Open today: 12:00 - 18:00

By continuing your navigation on this website, you accept the use of cookies for statistical purposes.








1x Vinyl 12"



Release date

Press Release:

Gordan join traditional Serbian singing with abstraction, energy and minimalism. Their music is marked by radical reduction, seemingly endless ascension and a passion for experiments.

The Serbian singer Svetlana Spajić is an internationally recognized and acclaimed artist. She, like almost no other contemporary singer, is a master of all the complex local stylistic variations of singing from Balkan music. Guido Möbius plays bass and various electronic sound generators. Additionally he uses guitar amps, microphones and effects to provoke feedback which either harmonize or are juxtaposed with the song. It is a dialogue between sound and noise which is accentuated or fragmented by means of Andi Stecher’s expressive drumming. With a rich pool of ideas the percussionist drives the sound forward breathlessly and grounds it. Together the trio form a dynamic body of sound.

Gordan recorded their debut during the first wave of the Covid19 pandemic in Europe in March 2020. Due to the lockdown in Berlin at that time the city didn’t have many distractions to offer, so the trio just concentrated on work. The atmosphere of being isolated in a recording studio had a big impact on the musical results. All three band members came up with ideas for new pieces, which were immediately tested, worked out and recorded. On abstract instrumentals provided by Stecher and Möbius, Svetlana Spajic sometimes reacted with personal interpretations of serbian traditionals, and the other way around. Most of the time it was as if the music just happend to the band; playing together felt natural from the first moment on.

Some of the old serbian traditional songs that Spajic sang are extinct forms with a specific local melodic mode. The skillful improvisation of their lyrics and ornaments was of great importance and very estimated among village singers. The title song Down In The Meadow for instance originally is a love song from the village of Odevce in eastern Kosovo, Serbia. The singing manner is of a great intensity and sonority, with lots of specific local ornaments. It disappeared along with the village communities from the area. Oh, my Rose flowers is from the region of Kopaonik mountain (southwest Serbia) and the mode, scale is known as ”kopaonički glas” (Kopaonik mountain air). Svetlana adopted the style from the late singer Veličko Veličković from the village of Ostraće. It is an old mountain solo chant, rich in fast ornamentation movements and microtonal intervals. Don’t ask how I live is Svetlana’s homage to the new popular folk music movement from the 80ies known as Južni Vetar (Southern Wind) led by a musician and composer Mile Ilić, known as Mile Bas (“Mile the Bass”) which revolutionized popular music introducing tabooed oriental music and original arrangements.

All music by Spajic Stecher Möbius except ‘Don’t Ask How I Live’ by Miodrag M. Ilić, original title Što me pitaš
All lyrics are traditional, except ‘Don’t Ask How I Live’

Svetlana Spajic — vocals
Andi Stecher — drums & percussion
Guido Möbius — bass, feedback, electronics

Recorded by Alberto Lucendo at UFO sound studios Berlin in March 2020 mixed by Morphosis
Mastering by Neel at Enisslab, Rome
Artwork by Lorenzo Mason Studio

Media: Mi
Sleeve: M


*Taxes included, shipping price excluded

DOSER041 - RS - 2021


Down In The Meadows


Woe Is My Foreign Lands


Dont Ask How I Live


Oh My Rose Flowers


Seediq Song


Endless Kraut


Konji Vrani

Other items you may like:

After the 2020 release of Old Dreams And Memories, Icelandic dub techno linchpin Yagya returns for a second release on his emergent label, Small Plastic Animals. This latest venture marks a new chapter in the artist's accomplished career, having released on Delsin, Subwax BCN and A Strangely Isolated Place as well as forming a core part of the Thule collective alongside his partner in Sanasol, Thor. As those associations ably point out, the music Yagya crafts is spacious and atmospheric, using the techno tradition as a vessel for meditative as well as emotional exploration and experimenting with sound design according to a specific, patiently cultivated style. Always Maybe Tomorrow finds Yagya ruminating on the behavioural energy of environments as viewed from afar - the man-made electricity of urban expanses and the interconnected flora and fauna of ecosystems. Looking to his chosen tools as a means to express these ideas, he employed a non-linear approach to each of the four tracks on this EP, choosing to create musical systems in constant flux rather than composing each piece in a conventional left-to-right narrative. Yagya's trademark voluminous chords and vast pads ebb and flow through filters controlled by LFOs and randomness, creating their own micro-incidents and macro evolution as though holding a mirror up to the environments the initial inspiration was drawn from.
*Limited edition of 200 copies, heavy weight vinyl* fmvee joins Queeste with who do u love?, an EP of fractious songs recorded over a tumultuous four-month period in Los Angeles. Having debuted in 2018 with a set of club contortions touching on jungle and 2-step, the US artist returns with a work of intense self-reflection. Lived experiences are transmuted into an amorphous bricolage of pummelling kicks, synthetic textures, and diaristic details, what they describe as an act of "remembrance." Working and living in LA, the "grind" alongside "aspirational partying," and the confrontation of depression during an intense relationship, informs the EP on levels both sonic and thematic. The slippery rhythm and melodic stabs of 'the way you see yourself' embodies a state of flux, also recalling the early experiments of the LA beat scene. Distant jazz drumming fills its peaceful coda before 'everythingUneverKnewUwanted' introduces an echo lifted directly from the artist's life: a trickling courtyard fountain. This first phase of the release finds resolution with 'thewayothersseeyou,' a conceptual mirror to its start, and one which carries a notable shift in tone; gleaming percussion has given way to ominous synths. Despite the EP's personal nature, collaboration is crucial. 'Seed Perfuming (LoLo v665)' is an fmvee original transformed into a cascading breakbeat by New York producer and engineer Loric Sih AKA LoLo, an ecstatic yet familiar form nestled amidst otherwise bruising encounters. 'sobbing' follows, a digital-age ballad of original lyrics exploring dependency: emotional, physical, and otherwise. It's a poignant conclusion to an appropriately hallucinogenic collection, an intoxicating chemistry of love and loneliness conjured through a fine balance of bass, percussion, discord, and harmony.
Luz Azul by Luz Azul
MIAMI [EP] by Artistes Variés
Micron Audio opens its doors to an external artist for the first time, welcoming in Ctrls with a crucial new EP entitled Your Data. Across four tracks, the Danish producer unravels a dark and funky electro core, taking inspiration from the rapidly intertwining codependence between technology and society. As digital twins, metaverses or humanoid robots lodge themselves deeper into our surroundings, Ctrls unpicks the deepening complexity brought on by our pervasive digital lives. Encouraged by Micron Audio boss Stingray to delve into the darker productions as a means of exploring a contemporary electro sound, Ctrls fixes a hypnotic heft with fresh industrial sound design, never resting as he navigates contorting track structures and twisting tones. The digital hum rages, as brain neurons fire from information overload, with a tsunami feeling and emotions in tow. Remarkable is the combination of pounding rhythm, hauled in by a magnetic motion, with tones of digital disintegration, all flux and shift. This electro sound is a far cry from a clone of the genre's forebearers - no retro-specificity. Instead, Ctrls delivers a timely dose of accelerated culture - The Future is Now.