Wed, 22 Apr 2026 08:04:24 +0200 https://hearthis.at/acid-test-cp/ en-EN contact@hearthis.at contact@hearthis.at https://hearthis.at/acid-test-cp/ https://img.hearthis.at/9/5/4/_/uploads/8849924/image_user/w1400_h1400_q70_ptrue_v2_----cropped_1499992459.jpg no no https://hearthis.at/acid-test-cp/a1-railjet-clip/
The four songs were mixed down live to 2 tracks, created in the real world without a daw, or multi tracking, which has really captured the spirit of performance and improvisation.

Succeeding "Railjet," a tense drum workout, comes "Bim," referring to the colorful trams that run through Vienna. Here, Auvinen sculpts his 303 into near-pizzicato form. The acid box is accompanied by stately pads making for one of the duo's most memorable tracks yet. The next cut, "Danube Nights," references the mighty, ancient river, the flow motion mirrored by a couple of widescreen acid lines. A pensive lead and some melancholy chords emerge, but the drums roll right along like the water— tough enough for a heaving floor with a hint of fragility for the headphones. The record concludes with the acidic "Prater Allee," named after idyllic, sprawling park on the banks of the Danube. The duo's love letter to Vienna is well-suited for travel, for the dance and for dreaming.

Pre-order the record here:

http://www.amoeba.com/acid-test-12-john-tejada/albums/3911839/]]>
The four songs were mixed down live to 2 tracks, created in the real world without a daw, or multi tracking, which has really captured the spirit of performance and improvisation.

Succeeding "Railjet," a tense drum workout, comes "Bim," referring to the colorful trams that run through Vienna. Here, Auvinen sculpts his 303 into near-pizzicato form. The acid box is accompanied by stately pads making for one of the duo's most memorable tracks yet. The next cut, "Danube Nights," references the mighty, ancient river, the flow motion mirrored by a couple of widescreen acid lines. A pensive lead and some melancholy chords emerge, but the drums roll right along like the water— tough enough for a heaving floor with a hint of fragility for the headphones. The record concludes with the acidic "Prater Allee," named after idyllic, sprawling park on the banks of the Danube. The duo's love letter to Vienna is well-suited for travel, for the dance and for dreaming.

Pre-order the record here:

http://www.amoeba.com/acid-test-12-john-tejada/albums/3911839/]]> 1400852 no no Wed, 18 Jan 2017 00:22:43 +0100 2017-01-18T00:22:43+01:00 2:02 https://hearthis.at/acid-test-cp/a2-bim-clip/
The four songs were mixed down live to 2 tracks, created in the real world without a daw, or multi tracking, which has really captured the spirit of performance and improvisation.

Succeeding "Railjet," a tense drum workout, comes "Bim," referring to the colorful trams that run through Vienna. Here, Auvinen sculpts his 303 into near-pizzicato form. The acid box is accompanied by stately pads making for one of the duo's most memorable tracks yet. The next cut, "Danube Nights," references the mighty, ancient river, the flow motion mirrored by a couple of widescreen acid lines. A pensive lead and some melancholy chords emerge, but the drums roll right along like the water— tough enough for a heaving floor with a hint of fragility for the headphones. The record concludes with the acidic "Prater Allee," named after idyllic, sprawling park on the banks of the Danube. The duo's love letter to Vienna is well-suited for travel, for the dance and for dreaming.

Pre-order the record here:

http://www.amoeba.com/acid-test-12-john-tejada/albums/3911839/]]>
The four songs were mixed down live to 2 tracks, created in the real world without a daw, or multi tracking, which has really captured the spirit of performance and improvisation.

Succeeding "Railjet," a tense drum workout, comes "Bim," referring to the colorful trams that run through Vienna. Here, Auvinen sculpts his 303 into near-pizzicato form. The acid box is accompanied by stately pads making for one of the duo's most memorable tracks yet. The next cut, "Danube Nights," references the mighty, ancient river, the flow motion mirrored by a couple of widescreen acid lines. A pensive lead and some melancholy chords emerge, but the drums roll right along like the water— tough enough for a heaving floor with a hint of fragility for the headphones. The record concludes with the acidic "Prater Allee," named after idyllic, sprawling park on the banks of the Danube. The duo's love letter to Vienna is well-suited for travel, for the dance and for dreaming.

Pre-order the record here:

http://www.amoeba.com/acid-test-12-john-tejada/albums/3911839/]]> 1400853 no no Wed, 18 Jan 2017 00:22:41 +0100 2017-01-18T00:22:41+01:00 2:02 https://hearthis.at/acid-test-cp/b1-danube-nights-clip/
The four songs were mixed down live to 2 tracks, created in the real world without a daw, or multi tracking, which has really captured the spirit of performance and improvisation.

Succeeding "Railjet," a tense drum workout, comes "Bim," referring to the colorful trams that run through Vienna. Here, Auvinen sculpts his 303 into near-pizzicato form. The acid box is accompanied by stately pads making for one of the duo's most memorable tracks yet. The next cut, "Danube Nights," references the mighty, ancient river, the flow motion mirrored by a couple of widescreen acid lines. A pensive lead and some melancholy chords emerge, but the drums roll right along like the water— tough enough for a heaving floor with a hint of fragility for the headphones. The record concludes with the acidic "Prater Allee," named after idyllic, sprawling park on the banks of the Danube. The duo's love letter to Vienna is well-suited for travel, for the dance and for dreaming.

Pre-order the record here:

http://www.amoeba.com/acid-test-12-john-tejada/albums/3911839/]]>
The four songs were mixed down live to 2 tracks, created in the real world without a daw, or multi tracking, which has really captured the spirit of performance and improvisation.

Succeeding "Railjet," a tense drum workout, comes "Bim," referring to the colorful trams that run through Vienna. Here, Auvinen sculpts his 303 into near-pizzicato form. The acid box is accompanied by stately pads making for one of the duo's most memorable tracks yet. The next cut, "Danube Nights," references the mighty, ancient river, the flow motion mirrored by a couple of widescreen acid lines. A pensive lead and some melancholy chords emerge, but the drums roll right along like the water— tough enough for a heaving floor with a hint of fragility for the headphones. The record concludes with the acidic "Prater Allee," named after idyllic, sprawling park on the banks of the Danube. The duo's love letter to Vienna is well-suited for travel, for the dance and for dreaming.

Pre-order the record here:

http://www.amoeba.com/acid-test-12-john-tejada/albums/3911839/]]> 1400854 no no Wed, 18 Jan 2017 00:22:40 +0100 2017-01-18T00:22:40+01:00 2:02 https://hearthis.at/acid-test-cp/b2-prater-allee-clip/
The four songs were mixed down live to 2 tracks, created in the real world without a daw, or multi tracking, which has really captured the spirit of performance and improvisation.

Succeeding "Railjet," a tense drum workout, comes "Bim," referring to the colorful trams that run through Vienna. Here, Auvinen sculpts his 303 into near-pizzicato form. The acid box is accompanied by stately pads making for one of the duo's most memorable tracks yet. The next cut, "Danube Nights," references the mighty, ancient river, the flow motion mirrored by a couple of widescreen acid lines. A pensive lead and some melancholy chords emerge, but the drums roll right along like the water— tough enough for a heaving floor with a hint of fragility for the headphones. The record concludes with the acidic "Prater Allee," named after idyllic, sprawling park on the banks of the Danube. The duo's love letter to Vienna is well-suited for travel, for the dance and for dreaming.

Pre-order the record here:

http://www.amoeba.com/acid-test-12-john-tejada/albums/3911839/]]>
The four songs were mixed down live to 2 tracks, created in the real world without a daw, or multi tracking, which has really captured the spirit of performance and improvisation.

Succeeding "Railjet," a tense drum workout, comes "Bim," referring to the colorful trams that run through Vienna. Here, Auvinen sculpts his 303 into near-pizzicato form. The acid box is accompanied by stately pads making for one of the duo's most memorable tracks yet. The next cut, "Danube Nights," references the mighty, ancient river, the flow motion mirrored by a couple of widescreen acid lines. A pensive lead and some melancholy chords emerge, but the drums roll right along like the water— tough enough for a heaving floor with a hint of fragility for the headphones. The record concludes with the acidic "Prater Allee," named after idyllic, sprawling park on the banks of the Danube. The duo's love letter to Vienna is well-suited for travel, for the dance and for dreaming.

Pre-order the record here:

http://www.amoeba.com/acid-test-12-john-tejada/albums/3911839/]]> 1400855 no no Wed, 18 Jan 2017 00:22:39 +0100 2017-01-18T00:22:39+01:00 2:00 https://hearthis.at/acid-test-cp/a1-joey-anderson-if-one-cares-they-act-different-clip/ 1400856 no no Wed, 24 Aug 2016 19:21:31 +0200 2016-08-24T19:21:31+02:00 2:15 https://hearthis.at/acid-test-cp/a2-joey-anderson-peace-there-clip/ 1400857 no no Wed, 24 Aug 2016 17:59:48 +0200 2016-08-24T17:59:48+02:00 2:15 https://hearthis.at/acid-test-cp/b1-joey-anderson-vase-clip/ 1400858 no no Wed, 24 Aug 2016 17:59:45 +0200 2016-08-24T17:59:45+02:00 2:23 https://hearthis.at/acid-test-cp/a1-fates-unknown/ 1400859 no no Tue, 07 Jun 2016 18:19:25 +0200 2016-06-07T18:19:25+02:00 1:29 https://hearthis.at/acid-test-cp/a2-fates-unknown-erika-remix/ 1400860 no no Tue, 07 Jun 2016 18:19:22 +0200 2016-06-07T18:19:22+02:00 1:29 https://hearthis.at/acid-test-cp/b1-pendle-by-night/ 1400861 no no Tue, 07 Jun 2016 18:19:20 +0200 2016-06-07T18:19:20+02:00 1:29 https://hearthis.at/acid-test-cp/a1-swift-box-preview/ The latest missive from Acid Test has the label identifying with its hometown, Los Angeles, more than ever. LA-born Vienna resident and label mainstay Tin Man takes Vienna-born Angeleno resident John Tejada along for a four-track journey which dwells on the activity which defines life in the City of Angels, driving. Opener "Swiftbox" is a perfect amalgam of Auvinen and Tejada's respective styles— Tremulous 303 and complex minor key melodicism and deconstructed stabs. "Diamond Lanes" is another muscular acid cut with a subtle, swinging percussion. The Diamond Lanes in question can be used when you have a passenger in the car. When widescreen pads come in over jacking snares, you can picture the duo tearing through the iconic 2nd street tunnel out onto the 10 west towards the ocean, leaving the city's warehouse district in their wake. Label regulars Achterbahn D'amour reimagine "Diamond Lanes" as a skeletal electro roller with their remix version. The closer "Deep Traffic" is a bugged-out acid cut which captures the feeling of sitting alone in a crowd of autos, crawling towards eternal sunset. ]]> The latest missive from Acid Test has the label identifying with its hometown, Los Angeles, more than ever. LA-born Vienna resident and label mainstay Tin Man takes Vienna-born Angeleno resident John Tejada along for a four-track journey which dwells on the activity which defines life in the City of Angels, driving. Opener "Swiftbox" is a perfect amalgam of Auvinen and Tejada's respective styles— Tremulous 303 and complex minor key melodicism and deconstructed stabs. "Diamond Lanes" is another muscular acid cut with a subtle, swinging percussion. The Diamond Lanes in question can be used when you have a passenger in the car. When widescreen pads come in over jacking snares, you can picture the duo tearing through the iconic 2nd street tunnel out onto the 10 west towards the ocean, leaving the city's warehouse district in their wake. Label regulars Achterbahn D'amour reimagine "Diamond Lanes" as a skeletal electro roller with their remix version. The closer "Deep Traffic" is a bugged-out acid cut which captures the feeling of sitting alone in a crowd of autos, crawling towards eternal sunset. ]]> 1400862 no no Wed, 27 Jan 2016 21:45:40 +0100 2016-01-27T21:45:40+01:00 1:59 https://hearthis.at/acid-test-cp/a2-diamond-lanes-preview/ The latest missive from Acid Test has the label identifying with its hometown, Los Angeles, more than ever. LA-born Vienna resident and label mainstay Tin Man takes Vienna-born Angeleno resident John Tejada along for a four-track journey which dwells on the activity which defines life in the City of Angels, driving. Opener "Swiftbox" is a perfect amalgam of Auvinen and Tejada's respective styles— Tremulous 303 and complex minor key melodicism and deconstructed stabs. "Diamond Lanes" is another muscular acid cut with a subtle, swinging percussion. The Diamond Lanes in question can be used when you have a passenger in the car. When widescreen pads come in over jacking snares, you can picture the duo tearing through the iconic 2nd street tunnel out onto the 10 west towards the ocean, leaving the city's warehouse district in their wake. Label regulars Achterbahn D'amour reimagine "Diamond Lanes" as a skeletal electro roller with their remix version. The closer "Deep Traffic" is a bugged-out acid cut which captures the feeling of sitting alone in a crowd of autos, crawling towards eternal sunset. ]]> The latest missive from Acid Test has the label identifying with its hometown, Los Angeles, more than ever. LA-born Vienna resident and label mainstay Tin Man takes Vienna-born Angeleno resident John Tejada along for a four-track journey which dwells on the activity which defines life in the City of Angels, driving. Opener "Swiftbox" is a perfect amalgam of Auvinen and Tejada's respective styles— Tremulous 303 and complex minor key melodicism and deconstructed stabs. "Diamond Lanes" is another muscular acid cut with a subtle, swinging percussion. The Diamond Lanes in question can be used when you have a passenger in the car. When widescreen pads come in over jacking snares, you can picture the duo tearing through the iconic 2nd street tunnel out onto the 10 west towards the ocean, leaving the city's warehouse district in their wake. Label regulars Achterbahn D'amour reimagine "Diamond Lanes" as a skeletal electro roller with their remix version. The closer "Deep Traffic" is a bugged-out acid cut which captures the feeling of sitting alone in a crowd of autos, crawling towards eternal sunset. ]]> 1400863 no no Wed, 27 Jan 2016 21:45:37 +0100 2016-01-27T21:45:37+01:00 1:59 https://hearthis.at/acid-test-cp/b1-diamond-lanes-achterbahn-damour-remix-preview/ The latest missive from Acid Test has the label identifying with its hometown, Los Angeles, more than ever. LA-born Vienna resident and label mainstay Tin Man takes Vienna-born Angeleno resident John Tejada along for a four-track journey which dwells on the activity which defines life in the City of Angels, driving. Opener "Swiftbox" is a perfect amalgam of Auvinen and Tejada's respective styles— Tremulous 303 and complex minor key melodicism and deconstructed stabs. "Diamond Lanes" is another muscular acid cut with a subtle, swinging percussion. The Diamond Lanes in question can be used when you have a passenger in the car. When widescreen pads come in over jacking snares, you can picture the duo tearing through the iconic 2nd street tunnel out onto the 10 west towards the ocean, leaving the city's warehouse district in their wake. Label regulars Achterbahn D'amour reimagine "Diamond Lanes" as a skeletal electro roller with their remix version. The closer "Deep Traffic" is a bugged-out acid cut which captures the feeling of sitting alone in a crowd of autos, crawling towards eternal sunset. ]]> The latest missive from Acid Test has the label identifying with its hometown, Los Angeles, more than ever. LA-born Vienna resident and label mainstay Tin Man takes Vienna-born Angeleno resident John Tejada along for a four-track journey which dwells on the activity which defines life in the City of Angels, driving. Opener "Swiftbox" is a perfect amalgam of Auvinen and Tejada's respective styles— Tremulous 303 and complex minor key melodicism and deconstructed stabs. "Diamond Lanes" is another muscular acid cut with a subtle, swinging percussion. The Diamond Lanes in question can be used when you have a passenger in the car. When widescreen pads come in over jacking snares, you can picture the duo tearing through the iconic 2nd street tunnel out onto the 10 west towards the ocean, leaving the city's warehouse district in their wake. Label regulars Achterbahn D'amour reimagine "Diamond Lanes" as a skeletal electro roller with their remix version. The closer "Deep Traffic" is a bugged-out acid cut which captures the feeling of sitting alone in a crowd of autos, crawling towards eternal sunset. ]]> 1400865 no no Wed, 27 Jan 2016 21:45:36 +0100 2016-01-27T21:45:36+01:00 2:00 https://hearthis.at/acid-test-cp/b2-deep-traffic-preview/ The latest missive from Acid Test has the label identifying with its hometown, Los Angeles, more than ever. LA-born Vienna resident and label mainstay Tin Man takes Vienna-born Angeleno resident John Tejada along for a four-track journey which dwells on the activity which defines life in the City of Angels, driving. Opener "Swiftbox" is a perfect amalgam of Auvinen and Tejada's respective styles— Tremulous 303 and complex minor key melodicism and deconstructed stabs. "Diamond Lanes" is another muscular acid cut with a subtle, swinging percussion. The Diamond Lanes in question can be used when you have a passenger in the car. When widescreen pads come in over jacking snares, you can picture the duo tearing through the iconic 2nd street tunnel out onto the 10 west towards the ocean, leaving the city's warehouse district in their wake. Label regulars Achterbahn D'amour reimagine "Diamond Lanes" as a skeletal electro roller with their remix version. The closer "Deep Traffic" is a bugged-out acid cut which captures the feeling of sitting alone in a crowd of autos, crawling towards eternal sunset. ]]> The latest missive from Acid Test has the label identifying with its hometown, Los Angeles, more than ever. LA-born Vienna resident and label mainstay Tin Man takes Vienna-born Angeleno resident John Tejada along for a four-track journey which dwells on the activity which defines life in the City of Angels, driving. Opener "Swiftbox" is a perfect amalgam of Auvinen and Tejada's respective styles— Tremulous 303 and complex minor key melodicism and deconstructed stabs. "Diamond Lanes" is another muscular acid cut with a subtle, swinging percussion. The Diamond Lanes in question can be used when you have a passenger in the car. When widescreen pads come in over jacking snares, you can picture the duo tearing through the iconic 2nd street tunnel out onto the 10 west towards the ocean, leaving the city's warehouse district in their wake. Label regulars Achterbahn D'amour reimagine "Diamond Lanes" as a skeletal electro roller with their remix version. The closer "Deep Traffic" is a bugged-out acid cut which captures the feeling of sitting alone in a crowd of autos, crawling towards eternal sunset. ]]> 1400866 no no Wed, 27 Jan 2016 21:45:33 +0100 2016-01-27T21:45:33+01:00 2:00 https://hearthis.at/acid-test-cp/a1-limber/ 1400867 no no Wed, 09 Sep 2015 22:11:01 +0200 2015-09-09T22:11:01+02:00 2:00 https://hearthis.at/acid-test-cp/a2-undulate/ 1400868 no no Wed, 09 Sep 2015 22:10:59 +0200 2015-09-09T22:10:59+02:00 2:00 https://hearthis.at/acid-test-cp/b1-undulate-lawrence-dub/ 1400869 no no Wed, 09 Sep 2015 22:10:57 +0200 2015-09-09T22:10:57+02:00 2:00 https://hearthis.at/acid-test-cp/b2-undulate-lawrence-remix/ 1400870 no no Wed, 09 Sep 2015 22:10:56 +0200 2015-09-09T22:10:56+02:00 2:00 https://hearthis.at/acid-test-cp/a1-man-on-wire-clip/ 1400871 no no Tue, 12 May 2015 18:07:45 +0200 2015-05-12T18:07:45+02:00 2:51 https://hearthis.at/acid-test-cp/a2-man-on-wire-reconstruction-clip/ 1400872 no no Tue, 12 May 2015 18:07:44 +0200 2015-05-12T18:07:44+02:00 2:24 https://hearthis.at/acid-test-cp/b1-hidden-track-clip/ 1400873 no no Tue, 12 May 2015 18:07:41 +0200 2015-05-12T18:07:41+02:00 2:24 https://hearthis.at/acid-test-cp/d2-phurip/
Purchase album here:

LP - http://bit.ly/1zhyPlD

CD - http://bit.ly/18z6crw

Digi - http://bit.ly/1GN2RCn

www.absurdrecordings.com]]>
Purchase album here:

LP - http://bit.ly/1zhyPlD

CD - http://bit.ly/18z6crw

Digi - http://bit.ly/1GN2RCn

www.absurdrecordings.com]]> 1400874 no no Thu, 02 Apr 2015 04:25:58 +0200 2015-04-02T04:25:58+02:00 1:41 https://hearthis.at/acid-test-cp/d1-100mc4/
Purchase album here:

LP - http://bit.ly/1zhyPlD

CD - http://bit.ly/18z6crw

Digi - http://bit.ly/1GN2RCn

www.absurdrecordings.com]]>
Purchase album here:

LP - http://bit.ly/1zhyPlD

CD - http://bit.ly/18z6crw

Digi - http://bit.ly/1GN2RCn

www.absurdrecordings.com]]> 1400875 no no Thu, 02 Apr 2015 04:25:56 +0200 2015-04-02T04:25:56+02:00 2:00 https://hearthis.at/acid-test-cp/c1-85h/
Purchase album here:

LP - http://bit.ly/1zhyPlD

CD - http://bit.ly/18z6crw

Digi - http://bit.ly/1GN2RCn

www.absurdrecordings.com]]>
Purchase album here:

LP - http://bit.ly/1zhyPlD

CD - http://bit.ly/18z6crw

Digi - http://bit.ly/1GN2RCn

www.absurdrecordings.com]]> 1400876 no no Thu, 02 Apr 2015 04:25:54 +0200 2015-04-02T04:25:54+02:00 2:00 https://hearthis.at/acid-test-cp/c2-430/
Purchase album here:

LP - http://bit.ly/1zhyPlD

CD - http://bit.ly/18z6crw

Digi - http://bit.ly/1GN2RCn

www.absurdrecordings.com]]>
Purchase album here:

LP - http://bit.ly/1zhyPlD

CD - http://bit.ly/18z6crw

Digi - http://bit.ly/1GN2RCn

www.absurdrecordings.com]]> 1400877 no no Thu, 02 Apr 2015 04:25:52 +0200 2015-04-02T04:25:52+02:00 2:00 https://hearthis.at/acid-test-cp/b2-sain/
Purchase album here:

LP - http://bit.ly/1zhyPlD

CD - http://bit.ly/18z6crw

Digi - http://bit.ly/1GN2RCn

www.absurdrecordings.com]]>
Purchase album here:

LP - http://bit.ly/1zhyPlD

CD - http://bit.ly/18z6crw

Digi - http://bit.ly/1GN2RCn

www.absurdrecordings.com]]> 1400878 no no Thu, 02 Apr 2015 04:25:51 +0200 2015-04-02T04:25:51+02:00 1:31 https://hearthis.at/acid-test-cp/b1-rainover/
Purchase album here:

LP - http://bit.ly/1zhyPlD

CD - http://bit.ly/18z6crw

Digi - http://bit.ly/1GN2RCn

www.absurdrecordings.com]]>
Purchase album here:

LP - http://bit.ly/1zhyPlD

CD - http://bit.ly/18z6crw

Digi - http://bit.ly/1GN2RCn

www.absurdrecordings.com]]> 1400879 no no Thu, 02 Apr 2015 04:25:49 +0200 2015-04-02T04:25:49+02:00 2:00 https://hearthis.at/acid-test-cp/a1-after-below/
Purchase album here:

LP - http://bit.ly/1zhyPlD

CD - http://bit.ly/18z6crw

Digi - http://bit.ly/1GN2RCn

www.absurdrecordings.com]]>
Purchase album here:

LP - http://bit.ly/1zhyPlD

CD - http://bit.ly/18z6crw

Digi - http://bit.ly/1GN2RCn

www.absurdrecordings.com]]> 1400880 no no Thu, 02 Apr 2015 04:25:46 +0200 2015-04-02T04:25:46+02:00 2:00 https://hearthis.at/acid-test-cp/a2-before-above/
Purchase album here:

LP - http://bit.ly/1zhyPlD

CD - http://bit.ly/18z6crw

Digi - http://bit.ly/1GN2RCn

www.absurdrecordings.com]]>
Purchase album here:

LP - http://bit.ly/1zhyPlD

CD - http://bit.ly/18z6crw

Digi - http://bit.ly/1GN2RCn

www.absurdrecordings.com]]> 1400881 no no Thu, 02 Apr 2015 04:25:45 +0200 2015-04-02T04:25:45+02:00 2:00 https://hearthis.at/acid-test-cp/trickfinger-after-below/ Release date: April 6th
Cat # ATLP05

Purchase here:
2LP http://bit.ly/1zhyPlD
CD http://bit.ly/18z6crw
iTunes - http://apple.co/1Firnqt

The latest chapter in the electronic evolution of guitarist John Frusciante features a new project under his Trickfinger guise and has him utilizing the classic hardware that spawned the eternal acid template. Frusciante's desire to cede control to machines has paradoxically allowed him to present a singular take on elemental dance music, a brilliant and unexpected entry into Acid Test's growing canon of modern, 303-focused dance music.
]]> Release date: April 6th
Cat # ATLP05

Purchase here:
2LP http://bit.ly/1zhyPlD
CD http://bit.ly/18z6crw
iTunes - http://apple.co/1Firnqt

The latest chapter in the electronic evolution of guitarist John Frusciante features a new project under his Trickfinger guise and has him utilizing the classic hardware that spawned the eternal acid template. Frusciante's desire to cede control to machines has paradoxically allowed him to present a singular take on elemental dance music, a brilliant and unexpected entry into Acid Test's growing canon of modern, 303-focused dance music.
]]> 1400882 no no Sun, 25 Jan 2015 01:38:38 +0100 2015-01-25T01:38:38+01:00 4:29 https://hearthis.at/acid-test-cp/achterbahn-damour-holy-romance-empire-marcellus-pittman-clip/ Achterbahn D'Amour's machinefunk opus, "Odd Movements." gets reworked with 4 sonically diverse remixes. Detroit don Marcellus Pittman kicks things off with a massive, unsettling flip of "Holy Roman Empire." The Italian producer Chevel is up next with a virtuosic take on the LP's title track. His cubist, artfully restrained version ends with over a minute of icy techno snap. Convextion, as well, chooses to hold back for maximum impact, infusing the moody "Passagen" with subdued electro bounce. Finally, SW. imbuesthe duo's "Konigstr" with dubbed-out breakbeat pressure, occasionally allowing the original acid line to seep through a skittering rave rhythm.]]> Achterbahn D'Amour's machinefunk opus, "Odd Movements." gets reworked with 4 sonically diverse remixes. Detroit don Marcellus Pittman kicks things off with a massive, unsettling flip of "Holy Roman Empire." The Italian producer Chevel is up next with a virtuosic take on the LP's title track. His cubist, artfully restrained version ends with over a minute of icy techno snap. Convextion, as well, chooses to hold back for maximum impact, infusing the moody "Passagen" with subdued electro bounce. Finally, SW. imbuesthe duo's "Konigstr" with dubbed-out breakbeat pressure, occasionally allowing the original acid line to seep through a skittering rave rhythm.]]> 1400883 no no Tue, 09 Dec 2014 01:11:34 +0100 2014-12-09T01:11:34+01:00 2:00 https://hearthis.at/acid-test-cp/achterbahn-d-amour-passagen-convextion-clip/
Achterbahn D'Amour's machinefunk opus, "Odd Movements." gets reworked with 4 sonically diverse remixes. Detroit don Marcellus Pittman kicks things off with a massive, unsettling flip of "Holy Roman Empire." The Italian producer Chevel is up next with a virtuosic take on the LP's title track. His cubist, artfully restrained version ends with over a minute of icy techno snap. Convextion, as well, chooses to hold back for maximum impact, infusing the moody "Passagen" with subdued electro bounce. Finally, SW. imbuesthe duo's "Konigstr" with dubbed-out breakbeat pressure, occasionally allowing the original acid line to seep through a skittering rave rhythm.]]>
Achterbahn D'Amour's machinefunk opus, "Odd Movements." gets reworked with 4 sonically diverse remixes. Detroit don Marcellus Pittman kicks things off with a massive, unsettling flip of "Holy Roman Empire." The Italian producer Chevel is up next with a virtuosic take on the LP's title track. His cubist, artfully restrained version ends with over a minute of icy techno snap. Convextion, as well, chooses to hold back for maximum impact, infusing the moody "Passagen" with subdued electro bounce. Finally, SW. imbuesthe duo's "Konigstr" with dubbed-out breakbeat pressure, occasionally allowing the original acid line to seep through a skittering rave rhythm.]]> 1400884 no no Tue, 09 Dec 2014 01:07:12 +0100 2014-12-09T01:07:12+01:00 2:00 https://hearthis.at/acid-test-cp/achterbahn-damour-konigstr-sw-remix/
Achterbahn D'Amour's machinefunk opus, "Odd Movements." gets reworked with 4 sonically diverse remixes. Detroit don Marcellus Pittman kicks things off with a massive, unsettling flip of "Holy Roman Empire." The Italian producer Chevel is up next with a virtuosic take on the LP's title track. His cubist, artfully restrained version ends with over a minute of icy techno snap. Convextion, as well, chooses to hold back for maximum impact, infusing the moody "Passagen" with subdued electro bounce. Finally, SW. imbuesthe duo's "Konigstr" with dubbed-out breakbeat pressure, occasionally allowing the original acid line to seep through a skittering rave rhythm.]]>
Achterbahn D'Amour's machinefunk opus, "Odd Movements." gets reworked with 4 sonically diverse remixes. Detroit don Marcellus Pittman kicks things off with a massive, unsettling flip of "Holy Roman Empire." The Italian producer Chevel is up next with a virtuosic take on the LP's title track. His cubist, artfully restrained version ends with over a minute of icy techno snap. Convextion, as well, chooses to hold back for maximum impact, infusing the moody "Passagen" with subdued electro bounce. Finally, SW. imbuesthe duo's "Konigstr" with dubbed-out breakbeat pressure, occasionally allowing the original acid line to seep through a skittering rave rhythm.]]> 1400885 no no Tue, 09 Dec 2014 01:05:20 +0100 2014-12-09T01:05:20+01:00 2:00 https://hearthis.at/acid-test-cp/a2-inyoursystem/ Release date September 20th

What does a rave sound like the next day? The strobe lights in a dark warehouse, the pounding kick, the blur of ecstatic faces lead to a morning-after emptiness, all fade into memories of the friends you once had. On Ode, Tin Man explores this feeling, offering tracks which possess an exhausted joy, the aural equivalent of the stretch of time beginning when the last record is played and stretching on towards the doleful contemplation of last night's unmade sheets.

Appropriately, Tin Man's melancholic dance music is more club-ready than ever. The opening tracks explore the spacious atmosphere first proposed on Neo Neo Acid and the (recently repressed) Acid Test 01 collaboration with Donato Dozzy. Auvinen continues to coax unique, bittersweet sounds out of the 303 - his control is akin to a virtuosic theremin player, all dramatic lunges and dynamics. Yet on tracks like Depleted Serotonin, the memories of half-remembered nights surface. That track reprises the minor-key rave breakdown, ending with nearly three-minutes of knackered techno throb. Similarly, "What a Shame" sounds like a forgotten Warp classic run through Tin Man's palette of tasteful reserve.

Always conceptual, Tin Man is commenting on big room techno music by presenting his thoughtful, hungover version of it. On Vertigo, he reins in the acid box acrobatics - opting instead for a rudimentary, early-Chicago style pattern, eventually following optimistic chords skyward. It's a simulacrum of that end-of-the-night moment when the music is so charged and utopic that all fatigue is forgotten. Auvinen's recognized talent to imbue machines with complex human emotion draws us into his world. With Tin Man's music, there is always something left unsaid -- he uses familiar elements yet his perspective remains singular and mysterious. Each dreamlike track is another clue.

He ends the set with the intensely dramatic Memoraphilia and Ode. The former concludes on an ominous note with strings that evoke paranoia, yet this feeling, too, will pass. The final (and title) track begins with the Deepchord-level percussive filtering that acts as the album's textural base. Almost immediately, Tin Man introduces an octave jumping acid refrain. The four-bar loop reaches operatic heights of yearning. Ode's rave stabs indicate this drama comes from the implacable notion of being alone in the crowd -- an emptiness which can remain long after it's disbanded. What comes when the dance is over?]]> Release date September 20th

What does a rave sound like the next day? The strobe lights in a dark warehouse, the pounding kick, the blur of ecstatic faces lead to a morning-after emptiness, all fade into memories of the friends you once had. On Ode, Tin Man explores this feeling, offering tracks which possess an exhausted joy, the aural equivalent of the stretch of time beginning when the last record is played and stretching on towards the doleful contemplation of last night's unmade sheets.

Appropriately, Tin Man's melancholic dance music is more club-ready than ever. The opening tracks explore the spacious atmosphere first proposed on Neo Neo Acid and the (recently repressed) Acid Test 01 collaboration with Donato Dozzy. Auvinen continues to coax unique, bittersweet sounds out of the 303 - his control is akin to a virtuosic theremin player, all dramatic lunges and dynamics. Yet on tracks like Depleted Serotonin, the memories of half-remembered nights surface. That track reprises the minor-key rave breakdown, ending with nearly three-minutes of knackered techno throb. Similarly, "What a Shame" sounds like a forgotten Warp classic run through Tin Man's palette of tasteful reserve.

Always conceptual, Tin Man is commenting on big room techno music by presenting his thoughtful, hungover version of it. On Vertigo, he reins in the acid box acrobatics - opting instead for a rudimentary, early-Chicago style pattern, eventually following optimistic chords skyward. It's a simulacrum of that end-of-the-night moment when the music is so charged and utopic that all fatigue is forgotten. Auvinen's recognized talent to imbue machines with complex human emotion draws us into his world. With Tin Man's music, there is always something left unsaid -- he uses familiar elements yet his perspective remains singular and mysterious. Each dreamlike track is another clue.

He ends the set with the intensely dramatic Memoraphilia and Ode. The former concludes on an ominous note with strings that evoke paranoia, yet this feeling, too, will pass. The final (and title) track begins with the Deepchord-level percussive filtering that acts as the album's textural base. Almost immediately, Tin Man introduces an octave jumping acid refrain. The four-bar loop reaches operatic heights of yearning. Ode's rave stabs indicate this drama comes from the implacable notion of being alone in the crowd -- an emptiness which can remain long after it's disbanded. What comes when the dance is over?]]> 1400886 no no Thu, 21 Aug 2014 20:36:29 +0200 2014-08-21T20:36:29+02:00 1:29 https://hearthis.at/acid-test-cp/c2-memorophilia/ Release date September 20th

What does a rave sound like the next day? The strobe lights in a dark warehouse, the pounding kick, the blur of ecstatic faces lead to a morning-after emptiness, all fade into memories of the friends you once had. On Ode, Tin Man explores this feeling, offering tracks which possess an exhausted joy, the aural equivalent of the stretch of time beginning when the last record is played and stretching on towards the doleful contemplation of last night's unmade sheets.

Appropriately, Tin Man's melancholic dance music is more club-ready than ever. The opening tracks explore the spacious atmosphere first proposed on Neo Neo Acid and the (recently repressed) Acid Test 01 collaboration with Donato Dozzy. Auvinen continues to coax unique, bittersweet sounds out of the 303 - his control is akin to a virtuosic theremin player, all dramatic lunges and dynamics. Yet on tracks like Depleted Serotonin, the memories of half-remembered nights surface. That track reprises the minor-key rave breakdown, ending with nearly three-minutes of knackered techno throb. Similarly, "What a Shame" sounds like a forgotten Warp classic run through Tin Man's palette of tasteful reserve.

Always conceptual, Tin Man is commenting on big room techno music by presenting his thoughtful, hungover version of it. On Vertigo, he reins in the acid box acrobatics - opting instead for a rudimentary, early-Chicago style pattern, eventually following optimistic chords skyward. It's a simulacrum of that end-of-the-night moment when the music is so charged and utopic that all fatigue is forgotten. Auvinen's recognized talent to imbue machines with complex human emotion draws us into his world. With Tin Man's music, there is always something left unsaid -- he uses familiar elements yet his perspective remains singular and mysterious. Each dreamlike track is another clue.

He ends the set with the intensely dramatic Memoraphilia and Ode. The former concludes on an ominous note with strings that evoke paranoia, yet this feeling, too, will pass. The final (and title) track begins with the Deepchord-level percussive filtering that acts as the album's textural base. Almost immediately, Tin Man introduces an octave jumping acid refrain. The four-bar loop reaches operatic heights of yearning. Ode's rave stabs indicate this drama comes from the implacable notion of being alone in the crowd -- an emptiness which can remain long after it's disbanded. What comes when the dance is over?]]> Release date September 20th

What does a rave sound like the next day? The strobe lights in a dark warehouse, the pounding kick, the blur of ecstatic faces lead to a morning-after emptiness, all fade into memories of the friends you once had. On Ode, Tin Man explores this feeling, offering tracks which possess an exhausted joy, the aural equivalent of the stretch of time beginning when the last record is played and stretching on towards the doleful contemplation of last night's unmade sheets.

Appropriately, Tin Man's melancholic dance music is more club-ready than ever. The opening tracks explore the spacious atmosphere first proposed on Neo Neo Acid and the (recently repressed) Acid Test 01 collaboration with Donato Dozzy. Auvinen continues to coax unique, bittersweet sounds out of the 303 - his control is akin to a virtuosic theremin player, all dramatic lunges and dynamics. Yet on tracks like Depleted Serotonin, the memories of half-remembered nights surface. That track reprises the minor-key rave breakdown, ending with nearly three-minutes of knackered techno throb. Similarly, "What a Shame" sounds like a forgotten Warp classic run through Tin Man's palette of tasteful reserve.

Always conceptual, Tin Man is commenting on big room techno music by presenting his thoughtful, hungover version of it. On Vertigo, he reins in the acid box acrobatics - opting instead for a rudimentary, early-Chicago style pattern, eventually following optimistic chords skyward. It's a simulacrum of that end-of-the-night moment when the music is so charged and utopic that all fatigue is forgotten. Auvinen's recognized talent to imbue machines with complex human emotion draws us into his world. With Tin Man's music, there is always something left unsaid -- he uses familiar elements yet his perspective remains singular and mysterious. Each dreamlike track is another clue.

He ends the set with the intensely dramatic Memoraphilia and Ode. The former concludes on an ominous note with strings that evoke paranoia, yet this feeling, too, will pass. The final (and title) track begins with the Deepchord-level percussive filtering that acts as the album's textural base. Almost immediately, Tin Man introduces an octave jumping acid refrain. The four-bar loop reaches operatic heights of yearning. Ode's rave stabs indicate this drama comes from the implacable notion of being alone in the crowd -- an emptiness which can remain long after it's disbanded. What comes when the dance is over?]]> 1400887 no no Thu, 21 Aug 2014 20:36:28 +0200 2014-08-21T20:36:28+02:00 1:30 https://hearthis.at/acid-test-cp/digi3vertigovocal/ Release date September 20th

What does a rave sound like the next day? The strobe lights in a dark warehouse, the pounding kick, the blur of ecstatic faces lead to a morning-after emptiness, all fade into memories of the friends you once had. On Ode, Tin Man explores this feeling, offering tracks which possess an exhausted joy, the aural equivalent of the stretch of time beginning when the last record is played and stretching on towards the doleful contemplation of last night's unmade sheets.

Appropriately, Tin Man's melancholic dance music is more club-ready than ever. The opening tracks explore the spacious atmosphere first proposed on Neo Neo Acid and the (recently repressed) Acid Test 01 collaboration with Donato Dozzy. Auvinen continues to coax unique, bittersweet sounds out of the 303 - his control is akin to a virtuosic theremin player, all dramatic lunges and dynamics. Yet on tracks like Depleted Serotonin, the memories of half-remembered nights surface. That track reprises the minor-key rave breakdown, ending with nearly three-minutes of knackered techno throb. Similarly, "What a Shame" sounds like a forgotten Warp classic run through Tin Man's palette of tasteful reserve.

Always conceptual, Tin Man is commenting on big room techno music by presenting his thoughtful, hungover version of it. On Vertigo, he reins in the acid box acrobatics - opting instead for a rudimentary, early-Chicago style pattern, eventually following optimistic chords skyward. It's a simulacrum of that end-of-the-night moment when the music is so charged and utopic that all fatigue is forgotten. Auvinen's recognized talent to imbue machines with complex human emotion draws us into his world. With Tin Man's music, there is always something left unsaid -- he uses familiar elements yet his perspective remains singular and mysterious. Each dreamlike track is another clue.

He ends the set with the intensely dramatic Memoraphilia and Ode. The former concludes on an ominous note with strings that evoke paranoia, yet this feeling, too, will pass. The final (and title) track begins with the Deepchord-level percussive filtering that acts as the album's textural base. Almost immediately, Tin Man introduces an octave jumping acid refrain. The four-bar loop reaches operatic heights of yearning. Ode's rave stabs indicate this drama comes from the implacable notion of being alone in the crowd -- an emptiness which can remain long after it's disbanded. What comes when the dance is over?]]> Release date September 20th

What does a rave sound like the next day? The strobe lights in a dark warehouse, the pounding kick, the blur of ecstatic faces lead to a morning-after emptiness, all fade into memories of the friends you once had. On Ode, Tin Man explores this feeling, offering tracks which possess an exhausted joy, the aural equivalent of the stretch of time beginning when the last record is played and stretching on towards the doleful contemplation of last night's unmade sheets.

Appropriately, Tin Man's melancholic dance music is more club-ready than ever. The opening tracks explore the spacious atmosphere first proposed on Neo Neo Acid and the (recently repressed) Acid Test 01 collaboration with Donato Dozzy. Auvinen continues to coax unique, bittersweet sounds out of the 303 - his control is akin to a virtuosic theremin player, all dramatic lunges and dynamics. Yet on tracks like Depleted Serotonin, the memories of half-remembered nights surface. That track reprises the minor-key rave breakdown, ending with nearly three-minutes of knackered techno throb. Similarly, "What a Shame" sounds like a forgotten Warp classic run through Tin Man's palette of tasteful reserve.

Always conceptual, Tin Man is commenting on big room techno music by presenting his thoughtful, hungover version of it. On Vertigo, he reins in the acid box acrobatics - opting instead for a rudimentary, early-Chicago style pattern, eventually following optimistic chords skyward. It's a simulacrum of that end-of-the-night moment when the music is so charged and utopic that all fatigue is forgotten. Auvinen's recognized talent to imbue machines with complex human emotion draws us into his world. With Tin Man's music, there is always something left unsaid -- he uses familiar elements yet his perspective remains singular and mysterious. Each dreamlike track is another clue.

He ends the set with the intensely dramatic Memoraphilia and Ode. The former concludes on an ominous note with strings that evoke paranoia, yet this feeling, too, will pass. The final (and title) track begins with the Deepchord-level percussive filtering that acts as the album's textural base. Almost immediately, Tin Man introduces an octave jumping acid refrain. The four-bar loop reaches operatic heights of yearning. Ode's rave stabs indicate this drama comes from the implacable notion of being alone in the crowd -- an emptiness which can remain long after it's disbanded. What comes when the dance is over?]]> 1400888 no no Thu, 21 Aug 2014 20:36:27 +0200 2014-08-21T20:36:27+02:00 1:30 https://hearthis.at/acid-test-cp/digi4memorophiliavocal/ Release date September 20th

What does a rave sound like the next day? The strobe lights in a dark warehouse, the pounding kick, the blur of ecstatic faces lead to a morning-after emptiness, all fade into memories of the friends you once had. On Ode, Tin Man explores this feeling, offering tracks which possess an exhausted joy, the aural equivalent of the stretch of time beginning when the last record is played and stretching on towards the doleful contemplation of last night's unmade sheets.

Appropriately, Tin Man's melancholic dance music is more club-ready than ever. The opening tracks explore the spacious atmosphere first proposed on Neo Neo Acid and the (recently repressed) Acid Test 01 collaboration with Donato Dozzy. Auvinen continues to coax unique, bittersweet sounds out of the 303 - his control is akin to a virtuosic theremin player, all dramatic lunges and dynamics. Yet on tracks like Depleted Serotonin, the memories of half-remembered nights surface. That track reprises the minor-key rave breakdown, ending with nearly three-minutes of knackered techno throb. Similarly, "What a Shame" sounds like a forgotten Warp classic run through Tin Man's palette of tasteful reserve.

Always conceptual, Tin Man is commenting on big room techno music by presenting his thoughtful, hungover version of it. On Vertigo, he reins in the acid box acrobatics - opting instead for a rudimentary, early-Chicago style pattern, eventually following optimistic chords skyward. It's a simulacrum of that end-of-the-night moment when the music is so charged and utopic that all fatigue is forgotten. Auvinen's recognized talent to imbue machines with complex human emotion draws us into his world. With Tin Man's music, there is always something left unsaid -- he uses familiar elements yet his perspective remains singular and mysterious. Each dreamlike track is another clue.

He ends the set with the intensely dramatic Memoraphilia and Ode. The former concludes on an ominous note with strings that evoke paranoia, yet this feeling, too, will pass. The final (and title) track begins with the Deepchord-level percussive filtering that acts as the album's textural base. Almost immediately, Tin Man introduces an octave jumping acid refrain. The four-bar loop reaches operatic heights of yearning. Ode's rave stabs indicate this drama comes from the implacable notion of being alone in the crowd -- an emptiness which can remain long after it's disbanded. What comes when the dance is over?]]> Release date September 20th

What does a rave sound like the next day? The strobe lights in a dark warehouse, the pounding kick, the blur of ecstatic faces lead to a morning-after emptiness, all fade into memories of the friends you once had. On Ode, Tin Man explores this feeling, offering tracks which possess an exhausted joy, the aural equivalent of the stretch of time beginning when the last record is played and stretching on towards the doleful contemplation of last night's unmade sheets.

Appropriately, Tin Man's melancholic dance music is more club-ready than ever. The opening tracks explore the spacious atmosphere first proposed on Neo Neo Acid and the (recently repressed) Acid Test 01 collaboration with Donato Dozzy. Auvinen continues to coax unique, bittersweet sounds out of the 303 - his control is akin to a virtuosic theremin player, all dramatic lunges and dynamics. Yet on tracks like Depleted Serotonin, the memories of half-remembered nights surface. That track reprises the minor-key rave breakdown, ending with nearly three-minutes of knackered techno throb. Similarly, "What a Shame" sounds like a forgotten Warp classic run through Tin Man's palette of tasteful reserve.

Always conceptual, Tin Man is commenting on big room techno music by presenting his thoughtful, hungover version of it. On Vertigo, he reins in the acid box acrobatics - opting instead for a rudimentary, early-Chicago style pattern, eventually following optimistic chords skyward. It's a simulacrum of that end-of-the-night moment when the music is so charged and utopic that all fatigue is forgotten. Auvinen's recognized talent to imbue machines with complex human emotion draws us into his world. With Tin Man's music, there is always something left unsaid -- he uses familiar elements yet his perspective remains singular and mysterious. Each dreamlike track is another clue.

He ends the set with the intensely dramatic Memoraphilia and Ode. The former concludes on an ominous note with strings that evoke paranoia, yet this feeling, too, will pass. The final (and title) track begins with the Deepchord-level percussive filtering that acts as the album's textural base. Almost immediately, Tin Man introduces an octave jumping acid refrain. The four-bar loop reaches operatic heights of yearning. Ode's rave stabs indicate this drama comes from the implacable notion of being alone in the crowd -- an emptiness which can remain long after it's disbanded. What comes when the dance is over?]]> 1400889 no no Thu, 21 Aug 2014 20:36:26 +0200 2014-08-21T20:36:26+02:00 1:30 https://hearthis.at/acid-test-cp/a1-nonewviolence/ Release date September 20th

What does a rave sound like the next day? The strobe lights in a dark warehouse, the pounding kick, the blur of ecstatic faces lead to a morning-after emptiness, all fade into memories of the friends you once had. On Ode, Tin Man explores this feeling, offering tracks which possess an exhausted joy, the aural equivalent of the stretch of time beginning when the last record is played and stretching on towards the doleful contemplation of last night's unmade sheets.

Appropriately, Tin Man's melancholic dance music is more club-ready than ever. The opening tracks explore the spacious atmosphere first proposed on Neo Neo Acid and the (recently repressed) Acid Test 01 collaboration with Donato Dozzy. Auvinen continues to coax unique, bittersweet sounds out of the 303 - his control is akin to a virtuosic theremin player, all dramatic lunges and dynamics. Yet on tracks like Depleted Serotonin, the memories of half-remembered nights surface. That track reprises the minor-key rave breakdown, ending with nearly three-minutes of knackered techno throb. Similarly, "What a Shame" sounds like a forgotten Warp classic run through Tin Man's palette of tasteful reserve.

Always conceptual, Tin Man is commenting on big room techno music by presenting his thoughtful, hungover version of it. On Vertigo, he reins in the acid box acrobatics - opting instead for a rudimentary, early-Chicago style pattern, eventually following optimistic chords skyward. It's a simulacrum of that end-of-the-night moment when the music is so charged and utopic that all fatigue is forgotten. Auvinen's recognized talent to imbue machines with complex human emotion draws us into his world. With Tin Man's music, there is always something left unsaid -- he uses familiar elements yet his perspective remains singular and mysterious. Each dreamlike track is another clue.

He ends the set with the intensely dramatic Memoraphilia and Ode. The former concludes on an ominous note with strings that evoke paranoia, yet this feeling, too, will pass. The final (and title) track begins with the Deepchord-level percussive filtering that acts as the album's textural base. Almost immediately, Tin Man introduces an octave jumping acid refrain. The four-bar loop reaches operatic heights of yearning. Ode's rave stabs indicate this drama comes from the implacable notion of being alone in the crowd -- an emptiness which can remain long after it's disbanded. What comes when the dance is over?]]> Release date September 20th

What does a rave sound like the next day? The strobe lights in a dark warehouse, the pounding kick, the blur of ecstatic faces lead to a morning-after emptiness, all fade into memories of the friends you once had. On Ode, Tin Man explores this feeling, offering tracks which possess an exhausted joy, the aural equivalent of the stretch of time beginning when the last record is played and stretching on towards the doleful contemplation of last night's unmade sheets.

Appropriately, Tin Man's melancholic dance music is more club-ready than ever. The opening tracks explore the spacious atmosphere first proposed on Neo Neo Acid and the (recently repressed) Acid Test 01 collaboration with Donato Dozzy. Auvinen continues to coax unique, bittersweet sounds out of the 303 - his control is akin to a virtuosic theremin player, all dramatic lunges and dynamics. Yet on tracks like Depleted Serotonin, the memories of half-remembered nights surface. That track reprises the minor-key rave breakdown, ending with nearly three-minutes of knackered techno throb. Similarly, "What a Shame" sounds like a forgotten Warp classic run through Tin Man's palette of tasteful reserve.

Always conceptual, Tin Man is commenting on big room techno music by presenting his thoughtful, hungover version of it. On Vertigo, he reins in the acid box acrobatics - opting instead for a rudimentary, early-Chicago style pattern, eventually following optimistic chords skyward. It's a simulacrum of that end-of-the-night moment when the music is so charged and utopic that all fatigue is forgotten. Auvinen's recognized talent to imbue machines with complex human emotion draws us into his world. With Tin Man's music, there is always something left unsaid -- he uses familiar elements yet his perspective remains singular and mysterious. Each dreamlike track is another clue.

He ends the set with the intensely dramatic Memoraphilia and Ode. The former concludes on an ominous note with strings that evoke paranoia, yet this feeling, too, will pass. The final (and title) track begins with the Deepchord-level percussive filtering that acts as the album's textural base. Almost immediately, Tin Man introduces an octave jumping acid refrain. The four-bar loop reaches operatic heights of yearning. Ode's rave stabs indicate this drama comes from the implacable notion of being alone in the crowd -- an emptiness which can remain long after it's disbanded. What comes when the dance is over?]]> 1400890 no no Thu, 21 Aug 2014 20:36:26 +0200 2014-08-21T20:36:26+02:00 1:30 https://hearthis.at/acid-test-cp/b1-depletedserotonin/ Release date September 20th

What does a rave sound like the next day? The strobe lights in a dark warehouse, the pounding kick, the blur of ecstatic faces lead to a morning-after emptiness, all fade into memories of the friends you once had. On Ode, Tin Man explores this feeling, offering tracks which possess an exhausted joy, the aural equivalent of the stretch of time beginning when the last record is played and stretching on towards the doleful contemplation of last night's unmade sheets.

Appropriately, Tin Man's melancholic dance music is more club-ready than ever. The opening tracks explore the spacious atmosphere first proposed on Neo Neo Acid and the (recently repressed) Acid Test 01 collaboration with Donato Dozzy. Auvinen continues to coax unique, bittersweet sounds out of the 303 - his control is akin to a virtuosic theremin player, all dramatic lunges and dynamics. Yet on tracks like Depleted Serotonin, the memories of half-remembered nights surface. That track reprises the minor-key rave breakdown, ending with nearly three-minutes of knackered techno throb. Similarly, "What a Shame" sounds like a forgotten Warp classic run through Tin Man's palette of tasteful reserve.

Always conceptual, Tin Man is commenting on big room techno music by presenting his thoughtful, hungover version of it. On Vertigo, he reins in the acid box acrobatics - opting instead for a rudimentary, early-Chicago style pattern, eventually following optimistic chords skyward. It's a simulacrum of that end-of-the-night moment when the music is so charged and utopic that all fatigue is forgotten. Auvinen's recognized talent to imbue machines with complex human emotion draws us into his world. With Tin Man's music, there is always something left unsaid -- he uses familiar elements yet his perspective remains singular and mysterious. Each dreamlike track is another clue.

He ends the set with the intensely dramatic Memoraphilia and Ode. The former concludes on an ominous note with strings that evoke paranoia, yet this feeling, too, will pass. The final (and title) track begins with the Deepchord-level percussive filtering that acts as the album's textural base. Almost immediately, Tin Man introduces an octave jumping acid refrain. The four-bar loop reaches operatic heights of yearning. Ode's rave stabs indicate this drama comes from the implacable notion of being alone in the crowd -- an emptiness which can remain long after it's disbanded. What comes when the dance is over?]]> Release date September 20th

What does a rave sound like the next day? The strobe lights in a dark warehouse, the pounding kick, the blur of ecstatic faces lead to a morning-after emptiness, all fade into memories of the friends you once had. On Ode, Tin Man explores this feeling, offering tracks which possess an exhausted joy, the aural equivalent of the stretch of time beginning when the last record is played and stretching on towards the doleful contemplation of last night's unmade sheets.

Appropriately, Tin Man's melancholic dance music is more club-ready than ever. The opening tracks explore the spacious atmosphere first proposed on Neo Neo Acid and the (recently repressed) Acid Test 01 collaboration with Donato Dozzy. Auvinen continues to coax unique, bittersweet sounds out of the 303 - his control is akin to a virtuosic theremin player, all dramatic lunges and dynamics. Yet on tracks like Depleted Serotonin, the memories of half-remembered nights surface. That track reprises the minor-key rave breakdown, ending with nearly three-minutes of knackered techno throb. Similarly, "What a Shame" sounds like a forgotten Warp classic run through Tin Man's palette of tasteful reserve.

Always conceptual, Tin Man is commenting on big room techno music by presenting his thoughtful, hungover version of it. On Vertigo, he reins in the acid box acrobatics - opting instead for a rudimentary, early-Chicago style pattern, eventually following optimistic chords skyward. It's a simulacrum of that end-of-the-night moment when the music is so charged and utopic that all fatigue is forgotten. Auvinen's recognized talent to imbue machines with complex human emotion draws us into his world. With Tin Man's music, there is always something left unsaid -- he uses familiar elements yet his perspective remains singular and mysterious. Each dreamlike track is another clue.

He ends the set with the intensely dramatic Memoraphilia and Ode. The former concludes on an ominous note with strings that evoke paranoia, yet this feeling, too, will pass. The final (and title) track begins with the Deepchord-level percussive filtering that acts as the album's textural base. Almost immediately, Tin Man introduces an octave jumping acid refrain. The four-bar loop reaches operatic heights of yearning. Ode's rave stabs indicate this drama comes from the implacable notion of being alone in the crowd -- an emptiness which can remain long after it's disbanded. What comes when the dance is over?]]> 1400891 no no Thu, 21 Aug 2014 20:36:25 +0200 2014-08-21T20:36:25+02:00 1:30 https://hearthis.at/acid-test-cp/c1-vertigo/ Release date September 20th

What does a rave sound like the next day? The strobe lights in a dark warehouse, the pounding kick, the blur of ecstatic faces lead to a morning-after emptiness, all fade into memories of the friends you once had. On Ode, Tin Man explores this feeling, offering tracks which possess an exhausted joy, the aural equivalent of the stretch of time beginning when the last record is played and stretching on towards the doleful contemplation of last night's unmade sheets.

Appropriately, Tin Man's melancholic dance music is more club-ready than ever. The opening tracks explore the spacious atmosphere first proposed on Neo Neo Acid and the (recently repressed) Acid Test 01 collaboration with Donato Dozzy. Auvinen continues to coax unique, bittersweet sounds out of the 303 - his control is akin to a virtuosic theremin player, all dramatic lunges and dynamics. Yet on tracks like Depleted Serotonin, the memories of half-remembered nights surface. That track reprises the minor-key rave breakdown, ending with nearly three-minutes of knackered techno throb. Similarly, "What a Shame" sounds like a forgotten Warp classic run through Tin Man's palette of tasteful reserve.

Always conceptual, Tin Man is commenting on big room techno music by presenting his thoughtful, hungover version of it. On Vertigo, he reins in the acid box acrobatics - opting instead for a rudimentary, early-Chicago style pattern, eventually following optimistic chords skyward. It's a simulacrum of that end-of-the-night moment when the music is so charged and utopic that all fatigue is forgotten. Auvinen's recognized talent to imbue machines with complex human emotion draws us into his world. With Tin Man's music, there is always something left unsaid -- he uses familiar elements yet his perspective remains singular and mysterious. Each dreamlike track is another clue.

He ends the set with the intensely dramatic Memoraphilia and Ode. The former concludes on an ominous note with strings that evoke paranoia, yet this feeling, too, will pass. The final (and title) track begins with the Deepchord-level percussive filtering that acts as the album's textural base. Almost immediately, Tin Man introduces an octave jumping acid refrain. The four-bar loop reaches operatic heights of yearning. Ode's rave stabs indicate this drama comes from the implacable notion of being alone in the crowd -- an emptiness which can remain long after it's disbanded. What comes when the dance is over?]]> Release date September 20th

What does a rave sound like the next day? The strobe lights in a dark warehouse, the pounding kick, the blur of ecstatic faces lead to a morning-after emptiness, all fade into memories of the friends you once had. On Ode, Tin Man explores this feeling, offering tracks which possess an exhausted joy, the aural equivalent of the stretch of time beginning when the last record is played and stretching on towards the doleful contemplation of last night's unmade sheets.

Appropriately, Tin Man's melancholic dance music is more club-ready than ever. The opening tracks explore the spacious atmosphere first proposed on Neo Neo Acid and the (recently repressed) Acid Test 01 collaboration with Donato Dozzy. Auvinen continues to coax unique, bittersweet sounds out of the 303 - his control is akin to a virtuosic theremin player, all dramatic lunges and dynamics. Yet on tracks like Depleted Serotonin, the memories of half-remembered nights surface. That track reprises the minor-key rave breakdown, ending with nearly three-minutes of knackered techno throb. Similarly, "What a Shame" sounds like a forgotten Warp classic run through Tin Man's palette of tasteful reserve.

Always conceptual, Tin Man is commenting on big room techno music by presenting his thoughtful, hungover version of it. On Vertigo, he reins in the acid box acrobatics - opting instead for a rudimentary, early-Chicago style pattern, eventually following optimistic chords skyward. It's a simulacrum of that end-of-the-night moment when the music is so charged and utopic that all fatigue is forgotten. Auvinen's recognized talent to imbue machines with complex human emotion draws us into his world. With Tin Man's music, there is always something left unsaid -- he uses familiar elements yet his perspective remains singular and mysterious. Each dreamlike track is another clue.

He ends the set with the intensely dramatic Memoraphilia and Ode. The former concludes on an ominous note with strings that evoke paranoia, yet this feeling, too, will pass. The final (and title) track begins with the Deepchord-level percussive filtering that acts as the album's textural base. Almost immediately, Tin Man introduces an octave jumping acid refrain. The four-bar loop reaches operatic heights of yearning. Ode's rave stabs indicate this drama comes from the implacable notion of being alone in the crowd -- an emptiness which can remain long after it's disbanded. What comes when the dance is over?]]> 1400892 no no Thu, 21 Aug 2014 20:36:24 +0200 2014-08-21T20:36:24+02:00 1:28 https://hearthis.at/acid-test-cp/b2-whatashame/ Release date September 20th

What does a rave sound like the next day? The strobe lights in a dark warehouse, the pounding kick, the blur of ecstatic faces lead to a morning-after emptiness, all fade into memories of the friends you once had. On Ode, Tin Man explores this feeling, offering tracks which possess an exhausted joy, the aural equivalent of the stretch of time beginning when the last record is played and stretching on towards the doleful contemplation of last night's unmade sheets.

Appropriately, Tin Man's melancholic dance music is more club-ready than ever. The opening tracks explore the spacious atmosphere first proposed on Neo Neo Acid and the (recently repressed) Acid Test 01 collaboration with Donato Dozzy. Auvinen continues to coax unique, bittersweet sounds out of the 303 - his control is akin to a virtuosic theremin player, all dramatic lunges and dynamics. Yet on tracks like Depleted Serotonin, the memories of half-remembered nights surface. That track reprises the minor-key rave breakdown, ending with nearly three-minutes of knackered techno throb. Similarly, "What a Shame" sounds like a forgotten Warp classic run through Tin Man's palette of tasteful reserve.

Always conceptual, Tin Man is commenting on big room techno music by presenting his thoughtful, hungover version of it. On Vertigo, he reins in the acid box acrobatics - opting instead for a rudimentary, early-Chicago style pattern, eventually following optimistic chords skyward. It's a simulacrum of that end-of-the-night moment when the music is so charged and utopic that all fatigue is forgotten. Auvinen's recognized talent to imbue machines with complex human emotion draws us into his world. With Tin Man's music, there is always something left unsaid -- he uses familiar elements yet his perspective remains singular and mysterious. Each dreamlike track is another clue.

He ends the set with the intensely dramatic Memoraphilia and Ode. The former concludes on an ominous note with strings that evoke paranoia, yet this feeling, too, will pass. The final (and title) track begins with the Deepchord-level percussive filtering that acts as the album's textural base. Almost immediately, Tin Man introduces an octave jumping acid refrain. The four-bar loop reaches operatic heights of yearning. Ode's rave stabs indicate this drama comes from the implacable notion of being alone in the crowd -- an emptiness which can remain long after it's disbanded. What comes when the dance is over?]]> Release date September 20th

What does a rave sound like the next day? The strobe lights in a dark warehouse, the pounding kick, the blur of ecstatic faces lead to a morning-after emptiness, all fade into memories of the friends you once had. On Ode, Tin Man explores this feeling, offering tracks which possess an exhausted joy, the aural equivalent of the stretch of time beginning when the last record is played and stretching on towards the doleful contemplation of last night's unmade sheets.

Appropriately, Tin Man's melancholic dance music is more club-ready than ever. The opening tracks explore the spacious atmosphere first proposed on Neo Neo Acid and the (recently repressed) Acid Test 01 collaboration with Donato Dozzy. Auvinen continues to coax unique, bittersweet sounds out of the 303 - his control is akin to a virtuosic theremin player, all dramatic lunges and dynamics. Yet on tracks like Depleted Serotonin, the memories of half-remembered nights surface. That track reprises the minor-key rave breakdown, ending with nearly three-minutes of knackered techno throb. Similarly, "What a Shame" sounds like a forgotten Warp classic run through Tin Man's palette of tasteful reserve.

Always conceptual, Tin Man is commenting on big room techno music by presenting his thoughtful, hungover version of it. On Vertigo, he reins in the acid box acrobatics - opting instead for a rudimentary, early-Chicago style pattern, eventually following optimistic chords skyward. It's a simulacrum of that end-of-the-night moment when the music is so charged and utopic that all fatigue is forgotten. Auvinen's recognized talent to imbue machines with complex human emotion draws us into his world. With Tin Man's music, there is always something left unsaid -- he uses familiar elements yet his perspective remains singular and mysterious. Each dreamlike track is another clue.

He ends the set with the intensely dramatic Memoraphilia and Ode. The former concludes on an ominous note with strings that evoke paranoia, yet this feeling, too, will pass. The final (and title) track begins with the Deepchord-level percussive filtering that acts as the album's textural base. Almost immediately, Tin Man introduces an octave jumping acid refrain. The four-bar loop reaches operatic heights of yearning. Ode's rave stabs indicate this drama comes from the implacable notion of being alone in the crowd -- an emptiness which can remain long after it's disbanded. What comes when the dance is over?]]> 1400893 no no Thu, 21 Aug 2014 20:36:24 +0200 2014-08-21T20:36:24+02:00 1:30 https://hearthis.at/acid-test-cp/d1-ode/ Release date September 20th

What does a rave sound like the next day? The strobe lights in a dark warehouse, the pounding kick, the blur of ecstatic faces lead to a morning-after emptiness, all fade into memories of the friends you once had. On Ode, Tin Man explores this feeling, offering tracks which possess an exhausted joy, the aural equivalent of the stretch of time beginning when the last record is played and stretching on towards the doleful contemplation of last night's unmade sheets.

Appropriately, Tin Man's melancholic dance music is more club-ready than ever. The opening tracks explore the spacious atmosphere first proposed on Neo Neo Acid and the (recently repressed) Acid Test 01 collaboration with Donato Dozzy. Auvinen continues to coax unique, bittersweet sounds out of the 303 - his control is akin to a virtuosic theremin player, all dramatic lunges and dynamics. Yet on tracks like Depleted Serotonin, the memories of half-remembered nights surface. That track reprises the minor-key rave breakdown, ending with nearly three-minutes of knackered techno throb. Similarly, "What a Shame" sounds like a forgotten Warp classic run through Tin Man's palette of tasteful reserve.

Always conceptual, Tin Man is commenting on big room techno music by presenting his thoughtful, hungover version of it. On Vertigo, he reins in the acid box acrobatics - opting instead for a rudimentary, early-Chicago style pattern, eventually following optimistic chords skyward. It's a simulacrum of that end-of-the-night moment when the music is so charged and utopic that all fatigue is forgotten. Auvinen's recognized talent to imbue machines with complex human emotion draws us into his world. With Tin Man's music, there is always something left unsaid -- he uses familiar elements yet his perspective remains singular and mysterious. Each dreamlike track is another clue.

He ends the set with the intensely dramatic Memoraphilia and Ode. The former concludes on an ominous note with strings that evoke paranoia, yet this feeling, too, will pass. The final (and title) track begins with the Deepchord-level percussive filtering that acts as the album's textural base. Almost immediately, Tin Man introduces an octave jumping acid refrain. The four-bar loop reaches operatic heights of yearning. Ode's rave stabs indicate this drama comes from the implacable notion of being alone in the crowd -- an emptiness which can remain long after it's disbanded. What comes when the dance is over?]]> Release date September 20th

What does a rave sound like the next day? The strobe lights in a dark warehouse, the pounding kick, the blur of ecstatic faces lead to a morning-after emptiness, all fade into memories of the friends you once had. On Ode, Tin Man explores this feeling, offering tracks which possess an exhausted joy, the aural equivalent of the stretch of time beginning when the last record is played and stretching on towards the doleful contemplation of last night's unmade sheets.

Appropriately, Tin Man's melancholic dance music is more club-ready than ever. The opening tracks explore the spacious atmosphere first proposed on Neo Neo Acid and the (recently repressed) Acid Test 01 collaboration with Donato Dozzy. Auvinen continues to coax unique, bittersweet sounds out of the 303 - his control is akin to a virtuosic theremin player, all dramatic lunges and dynamics. Yet on tracks like Depleted Serotonin, the memories of half-remembered nights surface. That track reprises the minor-key rave breakdown, ending with nearly three-minutes of knackered techno throb. Similarly, "What a Shame" sounds like a forgotten Warp classic run through Tin Man's palette of tasteful reserve.

Always conceptual, Tin Man is commenting on big room techno music by presenting his thoughtful, hungover version of it. On Vertigo, he reins in the acid box acrobatics - opting instead for a rudimentary, early-Chicago style pattern, eventually following optimistic chords skyward. It's a simulacrum of that end-of-the-night moment when the music is so charged and utopic that all fatigue is forgotten. Auvinen's recognized talent to imbue machines with complex human emotion draws us into his world. With Tin Man's music, there is always something left unsaid -- he uses familiar elements yet his perspective remains singular and mysterious. Each dreamlike track is another clue.

He ends the set with the intensely dramatic Memoraphilia and Ode. The former concludes on an ominous note with strings that evoke paranoia, yet this feeling, too, will pass. The final (and title) track begins with the Deepchord-level percussive filtering that acts as the album's textural base. Almost immediately, Tin Man introduces an octave jumping acid refrain. The four-bar loop reaches operatic heights of yearning. Ode's rave stabs indicate this drama comes from the implacable notion of being alone in the crowd -- an emptiness which can remain long after it's disbanded. What comes when the dance is over?]]> 1400894 no no Thu, 21 Aug 2014 20:36:23 +0200 2014-08-21T20:36:23+02:00 1:30 https://hearthis.at/acid-test-cp/digi1nonewviolencevocal/ Release date September 20th

What does a rave sound like the next day? The strobe lights in a dark warehouse, the pounding kick, the blur of ecstatic faces lead to a morning-after emptiness, all fade into memories of the friends you once had. On Ode, Tin Man explores this feeling, offering tracks which possess an exhausted joy, the aural equivalent of the stretch of time beginning when the last record is played and stretching on towards the doleful contemplation of last night's unmade sheets.

Appropriately, Tin Man's melancholic dance music is more club-ready than ever. The opening tracks explore the spacious atmosphere first proposed on Neo Neo Acid and the (recently repressed) Acid Test 01 collaboration with Donato Dozzy. Auvinen continues to coax unique, bittersweet sounds out of the 303 - his control is akin to a virtuosic theremin player, all dramatic lunges and dynamics. Yet on tracks like Depleted Serotonin, the memories of half-remembered nights surface. That track reprises the minor-key rave breakdown, ending with nearly three-minutes of knackered techno throb. Similarly, "What a Shame" sounds like a forgotten Warp classic run through Tin Man's palette of tasteful reserve.

Always conceptual, Tin Man is commenting on big room techno music by presenting his thoughtful, hungover version of it. On Vertigo, he reins in the acid box acrobatics - opting instead for a rudimentary, early-Chicago style pattern, eventually following optimistic chords skyward. It's a simulacrum of that end-of-the-night moment when the music is so charged and utopic that all fatigue is forgotten. Auvinen's recognized talent to imbue machines with complex human emotion draws us into his world. With Tin Man's music, there is always something left unsaid -- he uses familiar elements yet his perspective remains singular and mysterious. Each dreamlike track is another clue.

He ends the set with the intensely dramatic Memoraphilia and Ode. The former concludes on an ominous note with strings that evoke paranoia, yet this feeling, too, will pass. The final (and title) track begins with the Deepchord-level percussive filtering that acts as the album's textural base. Almost immediately, Tin Man introduces an octave jumping acid refrain. The four-bar loop reaches operatic heights of yearning. Ode's rave stabs indicate this drama comes from the implacable notion of being alone in the crowd -- an emptiness which can remain long after it's disbanded. What comes when the dance is over?]]> Release date September 20th

What does a rave sound like the next day? The strobe lights in a dark warehouse, the pounding kick, the blur of ecstatic faces lead to a morning-after emptiness, all fade into memories of the friends you once had. On Ode, Tin Man explores this feeling, offering tracks which possess an exhausted joy, the aural equivalent of the stretch of time beginning when the last record is played and stretching on towards the doleful contemplation of last night's unmade sheets.

Appropriately, Tin Man's melancholic dance music is more club-ready than ever. The opening tracks explore the spacious atmosphere first proposed on Neo Neo Acid and the (recently repressed) Acid Test 01 collaboration with Donato Dozzy. Auvinen continues to coax unique, bittersweet sounds out of the 303 - his control is akin to a virtuosic theremin player, all dramatic lunges and dynamics. Yet on tracks like Depleted Serotonin, the memories of half-remembered nights surface. That track reprises the minor-key rave breakdown, ending with nearly three-minutes of knackered techno throb. Similarly, "What a Shame" sounds like a forgotten Warp classic run through Tin Man's palette of tasteful reserve.

Always conceptual, Tin Man is commenting on big room techno music by presenting his thoughtful, hungover version of it. On Vertigo, he reins in the acid box acrobatics - opting instead for a rudimentary, early-Chicago style pattern, eventually following optimistic chords skyward. It's a simulacrum of that end-of-the-night moment when the music is so charged and utopic that all fatigue is forgotten. Auvinen's recognized talent to imbue machines with complex human emotion draws us into his world. With Tin Man's music, there is always something left unsaid -- he uses familiar elements yet his perspective remains singular and mysterious. Each dreamlike track is another clue.

He ends the set with the intensely dramatic Memoraphilia and Ode. The former concludes on an ominous note with strings that evoke paranoia, yet this feeling, too, will pass. The final (and title) track begins with the Deepchord-level percussive filtering that acts as the album's textural base. Almost immediately, Tin Man introduces an octave jumping acid refrain. The four-bar loop reaches operatic heights of yearning. Ode's rave stabs indicate this drama comes from the implacable notion of being alone in the crowd -- an emptiness which can remain long after it's disbanded. What comes when the dance is over?]]> 1400895 no no Thu, 21 Aug 2014 20:36:21 +0200 2014-08-21T20:36:21+02:00 1:30 https://hearthis.at/acid-test-cp/digi2whatashamevocal/ Release date September 20th

What does a rave sound like the next day? The strobe lights in a dark warehouse, the pounding kick, the blur of ecstatic faces lead to a morning-after emptiness, all fade into memories of the friends you once had. On Ode, Tin Man explores this feeling, offering tracks which possess an exhausted joy, the aural equivalent of the stretch of time beginning when the last record is played and stretching on towards the doleful contemplation of last night's unmade sheets.

Appropriately, Tin Man's melancholic dance music is more club-ready than ever. The opening tracks explore the spacious atmosphere first proposed on Neo Neo Acid and the (recently repressed) Acid Test 01 collaboration with Donato Dozzy. Auvinen continues to coax unique, bittersweet sounds out of the 303 - his control is akin to a virtuosic theremin player, all dramatic lunges and dynamics. Yet on tracks like Depleted Serotonin, the memories of half-remembered nights surface. That track reprises the minor-key rave breakdown, ending with nearly three-minutes of knackered techno throb. Similarly, "What a Shame" sounds like a forgotten Warp classic run through Tin Man's palette of tasteful reserve.

Always conceptual, Tin Man is commenting on big room techno music by presenting his thoughtful, hungover version of it. On Vertigo, he reins in the acid box acrobatics - opting instead for a rudimentary, early-Chicago style pattern, eventually following optimistic chords skyward. It's a simulacrum of that end-of-the-night moment when the music is so charged and utopic that all fatigue is forgotten. Auvinen's recognized talent to imbue machines with complex human emotion draws us into his world. With Tin Man's music, there is always something left unsaid -- he uses familiar elements yet his perspective remains singular and mysterious. Each dreamlike track is another clue.

He ends the set with the intensely dramatic Memoraphilia and Ode. The former concludes on an ominous note with strings that evoke paranoia, yet this feeling, too, will pass. The final (and title) track begins with the Deepchord-level percussive filtering that acts as the album's textural base. Almost immediately, Tin Man introduces an octave jumping acid refrain. The four-bar loop reaches operatic heights of yearning. Ode's rave stabs indicate this drama comes from the implacable notion of being alone in the crowd -- an emptiness which can remain long after it's disbanded. What comes when the dance is over?]]> Release date September 20th

What does a rave sound like the next day? The strobe lights in a dark warehouse, the pounding kick, the blur of ecstatic faces lead to a morning-after emptiness, all fade into memories of the friends you once had. On Ode, Tin Man explores this feeling, offering tracks which possess an exhausted joy, the aural equivalent of the stretch of time beginning when the last record is played and stretching on towards the doleful contemplation of last night's unmade sheets.

Appropriately, Tin Man's melancholic dance music is more club-ready than ever. The opening tracks explore the spacious atmosphere first proposed on Neo Neo Acid and the (recently repressed) Acid Test 01 collaboration with Donato Dozzy. Auvinen continues to coax unique, bittersweet sounds out of the 303 - his control is akin to a virtuosic theremin player, all dramatic lunges and dynamics. Yet on tracks like Depleted Serotonin, the memories of half-remembered nights surface. That track reprises the minor-key rave breakdown, ending with nearly three-minutes of knackered techno throb. Similarly, "What a Shame" sounds like a forgotten Warp classic run through Tin Man's palette of tasteful reserve.

Always conceptual, Tin Man is commenting on big room techno music by presenting his thoughtful, hungover version of it. On Vertigo, he reins in the acid box acrobatics - opting instead for a rudimentary, early-Chicago style pattern, eventually following optimistic chords skyward. It's a simulacrum of that end-of-the-night moment when the music is so charged and utopic that all fatigue is forgotten. Auvinen's recognized talent to imbue machines with complex human emotion draws us into his world. With Tin Man's music, there is always something left unsaid -- he uses familiar elements yet his perspective remains singular and mysterious. Each dreamlike track is another clue.

He ends the set with the intensely dramatic Memoraphilia and Ode. The former concludes on an ominous note with strings that evoke paranoia, yet this feeling, too, will pass. The final (and title) track begins with the Deepchord-level percussive filtering that acts as the album's textural base. Almost immediately, Tin Man introduces an octave jumping acid refrain. The four-bar loop reaches operatic heights of yearning. Ode's rave stabs indicate this drama comes from the implacable notion of being alone in the crowd -- an emptiness which can remain long after it's disbanded. What comes when the dance is over?]]> 1400896 no no Thu, 21 Aug 2014 20:36:20 +0200 2014-08-21T20:36:20+02:00 1:30 https://hearthis.at/acid-test-cp/a1-donato-dozzy-tin-man-test-7/ 1400897 no no Wed, 12 Mar 2014 15:40:14 +0100 2014-03-12T15:40:14+01:00 2:34 https://hearthis.at/acid-test-cp/b1-donato-dozzy-tin-man-test-2/ 1400898 no no Wed, 12 Mar 2014 15:28:11 +0100 2014-03-12T15:28:11+01:00 2:27 https://hearthis.at/acid-test-cp/b2-donato-dozzy-tin-man-test-3/ 1400899 no no Wed, 12 Mar 2014 15:26:12 +0100 2014-03-12T15:26:12+01:00 2:17 https://hearthis.at/acid-test-cp/a1-achterbahn-d-amour-holy-romance-empire-clip/
The album is the natural extension of the duo’s live-rooted sound, further defining the oblique dance moves contained on their three Acid Test EPs. They demonstrate a true reverence for the 303 and 606. On Odd Movements, lush pads and abrupt toms create a literal pedestal for the bassline machine. The duo have hit on a sound well-suited for dark rooms and towering sound systems.]]>
The album is the natural extension of the duo’s live-rooted sound, further defining the oblique dance moves contained on their three Acid Test EPs. They demonstrate a true reverence for the 303 and 606. On Odd Movements, lush pads and abrupt toms create a literal pedestal for the bassline machine. The duo have hit on a sound well-suited for dark rooms and towering sound systems.]]> 1400900 no no Mon, 06 Jan 2014 19:36:24 +0100 2014-01-06T19:36:24+01:00 1:59 https://hearthis.at/acid-test-cp/a2-achterbahn-d-amour-passagen-clip/
The album is the natural extension of the duo’s live-rooted sound, further defining the oblique dance moves contained on their three Acid Test EPs. They demonstrate a true reverence for the 303 and 606. On Odd Movements, lush pads and abrupt toms create a literal pedestal for the bassline machine. The duo have hit on a sound well-suited for dark rooms and towering sound systems.]]>
The album is the natural extension of the duo’s live-rooted sound, further defining the oblique dance moves contained on their three Acid Test EPs. They demonstrate a true reverence for the 303 and 606. On Odd Movements, lush pads and abrupt toms create a literal pedestal for the bassline machine. The duo have hit on a sound well-suited for dark rooms and towering sound systems.]]> 1400901 no no Mon, 06 Jan 2014 19:34:47 +0100 2014-01-06T19:34:47+01:00 1:53 https://hearthis.at/acid-test-cp/b1-achterbahn-d-amour-jaws-of-joy-clip/
The album is the natural extension of the duo’s live-rooted sound, further defining the oblique dance moves contained on their three Acid Test EPs. They demonstrate a true reverence for the 303 and 606. On Odd Movements, lush pads and abrupt toms create a literal pedestal for the bassline machine. The duo have hit on a sound well-suited for dark rooms and towering sound systems.]]>
The album is the natural extension of the duo’s live-rooted sound, further defining the oblique dance moves contained on their three Acid Test EPs. They demonstrate a true reverence for the 303 and 606. On Odd Movements, lush pads and abrupt toms create a literal pedestal for the bassline machine. The duo have hit on a sound well-suited for dark rooms and towering sound systems.]]> 1400902 no no Mon, 06 Jan 2014 19:32:43 +0100 2014-01-06T19:32:43+01:00 1:48 https://hearthis.at/acid-test-cp/b2-achterbahn-d-amour-ladbroke-culture-clip/
The album is the natural extension of the duo’s live-rooted sound, further defining the oblique dance moves contained on their three Acid Test EPs. They demonstrate a true reverence for the 303 and 606. On Odd Movements, lush pads and abrupt toms create a literal pedestal for the bassline machine. The duo have hit on a sound well-suited for dark rooms and towering sound systems.]]>
The album is the natural extension of the duo’s live-rooted sound, further defining the oblique dance moves contained on their three Acid Test EPs. They demonstrate a true reverence for the 303 and 606. On Odd Movements, lush pads and abrupt toms create a literal pedestal for the bassline machine. The duo have hit on a sound well-suited for dark rooms and towering sound systems.]]> 1400903 no no Mon, 06 Jan 2014 19:31:18 +0100 2014-01-06T19:31:18+01:00 1:58 https://hearthis.at/acid-test-cp/c1-achterbahn-d-amour-odd-movements-clip/
The album is the natural extension of the duo’s live-rooted sound, further defining the oblique dance moves contained on their three Acid Test EPs. They demonstrate a true reverence for the 303 and 606. On Odd Movements, lush pads and abrupt toms create a literal pedestal for the bassline machine. The duo have hit on a sound well-suited for dark rooms and towering sound systems.]]>
The album is the natural extension of the duo’s live-rooted sound, further defining the oblique dance moves contained on their three Acid Test EPs. They demonstrate a true reverence for the 303 and 606. On Odd Movements, lush pads and abrupt toms create a literal pedestal for the bassline machine. The duo have hit on a sound well-suited for dark rooms and towering sound systems.]]> 1400904 no no Mon, 06 Jan 2014 19:28:40 +0100 2014-01-06T19:28:40+01:00 1:44 https://hearthis.at/acid-test-cp/c2-achterbahn-d-amour-odd-movements-teen-sleep-clip/
The album is the natural extension of the duo’s live-rooted sound, further defining the oblique dance moves contained on their three Acid Test EPs. They demonstrate a true reverence for the 303 and 606. On Odd Movements, lush pads and abrupt toms create a literal pedestal for the bassline machine. The duo have hit on a sound well-suited for dark rooms and towering sound systems.]]>
The album is the natural extension of the duo’s live-rooted sound, further defining the oblique dance moves contained on their three Acid Test EPs. They demonstrate a true reverence for the 303 and 606. On Odd Movements, lush pads and abrupt toms create a literal pedestal for the bassline machine. The duo have hit on a sound well-suited for dark rooms and towering sound systems.]]> 1400905 no no Mon, 06 Jan 2014 19:27:14 +0100 2014-01-06T19:27:14+01:00 1:44 https://hearthis.at/acid-test-cp/d3-achterbahn-d-amour-odd-movements-my-demands-clip/
The album is the natural extension of the duo’s live-rooted sound, further defining the oblique dance moves contained on their three Acid Test EPs. They demonstrate a true reverence for the 303 and 606. On Odd Movements, lush pads and abrupt toms create a literal pedestal for the bassline machine. The duo have hit on a sound well-suited for dark rooms and towering sound systems.]]>
The album is the natural extension of the duo’s live-rooted sound, further defining the oblique dance moves contained on their three Acid Test EPs. They demonstrate a true reverence for the 303 and 606. On Odd Movements, lush pads and abrupt toms create a literal pedestal for the bassline machine. The duo have hit on a sound well-suited for dark rooms and towering sound systems.]]> 1400906 no no Mon, 06 Jan 2014 19:25:24 +0100 2014-01-06T19:25:24+01:00 1:44 https://hearthis.at/acid-test-cp/d2-achterbahn-d-amour-knigstr-clip/
The album is the natural extension of the duo’s live-rooted sound, further defining the oblique dance moves contained on their three Acid Test EPs. They demonstrate a true reverence for the 303 and 606. On Odd Movements, lush pads and abrupt toms create a literal pedestal for the bassline machine. The duo have hit on a sound well-suited for dark rooms and towering sound systems.]]>
The album is the natural extension of the duo’s live-rooted sound, further defining the oblique dance moves contained on their three Acid Test EPs. They demonstrate a true reverence for the 303 and 606. On Odd Movements, lush pads and abrupt toms create a literal pedestal for the bassline machine. The duo have hit on a sound well-suited for dark rooms and towering sound systems.]]> 1400907 no no Mon, 06 Jan 2014 19:17:32 +0100 2014-01-06T19:17:32+01:00 2:00 https://hearthis.at/acid-test-cp/d3-achterbahn-d-amour-creamtreacle-im-clip/
The album is the natural extension of the duo’s live-rooted sound, further defining the oblique dance moves contained on their three Acid Test EPs. They demonstrate a true reverence for the 303 and 606. On Odd Movements, lush pads and abrupt toms create a literal pedestal for the bassline machine. The duo have hit on a sound well-suited for dark rooms and towering sound systems.

www.absurdrecordings.com]]>
The album is the natural extension of the duo’s live-rooted sound, further defining the oblique dance moves contained on their three Acid Test EPs. They demonstrate a true reverence for the 303 and 606. On Odd Movements, lush pads and abrupt toms create a literal pedestal for the bassline machine. The duo have hit on a sound well-suited for dark rooms and towering sound systems.

www.absurdrecordings.com]]> 1400908 no no Mon, 06 Jan 2014 19:13:42 +0100 2014-01-06T19:13:42+01:00 1:30 https://hearthis.at/acid-test-cp/a1-tin-man-mystified-acid/
Acid Test 08 - out September 16th]]>
Acid Test 08 - out September 16th]]> 1400909 no no Wed, 28 Aug 2013 01:55:52 +0200 2013-08-28T01:55:52+02:00 2:18 https://hearthis.at/acid-test-cp/a2-tin-man-finger-paint-rvds-remix/
Acid Test 08 - out September 16th]]>
Acid Test 08 - out September 16th]]> 1400910 no no Wed, 28 Aug 2013 01:53:31 +0200 2013-08-28T01:53:31+02:00 2:10 https://hearthis.at/acid-test-cp/b2-tin-man-futurist-acid-joey-anderson-remix/
Acid Test 08 - out September 16th]]>
Acid Test 08 - out September 16th]]> 1400911 no no Wed, 28 Aug 2013 01:52:02 +0200 2013-08-28T01:52:02+02:00 2:17 https://hearthis.at/acid-test-cp/a1-joey-anderson-above-the-cherry-moon/
Artist : Joey Anderson
Album Title : Above The Cherry Moon
Release Date : June 17th 2013
Label : Avenue 66 / AVE66-01
Format : 12”

A1 – Above The Cherry Moon
B1 – Above The Cherry Moon – Vakula remix
B2 – Auset

Next month see’s the launch of the Avenue 66, the new imprint from the Acid Test camp. Joey Anderson is at the helm with an EP entitled “Above The Cherry Moon”. The title track features vocals by Ebony Ugo and a remix from Ukrainian producer Vakula.
]]>
Artist : Joey Anderson
Album Title : Above The Cherry Moon
Release Date : June 17th 2013
Label : Avenue 66 / AVE66-01
Format : 12”

A1 – Above The Cherry Moon
B1 – Above The Cherry Moon – Vakula remix
B2 – Auset

Next month see’s the launch of the Avenue 66, the new imprint from the Acid Test camp. Joey Anderson is at the helm with an EP entitled “Above The Cherry Moon”. The title track features vocals by Ebony Ugo and a remix from Ukrainian producer Vakula.
]]> 1400912 no no Wed, 22 May 2013 16:26:50 +0200 2013-05-22T16:26:50+02:00 1:35 https://hearthis.at/acid-test-cp/b1-joey-anderson-above-the-cherry-moon-vakula-remix/
Artist : Joey Anderson
Album Title : Above The Cherry Moon
Release Date : June 17th 2013
Label : Avenue 66 / AVE66-01
Format : 12”

A1 – Above The Cherry Moon
B1 – Above The Cherry Moon – Vakula remix
B2 – Auset

Next month see’s the launch of the Avenue 66, the new imprint from the Acid Test camp. Joey Anderson is at the helm with an EP entitled “Above The Cherry Moon”. The title track features vocals by Ebony Ugo and a remix from Ukrainian producer Vakula.
]]>
Artist : Joey Anderson
Album Title : Above The Cherry Moon
Release Date : June 17th 2013
Label : Avenue 66 / AVE66-01
Format : 12”

A1 – Above The Cherry Moon
B1 – Above The Cherry Moon – Vakula remix
B2 – Auset

Next month see’s the launch of the Avenue 66, the new imprint from the Acid Test camp. Joey Anderson is at the helm with an EP entitled “Above The Cherry Moon”. The title track features vocals by Ebony Ugo and a remix from Ukrainian producer Vakula.
]]> 1400913 no no Wed, 22 May 2013 16:25:24 +0200 2013-05-22T16:25:24+02:00 1:11 https://hearthis.at/acid-test-cp/b2-joey-anderson-auset/
Artist : Joey Anderson
Album Title : Above The Cherry Moon
Release Date : June 17th 2013
Label : Avenue 66 / AVE66-01
Format : 12”

A1 – Above The Cherry Moon
B1 – Above The Cherry Moon – Vakula remix
B2 – Auset

Next month see’s the launch of the Avenue 66, the new imprint from the Acid Test camp. Joey Anderson is at the helm with an EP entitled “Above The Cherry Moon”. The title track features vocals by Ebony Ugo and a remix from Ukrainian producer Vakula.
]]>
Artist : Joey Anderson
Album Title : Above The Cherry Moon
Release Date : June 17th 2013
Label : Avenue 66 / AVE66-01
Format : 12”

A1 – Above The Cherry Moon
B1 – Above The Cherry Moon – Vakula remix
B2 – Auset

Next month see’s the launch of the Avenue 66, the new imprint from the Acid Test camp. Joey Anderson is at the helm with an EP entitled “Above The Cherry Moon”. The title track features vocals by Ebony Ugo and a remix from Ukrainian producer Vakula.
]]> 1400914 no no Wed, 22 May 2013 16:24:01 +0200 2013-05-22T16:24:01+02:00 1:10 https://hearthis.at/acid-test-cp/pepe-bradock-lifting-weights/ Album Title : Acid Test 07
Release Date : March 28th 2013
Label : Absurd Recordings / Acid Test Cat #: ASD021
Format : 12”

The first release of 2013 sees Acid Test release their most surprising 12" yet, an EP from none other than Pépé Bradock! Acid tracks from the mad French man!

This marks his first release on a label outside of his own Atavisme imprint in 10 years. All instruments jammed and programmed by Pépé Bradock - Recorded in LA assembled in Paris.

Limited hand painted jackets. Original painting by Pépé Bradock himself.

Mastered by Rashad @ Dubplates & Mastering

Distributed worldwide by Groove Distribution Chicago
Pre-order - http://www.amoeba.com/acid-test-07-12-p-p-bradock/albums/2888745/]]> Album Title : Acid Test 07
Release Date : March 28th 2013
Label : Absurd Recordings / Acid Test Cat #: ASD021
Format : 12”

The first release of 2013 sees Acid Test release their most surprising 12" yet, an EP from none other than Pépé Bradock! Acid tracks from the mad French man!

This marks his first release on a label outside of his own Atavisme imprint in 10 years. All instruments jammed and programmed by Pépé Bradock - Recorded in LA assembled in Paris.

Limited hand painted jackets. Original painting by Pépé Bradock himself.

Mastered by Rashad @ Dubplates & Mastering

Distributed worldwide by Groove Distribution Chicago
Pre-order - http://www.amoeba.com/acid-test-07-12-p-p-bradock/albums/2888745/]]> 1400915 no no Fri, 01 Mar 2013 01:43:30 +0100 2013-03-01T01:43:30+01:00 2:00 https://hearthis.at/acid-test-cp/pepe-bradock-mujeres-nerviosas/ Album Title : Acid Test 07
Release Date : March 28th 2013
Label : Absurd Recordings / Acid Test Cat #: ASD021
Format : 12”

The first release of 2013 sees Acid Test release their most surprising 12" yet, an EP from none other than Pépé Bradock!

This marks his first release on a label outside of his own Atavisme imprint in 10 years. All instruments jammed and programmed by Pépé Bradock - Recorded in LA assembled in Paris.

Limited hand painted jackets. Original painting by Pépé Bradock himself.

Mastered by Rashad @ Dubplates & Mastering
Distributed worldwide by Groove Distribution Chicago

Pre-order - http://www.amoeba.com/acid-test-07-12-p-p-bradock/albums/2888745/]]> Album Title : Acid Test 07
Release Date : March 28th 2013
Label : Absurd Recordings / Acid Test Cat #: ASD021
Format : 12”

The first release of 2013 sees Acid Test release their most surprising 12" yet, an EP from none other than Pépé Bradock!

This marks his first release on a label outside of his own Atavisme imprint in 10 years. All instruments jammed and programmed by Pépé Bradock - Recorded in LA assembled in Paris.

Limited hand painted jackets. Original painting by Pépé Bradock himself.

Mastered by Rashad @ Dubplates & Mastering
Distributed worldwide by Groove Distribution Chicago

Pre-order - http://www.amoeba.com/acid-test-07-12-p-p-bradock/albums/2888745/]]> 1400916 no no Fri, 01 Mar 2013 01:41:08 +0100 2013-03-01T01:41:08+01:00 3:33 https://hearthis.at/acid-test-cp/a1-achterbahn-damour-cardbox-preview/
Release date: December 3rd 2012]]>
Release date: December 3rd 2012]]> 1400917 no no Wed, 14 Nov 2012 00:23:19 +0100 2012-11-14T00:23:19+01:00 2:58 https://hearthis.at/acid-test-cp/b1-achterbahn-damour-cardbox-innerspace-halflife-remix-preview/
Release date: December 3rd 2012]]>
Release date: December 3rd 2012]]> 1400918 no no Wed, 14 Nov 2012 00:19:49 +0100 2012-11-14T00:19:49+01:00 2:52 https://hearthis.at/acid-test-cp/b2-achterbahn-damour-harmonia-preview/
Release date: December 3rd 2012]]>
Release date: December 3rd 2012]]> 1400919 no no Wed, 14 Nov 2012 00:16:07 +0100 2012-11-14T00:16:07+01:00 2:57 https://hearthis.at/acid-test-cp/a1-tin-man-museum-of-acid-snip/
Release date: June 18th 2012

Official record release party at Panorama Bar June 29th ]]>
Release date: June 18th 2012

Official record release party at Panorama Bar June 29th ]]> 1400920 no no Thu, 24 May 2012 17:35:49 +0200 2012-05-24T17:35:49+02:00 2:40 https://hearthis.at/acid-test-cp/a2-tin-man-manifesto-acid-snip/
Release date: June 18th 2012

Official record release party at Panorama Bar June 29th ]]>
Release date: June 18th 2012

Official record release party at Panorama Bar June 29th ]]> 1400921 no no Thu, 24 May 2012 17:34:47 +0200 2012-05-24T17:34:47+02:00 2:43 https://hearthis.at/acid-test-cp/b1-tin-man-devine-acid-snip/
Release date: June 18th 2012

Official record release party at Panorama Bar June 29th]]>
Release date: June 18th 2012

Official record release party at Panorama Bar June 29th]]> 1400922 no no Thu, 24 May 2012 17:33:06 +0200 2012-05-24T17:33:06+02:00 2:57 https://hearthis.at/acid-test-cp/b2-tin-man-futurist-acid-snip/
Release date: June 18th 2012

Official record release party at Panorama Bar June 29th ]]>
Release date: June 18th 2012

Official record release party at Panorama Bar June 29th ]]> 1400923 no no Thu, 24 May 2012 17:31:06 +0200 2012-05-24T17:31:06+02:00 2:43 https://hearthis.at/acid-test-cp/c1-tin-man-the-muses-snip/
Release date: June 18th 2012

Official record release party at Panorama Bar June 29th]]>
Release date: June 18th 2012

Official record release party at Panorama Bar June 29th]]> 1400924 no no Thu, 24 May 2012 17:29:36 +0200 2012-05-24T17:29:36+02:00 3:38 https://hearthis.at/acid-test-cp/c2-tin-man-plastic-arts-snip/
Release date: June 18th 2012

Official record release party at Panorama Bar June 29th ]]>
Release date: June 18th 2012

Official record release party at Panorama Bar June 29th ]]> 1400925 no no Thu, 24 May 2012 17:28:21 +0200 2012-05-24T17:28:21+02:00 2:34 https://hearthis.at/acid-test-cp/d1-tin-man-fingerpaint-snip/
Release date: June 18th 2012

Official record release party at Panorama Bar June 29th ]]>
Release date: June 18th 2012

Official record release party at Panorama Bar June 29th ]]> 1400926 no no Thu, 24 May 2012 17:26:16 +0200 2012-05-24T17:26:16+02:00 3:30 https://hearthis.at/acid-test-cp/d2-tin-man-absurdist-acid-snip/
Release date: June 18th 2012

Official record release party at Panorama Bar June 29th ]]>
Release date: June 18th 2012

Official record release party at Panorama Bar June 29th ]]> 1400927 no no Thu, 24 May 2012 17:24:54 +0200 2012-05-24T17:24:54+02:00 3:32 https://hearthis.at/acid-test-cp/a1-recondite-petrichor-snip/ 1400928 no no Wed, 08 Feb 2012 16:40:44 +0100 2012-02-08T16:40:44+01:00 1:22 https://hearthis.at/acid-test-cp/a2-recondite-tie-in-snip/ 1400929 no no Wed, 08 Feb 2012 16:39:10 +0100 2012-02-08T16:39:10+01:00 2:31 https://hearthis.at/acid-test-cp/b1-recondite-felicity-snip/ 1400930 no no Wed, 08 Feb 2012 16:37:01 +0100 2012-02-08T16:37:01+01:00 2:21 https://hearthis.at/acid-test-cp/b2-recondite-petrichor-tin-man-remix-snip/ 1400931 no no Wed, 08 Feb 2012 16:34:58 +0100 2012-02-08T16:34:58+01:00 2:21 https://hearthis.at/acid-test-cp/c1-recondite-harbinger-snip/ 1400932 no no Wed, 08 Feb 2012 16:32:47 +0100 2012-02-08T16:32:47+01:00 2:21 https://hearthis.at/acid-test-cp/c2-recondite-sultry-snip/ 1400933 no no Wed, 08 Feb 2012 16:31:33 +0100 2012-02-08T16:31:33+01:00 2:06 https://hearthis.at/acid-test-cp/d1-recondite-jaded-snip/ 1400934 no no Wed, 08 Feb 2012 16:29:59 +0100 2012-02-08T16:29:59+01:00 2:21 https://hearthis.at/acid-test-cp/d2-recondite-jaded-scuba-remix-snip/ 1400935 no no Wed, 08 Feb 2012 16:28:04 +0100 2012-02-08T16:28:04+01:00 1:56 https://hearthis.at/acid-test-cp/a1-achterbahn-d-amour-trance-me-up-i-wanna-go-higher-clip/ 1400936 no no Wed, 05 Oct 2011 16:58:48 +0200 2011-10-05T16:58:48+02:00 2:52 https://hearthis.at/acid-test-cp/a2-achterbahn-d-amour-adult-movies-clip/ 1400937 no no Wed, 05 Oct 2011 16:55:44 +0200 2011-10-05T16:55:44+02:00 2:20 https://hearthis.at/acid-test-cp/b1-achterbahn-d-amour-trance-me-up-skudge-remix-clip/ 1400938 no no Wed, 05 Oct 2011 16:54:10 +0200 2011-10-05T16:54:10+02:00 2:41 https://hearthis.at/acid-test-cp/a1-holgerzilske--preciso-acreditar-original-clip/ 1400939 no no Thu, 07 Jul 2011 01:00:29 +0200 2011-07-07T01:00:29+02:00 3:01 https://hearthis.at/acid-test-cp/holgerzilske--preciso-acreditar-john-tejada-dub-remix-clip/ 1400940 no no Thu, 07 Jul 2011 00:58:23 +0200 2011-07-07T00:58:23+02:00 2:41 https://hearthis.at/acid-test-cp/holgerzilske--preciso-acreditar-axel-boman-remix-clip/ 1400941 no no Thu, 07 Jul 2011 00:54:47 +0200 2011-07-07T00:54:47+02:00 3:27 https://hearthis.at/acid-test-cp/donato-dozzy-in-bed-clip/ 1400942 no no Thu, 28 Apr 2011 00:40:44 +0200 2011-04-28T00:40:44+02:00 2:43 https://hearthis.at/acid-test-cp/donato-dozzy-in-bed-tin-man-remix-clip/ 1400943 no no Thu, 28 Apr 2011 00:38:42 +0200 2011-04-28T00:38:42+02:00 3:23 https://hearthis.at/acid-test-cp/achterbahn-damour-your-love-clip/ 1400944 no no Mon, 14 Feb 2011 22:07:21 +0100 2011-02-14T22:07:21+01:00 1:45 https://hearthis.at/acid-test-cp/achterbahn-damour-talking-acid-clip/ 1400945 no no Mon, 14 Feb 2011 22:05:45 +0100 2011-02-14T22:05:45+01:00 1:30 https://hearthis.at/acid-test-cp/idjut-boys-version-house-clip/ 1400946 no no Mon, 14 Feb 2011 22:02:22 +0100 2011-02-14T22:02:22+01:00 1:35 https://hearthis.at/acid-test-cp/your-love-idjut-boys-version-acid-clip/ 1400947 no no Mon, 14 Feb 2011 22:00:51 +0100 2011-02-14T22:00:51+01:00 1:43 https://hearthis.at/acid-test-cp/tin-man-nonneo-clip/ 1400948 no no Mon, 17 Jan 2011 20:59:46 +0100 2011-01-17T20:59:46+01:00 1:30 https://hearthis.at/acid-test-cp/tin-man-nonneo-donato-dozzy-remix-clip/ 1400949 no no Mon, 17 Jan 2011 20:57:00 +0100 2011-01-17T20:57:00+01:00 1:30 https://hearthis.at/acid-test-cp/tin-man-accumulated-acid-clip/ 1400950 no no Mon, 17 Jan 2011 20:54:08 +0100 2011-01-17T20:54:08+01:00 1:30