Description
Roman Flügel stands as a constant in the background. Not as an authority, but as a
collecYve consciousness. Since the 1990s, he has moved through club music like a
seeker, never content with the first answer. House, techno, experimentaYon – these
are not genres, but states of being. His remix thinks, hesitates, opens, strikes like a
surging acid wave, warping reality and demanding true presence.
New York taught him that club music is never neutral. It is body, fricYon, astude. Abe
Duque’s remix carries a strangely enchanYng relentlessness, a resistance to
smoothness – as if the dancefloor were a place where freedom is not claimed, but
fought for.
Red Axes do not enter this space; they conjure it. Their sound is raw, repeYYve,
circular, as if deliberately refusing linearity. House, dub, and acid elements become
material for a movement that is more trance than structure. Their remix does not ask
where it is going; it asks why one should ever stand sYll.
And then there is Tim Paris. Not at the center, but as a narrator. As someone who
knows that the voice is an astude. “That Boy” is not a pose, but a mirror, ironic,
direct, vulnerable. Paris moves between new wave house and club, always aware that
idenYty is never fixed, but formed in the moment.
Yet sound alone does not tell the full story: like music, the visual is a space to be
shaped, felt, and deciphered. The cover of Tim Paris feat. Foremost Poets – That Boy,
created by KonstanYn Fürchtegoe Kipfmüller, a visual arYst at the Hochschule für
Gestaltung in Offenbach under Heiner Blum, embodies this principle. Drawing
inspiraYon from the urban environment, Kipfmüller transforms traces of decay,
weather, and Yme into abstract narraYves that, like the music of Tim Paris, Roman
Flügel, Abe Duque and Red Axes, unfold meaning layer by layer. The result is no mere
adornment, but a mirror of the sonic landscape: every line, every surface an echo of
the quesYon of what it means to exist – fully, in the moment, in sound.
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