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孤高のエキスペリメンタル作家、フィンランドの至高ヴラディスラフ・ディレイが、2023年に10インチ5枚をリリースするシリーズ最終章となる第五弾!!! 生々しい内省的エクスペリメンタル・ノイズ!フィンランド出身、LUOMO、UUSITALO等、数々の名義を使い分け、アンビエントからポップ・ミュージックまで多様な方向から音の探求・進化を続ける孤高のプロデューサー・VLADISLAV DELAYが、自身のレーベル RAJATONを通じ2023年DANCEFLOOR CLASSICS名義のジューク/フットワーク連作シリーズ(!!!)と並走し手掛けてきた10"シリーズ、こちらも最終章がリリース!!--Stillness is a myth. Consider concepts such as ”still water”, or ”still air” for that matter. Go to a restaurant, ask them for a glass of still water, hold it against the light and see where we’re at. Even though the water itself has been captured and imprisoned in the glass, it never stops breathing. It’s filled with tiny particles, dancing. Everything can be explained on a molecular level, but since we’re not scientists – and even if you happen to be – it’s the natural world of perception that moves me.Still air is very similar. A hot summer’s day with zero wind feels completely still. It’s the closest I have felt to complete stillness. Or for a more urban adaptation, imagine the same vibe inside a normal apartment. In those moments, revelations and mind- blowing experiences can be had with experiments in stillness.Try this: Just sit down for a minute on a sunny day, making sure there’s enough natural light. Do absolutely nothing. Try not to breathe for a bit. (If you need a mental anchor, you can play Cage’s 4’33” in your head but nothing else.) Watch the tiny dots of dust dancing :..’ ?.:; ? ?*°.,’:,. ? ? ? ?:,.’The movement is crazy, but the feeling of stillness comes from witnessing how subtle it is. In (perceived) complete stillness, every act of microscopic mobility seems to speak volumes. Yet, it feels both reassuring and oddly threatening that the stillness is never complete. What if we would need absolute stillness? Or is it just enough that we can perceive something as such? Extremes attract, so for both water and air, extraordinary movement is equally fascinating. That is also a luxury item of sorts. For us to enjoy a very ”loud” body of water or air, we need to be safe, in enough control of the situation. So when you are, it’s worthwhile to pay attention and take it all in.A rapid flowing free with extreme strength and just barely in control. Look at that water go! No still water on this one, only ”sparkling”. A windy day when birds seem surprised how hard it is to fly, but in the end they make it. Trees bend but don’t break. The wind shows you its movement but doesn’t hurt you. It feels friendly, like a big clumsy dog that doesn’t quite understand its size.It’s beautiful to be a guest of the elements, but not at the mercy of them. A new kind of dialogue forms.--Q&A with Sasu Ripatti:1) Tell us something about the EP series ”Hide Behind the Silence”, what’s the idea and what can we expect?Exploration of inaction. Of many kinds. In arts and in personal life, or at bigger and more serious levels. Questioning myself as a human being as well as an artist. Acknowledging the growing activism all around, and the very clear need for it, and how it reflects my own inaction.Musically speaking, after Rakka, Isoviha and Speed Demon, I finally found some relief, but more importantly lost the need to go musically ever more outward and intensive. I felt quite strongly certain periods/moods from the past and they made me revisit some musical ideas or states of mind I was exploring early on.It’s about live moments being captured, not much premeditation or editing. More intuitive and raw, even though the end result (to me) feels and sounds quite introspective and calm. It’s not very ambitious. Momentary and reflective.2) Your music doesn’t sound very silent. Does it come from somewhere behind the silence?Oh, this time to me it sounds quite quiet and playing with space if not silence. I don’t know what’s actually behind silence, but I think silence is the source of everything. We just don’t understand it yet.3) What kind of thoughts or experiences gave inspiration to this series?Writing this in Nov ’22, it’s not a stretch to say the world has been really unwell. Sometimes, like Mika Vainio put it, the world eats you up. I feel a bit like that. And I try to hide in my studio and stay away from it all, but it’s getting harder by the day. I’ve been questioning myself and thinking if what us artists are doing is worth anything, and whether it’s just a selfish thing I’ve been doing for the past 25 years, running away from everything. I haven’t come to a conclusion yet.4) Is it easy for you to be in silence, or around silence?Absolutely. I not only hide behind silence but I also love silence. It’s only since I started going back to nature as a grown-up person that I sensed and was enveloped by silence, true silence. I have begun to appreciate it a lot. I think all the people should spend more time in silence.--All tracks composed and produced by Sasu Ripatti.Artwork by Marc Hohmann, photography by Shinnosuke Yoshimori.Mastering by Stephan Mathieu for Schwebung Mastering.Vinyl cut by SST Brueggemann.Publishing by WARP Music Ltd.

孤高のエキスペリメンタル作家、フィンランドのヴラディスラフ・ディレイが、2023年に10インチ5枚をリリースするシリーズ VOL.4!!!Stillness is a myth. Consider concepts such as ”still water”, or ”still air” for that matter. Go to a restaurant, ask them for a glass of still water, hold it against the light and see where we’re at. Even though the water itself has been captured and imprisoned in the glass, it never stops breathing. It’s filled with tiny particles, dancing. Everything can be explained on a molecular level, but since we’re not scientists – and even if you happen to be – it’s the natural world of perception that moves me.Still air is very similar. A hot summer’s day with zero wind feels completely still. It’s the closest I have felt to complete stillness. Or for a more urban adaptation, imagine the same vibe inside a normal apartment. In those moments, revelations and mind- blowing experiences can be had with experiments in stillness.Try this: Just sit down for a minute on a sunny day, making sure there’s enough natural light. Do absolutely nothing. Try not to breathe for a bit. (If you need a mental anchor, you can play Cage’s 4’33” in your head but nothing else.) Watch the tiny dots of dust dancing :..’ ?.:; ? ?*°.,’:,. ? ? ? ?:,.’The movement is crazy, but the feeling of stillness comes from witnessing how subtle it is. In (perceived) complete stillness, every act of microscopic mobility seems to speak volumes. Yet, it feels both reassuring and oddly threatening that the stillness is never complete. What if we would need absolute stillness? Or is it just enough that we can perceive something as such? Extremes attract, so for both water and air, extraordinary movement is equally fascinating. That is also a luxury item of sorts. For us to enjoy a very ”loud” body of water or air, we need to be safe, in enough control of the situation. So when you are, it’s worthwhile to pay attention and take it all in.A rapid flowing free with extreme strength and just barely in control. Look at that water go! No still water on this one, only ”sparkling”. A windy day when birds seem surprised how hard it is to fly, but in the end they make it. Trees bend but don’t break. The wind shows you its movement but doesn’t hurt you. It feels friendly, like a big clumsy dog that doesn’t quite understand its size.It’s beautiful to be a guest of the elements, but not at the mercy of them. A new kind of dialogue forms.

VLADISLAV DELAYことSASU RIPATTIによるジューク/フットワーク・連作シリーズ DANCEFLOOR CLASSIC "最終章" 5が遂に到着!!!!北欧エレクトロニカ/ダブ&グリッチの魔術師・VLADISLAV DELAY名義でもお馴染みSASU RIPATTIが、自身のレーベルRAJATONより昨年猛烈なペースで世に放った"DANCEFLOOR CLASSICS"シリーズも遂にこの5枚目で最終章。BPM180で瞬時に輪郭を崩しては構築するベースとビート、イマジナリー・ダンスフロアのために構築されたエキスペリメンタル・サンプリング・フットワーク!!! ="https://vladislavde--”Look up, into the light” she said, while the camera shutter clicked. ”Like this? Does it look holy?” His neck felt stiff. Her reply: ”Yes, just like that. What do you mean holy? Like religious? ”No, more like trying to look very far, somewhere beyond what we can see.” ”Okay, stand still, I’m going to come close to you now. The light hits your face great.” click, click, click.He noticed her fingernails. They were not polished. Natural. Even somewhat rugged, as if something wore out the fingers slightly. What had these hands held besides the camera? What made the edges of her fingernails drift off?He thought it’s weird to look straight into the camera. The photographer had closed her left eye, the one not looking into the lens. Then it opened, she looked up, perusing the surroundings, then she closed her eye again, then looked up, closed, looking up, very quickly. It all seemed very professional. Maybe she calculated the light, making sure it’s close to perfect. ”What will these photos look like?” – the thought popped into his head briefly. It was liberating to think it wouldn’t matter.”What’s that song playing?” he asked. ”Wait a sec, Ol’ Dirty Bastard?” she replied. ”Oh yeah, right. But the sample?” ”Hey, could you look up again, like that. No, lower.”New directions: ”Look out from the window, turn left.” ”My left or yours?” ”Yours, I always try to think from the direction of my model.” How professional! This is a good shoot, so natural. Should I worry about how the photos look like? No, I don’t want to. His thoughts bounced around. What would the story be like? It’s a big newspaper, everyone will read it. Maybe someone drinks coffee and eats a stroopwafel while they do it. Will they place the waffle on top of the mug for a brief while, so that it gets hot and the syrup melts a little? Then it feels wet, and you can bend the cookie.She broke his train of thought off midway through: ”Now turn right, but look left, and slightly up, but don’t turn your face right.” ”Umm, like this? Sounds like a set of pilates instructions.” [she laughed] ”You do pilates?” ”Yeah, it’s hard sometimes. Have you tried?” ”No”, she said. ”I’m not good for sports that are done in groups.” ”Yeah, but in pilates you can just be inside your mind, drowning in your private thoughts.””What are you thinking in pilates?” she asked, taking more photos. ”Well, mostly just which way is right. And which left.” click, click.--Q&A with Sasu Ripatti:1) Tell us something about the EP series ”Dancefloor Classics”, what’s the idea and what can we expect?I’ve been slowly writing these sort of dance music pieces and finally curated them together for a conceptual release. I like to create music for a dancefloor that exists only in my imagination and doesn’t try to suck up to the standardized reality.2) Your vinyl format is 10” which is quite special (as opposed to LP / 12”). Why did you choose it?It’s my favourite format, absolutely. The size is perfect, and you can make it sound really good @ 45 rpm. And you still can make great artwork.3) You seem interested in sampling/repurposing, what does it mean to you as an artist to approach something already existing from a new angle? How does the source material inform you about the approach to take?I guess i could flip it around and just say I’ve outgrown synths or electronic sounds to a great extend, and having gotten rid off all my synths already good while ago I’ve used samples as my main source material a lot. It’s obvious on this series that i’ve sampled existing music, but I also sample instruments and things in the studio and resample my own library that I have built over the years, it’s quite large. To me the end result matters, not so much how I get there. Once I have something on my keyboard and play around, it’s all an instrument, though with sampling other music it becomes a really interesting and complex one as you’re possibly playing rhythm, but also harmonic content and maybe hooks or whatever, all at once.I never sample premeditadedly, like listening to records and looking for that mindblowing 3 sec part. I just throw the cards in the air and see what lands where, just full intuition and hopefully zero mind involved, playing tons of stuff, trying things, just recording hours of stuff. Then comes the interesting part to listen to hours of mostly crazy stuff and finding that mindblowing 3 sec part.4) What is your relationship with the dancefloor (conceptually and/or in experiences / as a performer)?Very complicated. I have never really felt comfortable on a dancefloor but have always wanted to. There’s something in club music, in theory, that really speaks to me. It has never really materialized for me – speaking mainly from a performer’s point of view who goes to check on a dancefloor for a moment after a concert. I never have DJ’d or felt much interest towards it. But again, I love the idea and concept of DJing. As well as producing music for imaginary DJs. Lately, as in the past 10+ years, I haven’t even performed in any sort of club spaces. So my relationship to the dancefloor is quite removed and reduced, but there’s quite a bit of passion and interest left.--All tracks composed and produced by Sasu Ripatti.Artwork & photography by Marc Hohmann.Mastering by Stephan Mathieu for Schwebung Mastering.Vinyl cut by SST Brueggemann.Publishing by WARP Music Ltd.

VLADISLAV DELAY別名義DANCEFLOOR CLASSICSによる複雑で緻密なサンプリングによる実験的ジューク/フットワーク!!VLADISLAV DELAYの別名義RIPATTI DELUXEの作品を更に先鋭化させたかのような複雑で混沌としたサンプリングにより産み出されたダンスフロアのための10”が完成!本10インチは45rpmでの高音質仕様、ベースミュージックならではの音圧にこだわったフォーマットをSasu Ripattiがセレクト。電子音楽の表現領域を数々の実験で拡張してきた彼が本名義で追求するサンプリング。シンセは使わず、サンプル素材をメインとしているのも特徴的。既存の楽曲や楽器の演奏をサンプリングはもちろん、自らのライブラリ素材をリ・サンプリングすることで、新しい魅力に気づいたとのこと。

孤高のプロデューサーVLADISLAV DELAY による生々しい内省的エクスペリメンタル・ノイズ!フィンランド出身、LUOMO、UUSITALO等、数々の名義を使い分け、アンビエントからポップ・ミュージックまで多様な方向から音の探求・進化を続ける孤高のプロデューサーVLADISLAV DELAYの最新作が10"でリリース!"静寂"をテーマに掲げるにはあまりにも直感的で獰猛な濁流ノイズが繰り広げられている本作。アーティストがやっていることに何か価値があるのか、それとも過去25年間、すべてから逃げてきた自分勝手なことなのか、自問自答を続ける当人の困惑を図らずとも映し出したかのような混迷的なノイズ・ミュージック。本人曰く、ライブの瞬間を捉えたもので、あまり予習や編集はしていない。もっと直感的で生々しい、でも最終的にはかなり内省的で穏やかな感じと音になっている。あまり野心的ではないのです。瞬間的で反射的。とのこと。

孤高のプロデューサーVLADISLAV DELAY による静と動が目まぐるしくたちかわるインダストリアル・エキスペリメンタル・テクノ!フィンランド出身、LUOMO、UUSITALO等、数々の名義を使い分け、アンビエントからポップ・ミュージックまで多様な方向から音の探求・進化を続ける孤高のプロデューサーVLADISLAV DELAYが2023年に全5作品を予定している10インチ・シリーズの第三弾!!!ジャケットは写真家の吉森慎之介によるものQ&A with Sasu Ripatti:1) Tell us something about the EP series ”Hide Behind the Silence”, what’s the idea and what can we expect?Exploration of inaction. Of many kinds. In arts and in personal life, or at bigger and more serious levels. Questioning myself as a human being as well as an artist. Acknowledging the growing activism all around, and the very clear need for it, and how it reflects my own inaction.Musically speaking, after Rakka, Isoviha and Speed Demon, I finally found some relief, but more importantly lost the need to go musically ever more outward and intensive. I felt quite strongly certain periods/moods from the past and they made me revisit some musical ideas or states of mind I was exploring early on.It’s about live moments being captured, not much premeditation or editing. More intuitive and raw, even though the end result (to me) feels and sounds quite introspective and calm. It’s not very ambitious. Momentary and reflective.2) Your music doesn’t sound very silent. Does it come from somewhere behind the silence?Oh, this time to me it sounds quite quiet and playing with space if not silence. I don’t know what’s actually behind silence, but I think silence is the source of everything. We just don’t understand it yet.3) What kind of thoughts or experiences gave inspiration to this series?Writing this in Nov ’22, it’s not a stretch to say the world has been really unwell. Sometimes, like Mika Vainio put it, the world eats you up. I feel a bit like that. And I try to hide in my studio and stay away from it all, but it’s getting harder by the day. I’ve been questioning myself and thinking if what us artists are doing is worth anything, and whether it’s just a selfish thing I’ve been doing for the past 25 years, running away from everything. I haven’t come to a conclusion yet.4) Is it easy for you to be in silence, or around silence?Absolutely. I not only hide behind silence but I also love silence. It’s only since I started going back to nature as a grown-up person that I sensed and was enveloped by silence, true silence. I have begun to appreciate it a lot. I think all the people should spend more time in silence.All tracks composed and produced by Sasu Ripatti.Artwork by Marc Hohmann, photography by Shinnosuke Yoshimori.Mastering by Stephan Mathieu for Schwebung Mastering.Vinyl cut by SST Brueggemann.Publishing by WARP Music Ltd.

孤高のプロデューサーVLADISLAV DELAY による生々しい内省的エクスペリメンタル・ノイズ!フィンランド出身、LUOMO、UUSITALO等、数々の名義を使い分け、アンビエントからポップ・ミュージックまで多様な方向から音の探求・進化を続ける孤高のプロデューサーVLADISLAV DELAYが2023年に全5作品を予定している10インチ・シリーズの第二弾!!!直感的で生々しい、瞬間と反射を音として閉じ込めたノイズ・音響作品ジャケットは写真家の吉森慎之介によるものQ&A with Sasu Ripatti:1) Tell us something about the EP series ”Hide Behind the Silence”, what’s the idea and what can we expect?Exploration of inaction. Of many kinds. In arts and in personal life, or at bigger and more serious levels. Questioning myself as a human being as well as an artist. Acknowledging the growing activism all around, and the very clear need for it, and how it reflects my own inaction.Musically speaking, after Rakka, Isoviha and Speed Demon, I finally found some relief, but more importantly lost the need to go musically ever more outward and intensive. I felt quite strongly certain periods/moods from the past and they made me revisit some musical ideas or states of mind I was exploring early on.It’s about live moments being captured, not much premeditation or editing. More intuitive and raw, even though the end result (to me) feels and sounds quite introspective and calm. It’s not very ambitious. Momentary and reflective.2) Your music doesn’t sound very silent. Does it come from somewhere behind the silence?Oh, this time to me it sounds quite quiet and playing with space if not silence. I don’t know what’s actually behind silence, but I think silence is the source of everything. We just don’t understand it yet.3) What kind of thoughts or experiences gave inspiration to this series?Writing this in Nov ’22, it’s not a stretch to say the world has been really unwell. Sometimes, like Mika Vainio put it, the world eats you up. I feel a bit like that. And I try to hide in my studio and stay away from it all, but it’s getting harder by the day. I’ve been questioning myself and thinking if what us artists are doing is worth anything, and whether it’s just a selfish thing I’ve been doing for the past 25 years, running away from everything. I haven’t come to a conclusion yet.4) Is it easy for you to be in silence, or around silence?Absolutely. I not only hide behind silence but I also love silence. It’s only since I started going back to nature as a grown-up person that I sensed and was enveloped by silence, true silence. I have begun to appreciate it a lot. I think all the people should spend more time in silence.All tracks composed and produced by Sasu Ripatti.Artwork by Marc Hohmann, photography by Shinnosuke Yoshimori.Mastering by Stephan Mathieu for Schwebung Mastering.Vinyl cut by SST Brueggemann.Publishing by WARP Music Ltd.

VLADISLAV DELAY別名義SASU RIPATTI改めRIPATTI DELUXEがあらゆるボーダレス、自由な発想を目指し設立した新レーベル〈RAJATON〉を設立。今まで聴いたことのないアーリーレイヴやハッピーハードコアを大量のエフェクトをかけてループさせたり、ひっくり返したりして聴くうちに構想が出来上がり、時間の価値とその使い方をテーマにした瞬間的1枚!

VLADISLAV DELAYことSasu Ripattiによるジューク/フットワーク・連作シリーズ DANCEFLOOR CLASSICのVOL.4!!!イマジナリー・ダンスフロアのために構築されたエキスペリメンタル・サンプリング・フットワーク!!!”Look up, into the light” she said, while the camera shutter clicked. ”Like this? Does it look holy?” His neck felt stiff. Her reply: ”Yes, just like that. What do you mean holy? Like religious? ”No, more like trying to look very far, somewhere beyond what we can see.” ”Okay, stand still, I’m going to come close to you now. The light hits your face great.” click, click, click.He noticed her fingernails. They were not polished. Natural. Even somewhat rugged, as if something wore out the fingers slightly. What had these hands held besides the camera? What made the edges of her fingernails drift off?He thought it’s weird to look straight into the camera. The photographer had closed her left eye, the one not looking into the lens. Then it opened, she looked up, perusing the surroundings, then she closed her eye again, then looked up, closed, looking up, very quickly. It all seemed very professional. Maybe she calculated the light, making sure it’s close to perfect. ”What will these photos look like?” – the thought popped into his head briefly. It was liberating to think it wouldn’t matter.”What’s that song playing?” he asked. ”Wait a sec, Ol’ Dirty Bastard?” she replied. ”Oh yeah, right. But the sample?” ”Hey, could you look up again, like that. No, lower.”New directions: ”Look out from the window, turn left.” ”My left or yours?” ”Yours, I always try to think from the direction of my model.” How professional! This is a good shoot, so natural. Should I worry about how the photos look like? No, I don’t want to. His thoughts bounced around. What would the story be like? It’s a big newspaper, everyone will read it. Maybe someone drinks coffee and eats a stroopwafel while they do it. Will they place the waffle on top of the mug for a brief while, so that it gets hot and the syrup melts a little? Then it feels wet, and you can bend the cookie.She broke his train of thought off midway through: ”Now turn right, but look left, and slightly up, but don’t turn your face right.” ”Umm, like this? Sounds like a set of pilates instructions.” [she laughed] ”You do pilates?” ”Yeah, it’s hard sometimes. Have you tried?” ”No”, she said. ”I’m not good for sports that are done in groups.” ”Yeah, but in pilates you can just be inside your mind, drowning in your private thoughts.””What are you thinking in pilates?” she asked, taking more photos. ”Well, mostly just which way is right. And which left.” click, click.

VLADISLAV DELAY別名義DANCEFLOOR CLASSICSによる複雑で緻密なサンプリングによる実験的ジューク/フットワーク!!VLADISLAV DELAYの別名義RIPATTI DELUXEの作品を更に先鋭化させたかのような複雑で混沌としたサンプリングにより産み出されたダンスフロアのための10”が完成!奇々怪々なサウンドとリズムを高速化させ、図らずとも歪なジューク/フットワーク作品へと姿形を変えた、狂人による強靭な直感的ダンス・ミュージック!

VLADISLAV DELAY別名義DANCEFLOOR CLASSICSによる複雑で緻密なサンプリングによる実験的ジューク/フットワーク!!VLADISLAV DELAYの別名義RIPATTI DELUXEの作品を更に先鋭化させたかのような複雑で混沌としたサンプリングにより産み出されたダンスフロアのための10”が完成!本10インチは45rpmでの高音質仕様、ベースミュージックならではの音圧にこだわったフォーマットをSasu Ripattiがセレクト。電子音楽の表現領域を数々の実験で拡張してきた彼が本名義で追求するサンプリング。シンセは使わず、サンプル素材をメインとしているのも特徴的。既存の楽曲や楽器の演奏をサンプリングはもちろん、自らのライブラリ素材をリ・サンプリングすることで、新しい魅力に気づいたとのこと。1) Tell us something about the EP series ”Dancefloor Classics”, what’s the idea and what can we expect?I’ve been slowly writing these sort of dance music pieces and finally curated them together for a conceptual release. I like to create music for a dancefloor that exists only in my imagination and doesn’t try to suck up to the standardized reality.2) Your vinyl format is 10” which is quite special (as opposed to LP / 12”). Why did you choose it?It’s my favourite format, absolutely. The size is perfect, and you can make it sound really good @ 45 rpm. And you still can make great artwork.3) You seem interested in sampling/repurposing, what does it mean to you as an artist to approach something already existing from a new angle? How does the source material inform you about the approach to take?I guess i could flip it around and just say I’ve outgrown synths or electronic sounds to a great extend, and having gotten rid off all my synths already good while ago I’ve used samples as my main source material a lot. It’s obvious on this series that i’ve sampled existing music, but I also sample instruments and things in the studio and resample my own library that I have built over the years, it’s quite large. To me the end result matters, not so much how I get there. Once I have something on my keyboard and play around, it’s all an instrument, though with sampling other music it becomes a really interesting and complex one as you’re possibly playing rhythm, but also harmonic content and maybe hooks or whatever, all at once.I never sample premeditadedly, like listening to records and looking for that mindblowing 3 sec part. I just throw the cards in the air and see what lands where, just full intuition and hopefully zero mind involved, playing tons of stuff, trying things, just recording hours of stuff. Then comes the interesting part to listen to hours of mostly crazy stuff and finding that mindblowing 3 sec part.4) What is your relationship with the dancefloor (conceptually and/or in experiences / as a performer)?Very complicated. I have never really felt comfortable on a dancefloor but have always wanted to. There’s something in club music, in theory, that really speaks to me. It has never really materialized for me – speaking mainly from a performer’s point of view who goes to check on a dancefloor for a moment after a concert. I never have DJ’d or felt much interest towards it. But again, I love the idea and concept of DJing. As well as producing music for imaginary DJs. Lately, as in the past 10+ years, I haven’t even performed in any sort of club spaces. So my relationship to the dancefloor is quite removed and reduced, but there’s quite a bit of passion and interest left.--All tracks composed and produced by Sasu Ripatti.Artwork & photography by Marc Hohmann.Mastering by Stephan Mathieu for Schwebung Mastering.Vinyl cut by SST Brueggemann.Publishing by WARP Music Ltd.

VLADISLAV DELAY別名義SASU RIPATTI改めRIPATTI DELUXEがあらゆるボーダレス、自由な発想を目指し設立した新レーベル〈RAJATON〉を設立。今まで聴いたことのないアーリーレイヴやハッピーハードコアを大量のエフェクトをかけてループさせたり、ひっくり返したりして聴くうちに構想が出来上がり、時間の価値とその使い方をテーマにした瞬間的1枚!

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VLADISLAV DELAY別名義