on this day that Total was presented with the opportunity to ink an album deal with CBS. However, since they had only recorded the titular song thus far, negotiations hit a snag. CBS insisted on a full album rather than a standalone single.
Ultimately, the band decided to independently issue a limited 7" run of "Jede Nacht derselbe Traum" under Günther Mannschreck's Schreckschuss label in January 1984. These vinyl copies became the band's currency for pursuing record deals and promotional prospects. However, despite the potential to achieve commercial success and garner radio airplay, the song and the "Total" project gradually waned from the music landscape. Regrettably, only a few vinyl copies have managed to endure over time. This NDW "holy grail" may have prompted a fair share of dreams for serious vinyl collectors, as to this day, not a single physical copy has been put up for sale on platforms like eBay or Discogs. Interestingly, Maisenbacher has even fielded an offer of over 400 Euros for an original copy, although he regretfully couldn't fulfill the request due to possessing just a single copy himself.

The song itself is a fusion of diverse musical styles. Crafted using the Oberheim OB8 system, complete with the DMX drum machine and a bassline woven from a Jupiter 8 keyboard, it carried a groove reminiscent of New York's electro hip-hop sound in "The Message," setting it apart from typical German new wave productions. Additionally, a Korg Polysix was integrated, and guitar effects were layered to finalize the infectious synth-pop instrumental. Newcomer to the band, Andrea Ströbel, laid down a flawless vocal layer that steered the song towards a straightforward NDW direction, giving it a resonance that surely resonated with mainstream and radio audiences. To complete a B-side for the original vinyl single, the legendary state-of-the-art L480 Lexicon reverb was used. In the more experimental "Maxi Mix," now known as the "Dub Mix," Mannschreck expertly manipulated the machine. The outcome stands as a historical example of incredible studio craftsmanship and the cutting-edge techniques of the 80s.
For the new 12" release, Mannschreck unearthed an alternative mix of the song on the original tapes, featuring a distinct introduction, break, and exciting edits. In addition, DJ Friction, who contributed to the transfer and mastering for the release, treated us to a superb edit that cleverly melds all versions of the song while incorporating a few extra bassline groove elements.

The captivating reissue cover spotlights vocalist Andrea Ströbel, who gazes with determination. A hand reaches out to grab her shirt, attempting to pull her down. Symbolizing the song's theme, it embodies the unsettling dream conveyed by the lyrics-yet she steadfastly resists.

In summary, we are elated to present a significant gem for vinyl enthusiasts: a splendid mid-tempo tune that dances on the boundary of synth-pop, new wave and electro. The new 12" single underwent meticulous mastering, and the outcome is nothing short of astounding, surpassing the sonic quality of the original pressing.


- Edition of 200 copies
- Exclusive DJ Friction Edit + additional unreleased Mix
- All tracks previously unissued on 12"
- Full picture sleeve with hype sticker
- Loud 45 RPM cut by SST
- Mastered by Martin Welzer aka DJ Friction
- Fully Licenced, recorded in 1983
- Original 7" copies never seen for sale anywhere!

Side A
Jede Nacht derselbe Traum (Single Version) 3:53
Jede Nacht derselbe Traum (Extended Re-Mix) 4:36

Side B
Jede Nacht derselbe Traum (DJ Friction Edit) 4:41
Jede Nacht derselbe Traum (Dub Mix) 5:01

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2LP Gatefold sleeve, Artwork Insert, Postcard

A Colourful Storm presents Blueboy's singles collection and the band's final retrospective release. Beautiful gatefold sleeve designed by Sarah Records' own Matt Haynes with original artwork insert, postcard and liner notes by Paul Stewart.



Tracklist


A1 Clearer
A2 Alison
A3 Popkiss
A4 Chelsea Guitar
A5 Fearon
B1 Meet Johnny Rave
B2 Elle/Air France
B3 Try Happiness
B4 A Gentle Sigh
B5 Stephanie
C1 River
C2 Nimbus
C3 Hit
C4 Dirty Mags
C5 Loony Tunes
D1 Toulouse
D2 Love Yourself
D3 Melancholia
D4 Marco Polo
D5 What Do People Do All Day?

Shortinfo:
"One Sunday afternoon in 1990, I had a phone call from Keith saying that Sarah Records had received the demo cassette the two of us had recorded on a 4-track in a friend's shed and were interested in putting out two of the songs as a single. They were Clearer and Alison. Delighted by this news, we booked some recording time with a studio we'd regularly used in our previous incarnation as Feverfew, the White House in Weston-super-Mare. This was the first time we'd ever played a note of music that was using someone else's money, so the pressure was being felt. We recorded Clearer, Fearon and Chelsea Guitar, with Clearer becoming Sarah 55, the first of eight singles for the band across two labels. At that time, we were still toying with a name for ourselves and had settled with the Art Bunnies. While driving us back home from Weston, though, I declared that I really couldn't see how people would take us seriously with a name like that. Disappointed, Keith (Girdler) then got out a piece of paper upon which he'd written several other contenders. These included Opal Trumpet, the Smiling Monarchs and (thankfully) Blueboy."

A Colourful Storm presents Blueboy's singles collection and the band's final retrospective release. Beautiful gatefold sleeve designed by Sarah Records' own Matt Haynes with original artwork insert, postcard and liner notes by Paul Stewart.







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