240ml GlitterBug UV Potion for Hand Hygiene Training

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There’s a few tracks, particularly ‘Apparition’, ‘Far Far Light’, ‘When The City Was Bare’ and ‘The Stars Behind The Light’, that could be culled from the crowd and placed in a light and trancy minimalist mix, for those DJs that want to evoke that frictionless, gliding Berlin futurism. So, for the good and bad – even if I wanted to let public taste and opinion shape my music (which I absolutely don’t), I couldn’t. It’s not clear to me if “The Stars Behind the Light” is fleeing or chasing, but it’s certainly running at immense speeds, over great distances. Dust suggests an easy peace between hardware and digital, with Rohmann looking far and wide for the perfect sounds, which are then precisely tooled and set with the molecular precision of digital production.

Glitterbug’s last album was a highly introspective and personal affair (2012’s Cancerboy), giving an audio approximation of the producer’s childhood battle with cancer.Pierwszą część opowieści puentuje „47th Floor” – urywając się gwałtownie w kulminacyjnym momencie narastającego podkładu rytmicznego, opartego na agresywnych breakach. Beginning his self-tutelage in the industrial Ruhr district of Germany at the dawn of acid house in the 1980s (“with so many abandoned warehouses and mines, it was inevitable it would become a Mecca for illegal raves”), while also immersing himself in the gay house scene of the time; Rohmann’s recorded output has only come into focus over the last few years under the name Glitterbug. From here we journey through the deep ambience of ›When The City Was Bare‹ , the Lawrence-style house of ›The Stars Behind The Light‹ and into territories guaranteed to stimulate both mind and feet. Well, in a way it’s both a sequel to my previous album, ‘Cancerboy‘, and since I also conceptually wanted to do something that’s relevant for Notown, I also looked at Gold Pandas last album and took some of the notions of ‘Half Of Where You Live’ to take them a step further and to knit my own stories into the fabric. The mix spans across quite a few musical directions – it combines friendly ambient (Ezekiel Honig, Colleen) with abyssal experimental music (Biblo, Why Sheep?

It’s so desperate, like running after someone that you will never ever find again, or never reaching where you sought out to go. A check with the UV lamp and you can demonstrate how easily powder (or germs) can be spread from person to person. CAN YOU TAKE ME THROUGH YOUR STUDIO SETUP, WHAT MACHINES YOU WERE USING AND IF YOU HAVE ANY SPECIAL WEAPONS FOR PARTICULAR SOUNDS?At their worst, they degenerate into sleaze, delivering lines like "There‘s no greater sight than you in your underwear removing mine.

Intermissions” is my secret electric band as it slowly marches into the concert hall… airy, expanding, and hopeful. When it comes to instruments, it’s a blend of both digital and analog- I am rather pragmatic about these things. Rohmann claims he’s far more comfortable working in large studios than his contemporary – with Gold Panda a bedroom producer to this day, and unable to resist the lure of a more dancefloor-friendly sound.

To claim that my Polish is limited would be an exaggeration, but since Google translate speaks a bit of Polish, I tried that and was overwhelmed by all the amazing things that were written about my album. Stricken by cancer as a child, the first seven to eight years of his life were soundtracked by the dull bleeps of hospital machinery, and left behind memories filled with the sterile smell of hospital linen, intrusive tubes and needles, and a constant, persistent cycle of sorrow, as those in the beds around him gradually disappeared one by one. Dust takes this notion a step further and explores the urban shadows of the forgotten,” explains Rohmann, “the stories of our cities that remain untold, past landscapes that evaporated and memories left behind over time.