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That earworm bass line? It’s the signature sound of Red Snapper’s Hot Flush, forever etched in the listener’s brain.\u003c\/p\u003e\n\u003cp\u003eFast forward 30 years, and Red Snapper is reissuing their Reeled \u0026amp; Skinned compilation on Warp Records. The collection includes Hot Flush in both its original form and the remix by Andrew Weatherall’s Sabres of Paradise. It brings together the trio's self-released early EPs from ’94 and ’95, a time when they quickly gained a reputation on the London live scene, captivating jazz, hip-hop, and dance heads alike. Word of their unique sound soon spread, catching the attention of Warp Records founder Steve Beckett, who signed the band shortly after.\u003c\/p\u003e\n\u003cp\u003eNow, Reeled \u0026amp; Skinned is available on vinyl again for the first time in decades, remastered and featuring an additional track, Area 51, recorded during the same period. 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A sound meditation from 1997, now available for the first time remastered in the original and in a ‘version’ by die ANGEL (Ilpo Väisänen \/ Dirk Dresselhaus) and Zappi W. Diermaier from the Krautrock legends Faust.\u003cbr\u003eThe works from the Czukay studio are idiosyncratic sound structures that mastering engineer Dresselhaus, alias Schneider TM, describes as “futuristic gems that are musically far ahead of their time.” For an abstract sound structure, “deep and emotional,” as he says. A composition that can only be inadequately described as avant-garde or new music. A real Czukay, after all.\u003cbr\u003eThe genesis of these recordings goes back to the free-spirited 1990s, when Holger Czukay was experimenting with beats in Cologne with younger techno colleagues such as Dr. Walker from Air Liquide and was otherwise very interested in the quiet explosion of digital media.\u003cbr\u003eIt was tech pioneer and media artist Arthur Schmidt, alias Gvoon, who introduced Czukay to the (back then exceedingly futuristic) data machine ‘RealityEngine’, which was used to create virtual worlds. From a full-body tracking system to a mutual prototype of an ‘internet TV channel’. It showed digitized experimental Czukay videos he equipped with ever more samples and sonic fragments. Later it developed into the contemporary show ‘Czukay\/Gvoon:Magazine’ and also into March 1999’s ‘Can-Solo Projects Live’, equipped with Gvoon’s body tracker technology.\u003cbr\u003eThe GDR past of his tech buddy Schmidt, who told him about his time in Stasi Prisons, triggered a creative process in Czukay. He translated this trauma into sound. He offered a musical gift: ‘Gvoon - Brennung 1’, something Schmidt could use “at some point.” Just like that. A soundtrack that was handed over as a simple file on a digital audio tape.\u003cbr\u003eIt was over 20 years later, when Schmidt set up one of his art works - an original-sized, hermetically sealed Ministry for State Security (MfS) interrogation room - that the ‘Czukay gift’ popped up again. Now it provided a soundscape for this pitch-black, oppressive room with its rubber walls.\u003cbr\u003eThis is where Dresselhaus came across the material. It became clear that he was hearing more than just some everyday 1990s recording session. “It feels kind of bluesy in a cybernetic and abstract manner, with a very slow groove that keeps your attention the whole way through,” said Dresselhaus. 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