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Thursday
Apr142011

Enter the Labyrinth

"Enter The Labyrinth"

Labyrinth 2011 Pre-Party

5/3 @ Daikanyama UNIT

UNIT FLOOR

Peter Van Hoesen (Time to Express / Belgium)
Eric Cloutier (The Bunker / NYC)
Visuals : Time to Express


SALOON FLOOR

So (Mindgames / Labyrinth)
Sisi (Timothy Really / panrecords)
Motoki a.k.a. Shame (Buzzin `Fly Night Japan)
aa (PR!ZE)

Open : 23:30
Start : 24:00
Charge : DOOR 4,000yen 
※未成年者の入場不可・要顔写真付きID

-------------------------------------------

今年も9/17~19日の3日間、Labyrinth2011が決定した。そしてLabyrinth2011を記念して、プレ・パーティー"Enter the Labyrinth"を5/3に代官山UNITにて開催!ゲストには今やLabyrinthの顔とも言えるPeter Van Hoesen、そして2009年にLabyrinthに初出演を果たしたEric Cloutierが登場。Peterは4時間のロングセットに加え、自身のレーベルTime To Expressのグラフィックを使ったビジュアル・ショーケースも披露してくれる。PeterとEricの2人による贅沢な一夜を心ゆくまで堪能して欲し い。
       
This year’s Labyrinth will take place on September 17-19. To celebrate the coming of Labyrinth 2011, we are doing a pre-party at Unit on May 3rd, “Enter the Labyrinth”. For this event, we’ve invited two good friends to join us. Headlining is Peter Van Hoesen, one of the Labyrinth resident dj’s, who will be playing an extended 4-hour dj set, and warming up the night is Eric Cloutier, who played in 2009. Peter Van Hoesen is also preparing a visual showcase for the night that he created with graphics for his label, Time To Express.

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PETER VAN HOESEN (Time to Express, Belgium)

現在のテクノシーンをリードするベルギー出身の気鋭プロデューサー/DJ、Peter Van Hoesen。Labyrinthにも過去4年連 続出演しており、今やLabyrinthの顔と呼ぶに相応しい。昨年のLabyrinth初日のラストを飾った彼のDJセットは、間違いなく Labyrinth2010のハイライトと言えるだろう。常にフロアの空気を読み取り、PCとドラムマシーンを駆使しながらミックスするライブ感溢れる DJスタイルで、注目を浴びている。自身のトラックでは、ミニマム・アブストラクトやダーク・テクノな作品が多いが、DJの選曲の幅は非常に広く、様々な ジャンルのダンスミュージックを聴かせてくれる。今回のスペシャル・4時間セットでは、彼の引き出しの多さにきっと驚かされることだろう。

Peter Van Hoesen is one of the undisputed stars of techno today. One of our favorite dj’s, Peter is a Labyrinth resident who has played at every Labyrinth for the past four years. His dj set to finish the first night was certainly one of the highlights of last year’s festival. Peter’s new style of dj’ing combines technology and techniques borrowed from playing live, which he also excels at. As a producer, he is best known for his stripped-down, abstract, and dark techno productions, but as a dj he combines different genres and decades of dance music. For this event, he is playing an extended 4-hour set which will give him a chance to flex all his musical muscles. 

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ERIC CLOUTIER (The Bunker, NYC)

Peter自身がオープニングDJに選んだのが、彼Eric Cloutierだ。2人は今年の初め、New Yorkで行われたThe Bunkerのパーティーで共演。そこでPeterはEricのプレイに非常に感銘を受けたという。「またThe Bunkerの時のようなパーティーを作りたい」というPeterたっての希望により、今回の再共演が実現した。陰りのあるディープハウスやBPMの遅め のテクノを得意とし、またオープニングアクトの重要性を誰よりも理解している。2009年のLabyrinth以来、2度目の来日となる彼のプレイをお見 逃しなく。

We let Peter choose the opening dj for this night, and his first choice was Eric Cloutier. Peter and Eric played together at the Bunker party at New York earlier this year, and Peter was so impressed by Eric’s set that night that he wanted one more chance to create a whole evening with him. Eric is a master of playing deeper shades of house and techno at slower tempo’s, around 120 BPM, and understands the art of the warm-up slot as well as any dj out there. Eric played at the Labyrinth 2009, and this will be his first trip back to Japan since then. 

 


Tuesday
Dec282010

SANDWELL DISTRICT PARTY! [ 1/8 @ Unit ]

SANDWELL DISTRICT PARTY

1/8/2011 @ Daikanyama Unit

Sandwell District Label and "Feed Forward" Album Launch Party--
Sandwell District playing all-night! 

Line-up:

Unit Floor -

SANDWELL DISTRICT (dj+live)
FUNCTION (dj+live)
REGIS (dj)

Saloon Deep House Lounge Floor -

C_OLVRIN (Continental drift)
YOSA (Drumpoet Community / Compost)
SO (Mindgames / Labyrinth)
MOCA (Freerange tokyo / 702)

Information:

Open: 23:30
Start: 24:00
Entry: 4,000 yen

*未成年者の入場不可・要顔写真付きID

毎年恒例のアウトドアフェス「ラビリンス」の仕掛け役であるマインドゲームスが、UNITに再来!
2011年の年始一発目に満を持してお届けするのはFunctionとRegisを迎え、Sandwell Districtのアルバムリリースを記念したレーベルナイト。
Function、Regis、Silent Servantによってレーベルと音楽プロデュースを活動を展開するSandwell Districtは、シーンにおける最重要レーベルのひとつで、2010のテクノシーンを語るに欠かせない。
Function、RegisのふたりによるプロダクションとしてのSandwell Districtは、互いのラップトップをデジタルで同期することなく、アナログ機器によってのみ接続し、それらをデジタルコントローラーを駆使してイン タラクティブに演奏し合う、という非常にユニークな手法である。
ファーストシングルの大成功を受け、今回デビューアルバム「Feed Forward」をリリースするふたりにマインドゲームスは大きな期待と共に一夜を託す!

 

Mindgames, the organizers behind the annual Labyrinth outdoor festival, are returning to Unit for the first time in over a year. To begin 2011 with a bang, Mindgames is bringing Function and Regis for a special Sandwell District label night and album release party. Sandwell District—a label and production collective run by Function, Regis, and Silent Servant—is currently the most important and distinctive techno label in the world. No one defined the sound of techno in 2010 more than Sandwell District.

Sandwell District the label is Function, Silent Servant, and Regis. Sandwell District live is Function and Regis playing together. Using two laptops and controllers that are not in synch, together with a host of analogue gear, they play off each other in a unique way that combines digital control with chance and chaos.

After a run of successive singles, Sandwell District released their debut album “Feed Forward”, produced by all members of the collective. “Feed Forward” is without a doubt the techno album of the year. To celebrate both the excellence of the label and the release of the album, Mindgames has invited Function and Regis to play all-night.


REGIS
Regis名義で活動する。Karl O'Connor。好きな色は「金色」。そしてRegisは「キング」の意味である。
Femaleとしても知られるPeter Suttonと共にスタートしたレーベル「Downwards」はインダストリアルテクノからダウンテンポに至るまで、エレクトロニックミュージックの領 域を広げるべく実験的な作品を常にリリースし続けているパイオニアレーベルである。
かつてはハードでインダストリアルなバーミンガムテクノのプロデューサーとして有名だったKarlは、その昔、Surgeonと共にテクノとパンクを融合 させたユニット「British Murder Boys」として活動していた経歴も持つ。

Karl O'Connor is Regis, and Regis means “King”. With Peter Sutton (aka Female), this regal joker has been the force behind Downwards, a label with a lion’s share of mythology behind it. Downwards pushed, and continues to push, the boundaries of electronic music, with releases that range from hard industrial experimentations to drones and fragile downtempo reflections. Best known for the pummeling sound of Birmingham techno, an industrial sound he helped pioneer, Regis also worked a stint with Surgeon as the British Murder Boys, an outlet for certain tendencies--punk, post-punk, and otherwise. And his favorite color is gold.

FUNCTION
長年の間、アンダーグランドテクノシーンで伝説の人物とされてきたDave Sumner。昨年のLabyrinth出演のきっかけとなったライブ収録ミックスは、繊細でサイケデリックな奥行きの中にも、脳裏に焼き付くインパクト を併せ持ち、彼の類い稀な才能を感じさせるものだった。
また、Labyrinth当日のプレイにおいても、Daniel Bellの後、夕暮れから夜の3時間に渡って、彼自身のテクノのヒストリーの表現とも言うべくセットを披露。レンジの広さ、完成度の高さで聞く者の期待を 大きく上回ったことは印象深い。また、4時間半に渡って、ローランドTR-808、TR-909、SH-101を自由に操る姿は、ステージ上でその様子を 見ていた他のアーティスト達をも感嘆させた。
今回東京初公演を果たすFunction。

Dave Sumner has been an underground techno legend in New York for over a decade. The mix that brought him to Labyrinth for the first time in 2009, a live recording from the Bunker, hinted at a serious talent, someone who could plumb delicate psychedelic depths but also bring a hammer. But nothing prepared us for that memorable day as he took over from Daniel Bell at sunset and took the party into the night. For three hours, Function played his personal history of techno—from the toughest and hardest beats to soulful highs—that ranks as one of the greatest sets we’ve ever seen. Other artists watched in wonder from the stage, as he casually layered live programming from a Roland TR-808, TR-909, and SH-101 over an Ableton dj set. And then in 2010, he did it again, this time in a 4.5 hour epic that established Function in the highest rung of techno. This night will be Function’s first appearance in Tokyo.
 
Wednesday
Sep222010

EXIT THE LABYRINTH

 Mindgames Presents:

 "EXIT THE LABYRINTH"

9/25 [土曜日]
 
Line-Up: Donato Dozzy, Move D
Sound: Funktion-One
 
Venue: Legato Shibuya
Time: 12:00-5:00
 
Entrance: 3,500 yen
Labyrinth Staff Price: 1,000 yen

 

 

Tuesday
Sep142010

Laby'10 Basic Info

Timing

Gates open for the event at 3:00pm on Saturday Sep. 18th. Please do not try to come camping on Friday night, as the venue will be closed. Music starts Saturday night at sunset at 6:30 pm and goes until 1:30 am the first night. On Sunday, music will start from around 7:30 am and go to 1:30 am at night, and on Monday music will go from 7 am to around sunset. Each morning we’ll start with ambient and downbeat music to slowly wake the campground, and then build from there…

We have reserved the venue until Tuesday the 21st, so its fine to camp on Monday night (the 20th) after the party is finished and leave on Tuesday the 21st.

There are also hotel rooms available Monday night for anyone who wants to rest up in town Monday before returning on Tuesday.

Driving

If you are driving back after the party, please drive safely. Dont drink and drive. Please designate a non-drinking driver, or even better, relax at the venue or stay at a hotel in town on Monday night, so you can return on Tuesday fully refreshed.

Camping

Please camp in the designated camping areas only. If you camp outside these areas, you may be asked by staff to move your tent.

There is running water available at the venue, and there is one covered bbq area. Cooking in the camping areas is prohibited by the venue owners, so if you plan on cooking for yourself, please make sure to use this designated area.

Weather

The weather can change quickly, so please come prepared for all conditions. The weather can get very cold at night up in the mountains, so please make sure to bring plenty of warm gear (fleece, jacket, rain gear, sleeping bag, etc). The days can get hot, and there's no shade on the dance floor, so also make sure to bring a hat, sunglasses, and sunscreen. The sun can be very strong, so be careful about getting sunburned.

You can see the weather forecast here: http://bit.ly/cBHFXE

The weather looks superb, but things can change quickly so come prepared.

Showers

There are no showers at the venue, but there is a free shuttle bus that runs into the town every hour throughout the whole festival, so you can take long, hot baths at the local onsen every day if you want.

Respect

Please treat the local area and people with respect. We are guests in their home.

See you on the floor, eyes closed.

--Mindgames

 

 

Saturday
Sep042010

Peter Van Hoesen and Donato Dozzy Interviews

Peter Van Hoesen and Donato Dozzy kindly agreed to do interviews with Higher Frequency as part of a special section covering the history of the Labyrinth. Here are the Japanese versions: Peter Van Hoesen, and Donato Dozzy.

For our English-speaking friends, we thought it would be nice to put up the original English versions of the interviews. So here they are. Many thanks to Higher Frequency and to Peter and Donato for taking the time to share their thoughts...

Donato Dozzy Interview

HF: Labyrinth turns 10 this year and you'll play the last set again - can we expect anything special for 10th anniversary?

DD: of course you should expect something special since im going to perform 3 sets during the Laby 10th anniversary!  Kosmische music, ambient/downtempo, and techno.

HF. How did you start to involve with the labyrinth crew maybe in 2007?

DD: yes, it was 2006 when Russ contacted me for the first time…. It was a few months after I delivered the remix of Reynold’s Over there. That track has been one of the main reasons why we got in touch and he invited me to play in 2007.

HF. You’ve joined the labyrinth already for 3 years now. Could you tell what is the labyrinth for you?

DD: simply, the best thing I ever experienced in my life.

HF: Could you tell us your best memories at the labyrinth from the past 3 years?

DD: the most indelible is related to the final moments of the 2008 edition… I cannot really describe what happened that day to me or better say.. to all of us.  after I finished the set I found myself walking in the forest. still wandering if it was real or not.

HF: I was much impressed your ethics about open-air parties from your interviews on fresh good minimal.ro. Also we "the labyrinth lovers" felt very proud that you talked much about the labyrinth on electronique.it. (we introduce both interviews to our readers translated in Japanese by courtesy of original sites.) then - in your opinion, what is the most important point to make open-air parties so special?

DD: a VISION in harmony with the deepest aspects of the Nature…. and not everybody have this.

HF: Could you tell us good open-air parties (except the labyrinth...) from your experience?

DD: One I will never forget is the Artmospheric festival in Bulgaria, a small open air (very) up to the Balcan mountains. Simple, wild and beautiful situation. Misho and the other organizers are down on earth, gentle and nice people;  in love for music.

HF: Now you recognized as one "the headliner of the labyrinth", anyway in Japan... Have you asked about the labyrinth by the artist who interested in that festival in Italy or other countries?

DD: I’m just a part of the vision…most of all I feel to say that the real headliners are the nature and the sound system (F1). Many times I found myself talking about the lab with lots of people around the globe, and of course also in Italy as well. There’s lot of interest around and year by year more people know about the best festival in the world

HF: Next, I'd like to ask you about your musical production. I found your love for hardware synth from the past interview, especially TB-303. Could you tell us more about your equipment? Is there any other favourite gear?

DD: Yes, my passion for the tb-303 is not a secret anymore I guess, but my focus is not only on that machine but also to the rest of the Roland-equipment that I every day use for my productions. I use and like also the Korg, Soundcraft and Eventide machines… and a dream is to buy a real Mellotrone at some point in my life.

HF: Your album from Further Records by casette tape is one of the interesting news of this year. Could you tell the background story behind this release?

DD: Mark from Further Records got in touch a couple of years ago asking if I was interested to release something “special” in a “special” format: cassette. I personally love the sound of the tape, hissy and fat; cassette lovers are generally sympathetic to me. I somehow felt this proposal was coming from a special guy really in love for the music and I agreed to work with him. To mention that cassette will not be the only available format for my album: vinyl is coming out in September and maybe a cd release will follow later.

HF: Could you tell your future plans after the labyrinth 2010? I heard that you ‘ll have your gig in Osaka as well.

DD: yes, I’m very excited to head Osaka and to meet the people out there. After the Japanese trip I will have several gigs around Europe from October till December (London, Berlin, Rome, Helsinki) and start the new year ahead with an Usa tour, finallly.

HF: It's a bit personal question but I heard you got married recently. Is that influenced for your music as well?

DD: Of course that influenced me and my music, in a very positive way. My wife has very sensitive heart and ears. I really couldn’t be more lucky

HF: Please give a message for your fans who is waiting for you at the labyrinth.

DD: I will deeply take care of you this year, please do the same! Mutual exchange of energy makes things special.

HF: Thank you so much! Really looking forward to some magical moments coming with your music this year again.

Peter Van Hosen Interview

HF: Could you tell your musical background? like, your teenage hero / first record you bought by yourself, etc.

PVH: From when I was young I always seemed interested in electronic sounds. It's difficult for me to remember very precise facts such as the first record bought, or specific artists that I listened to. However, there is one band that seems to have triggered something in me, and that's the Belgian electronic band Telex. They were active in the last seventies, early eighties. They definitely had an impact on me.

HF: How did you start your career as a DJ / electronic music producer? I heard you used to play the bass guiter before on your past interview.

PVH: After seeing Telex on television I wanted to make music as well. My parents bought me an electronic organ, I believe it was a Kawai. That was my first real instrument. It had one of those built-in rythm programs, simple electronic drum loops basically. After a few years I switched to bass guitar, and played in bands for a while. Around 1996 or 1997 I started working by myself, sketching out my first solo movements. Most of what I did bacjk then was either a weird form of techno or very experimental, minimal music.

HF: It was the first time that I heard your set at The Labyrinth 2008 (and was just "love at the first kick" moment for me!) and played last year as well. How did you start to involve with the labyrinth crew?

PVH: It was Labyrinth who reached out and contacted me. At the time my records had made their way to Japan and I think Russ had picked up on them. There were also some mixes of mine floating around on the Internet. So for people who were interested in me it wasn't so hard to get an idea of what I was doing. Once the first contact was established it went very smoothly, resulting in my attendance at Labyrinth in 2008 and 2009.

HF: You've recently switched from dj'ing with vinyl and cd to playing with a computer. Can you tell us about your new set-up and the thinking behind this transition?


PVH: There are several reasons behind it, the most important one being that I felt I needed a different approach to mixing. In the past I have tried playing with three decks and cd players, but that only partially solved the problem. There was a moment last year when I realised what I was looking for: I want to mix music, not records. So right now the emphasis for me is not anymore on the technique of beat matching, but on the pratice of sculpting the sound and the groove, working with different layers. It's a practice that exists very much in the moment. It's also very close to my studio work, were the work is focused on the sound, away from any technique. So in a way this transition is very liberating to me. Through this change I have found a renewed energy and interest in DJing. The setup is usually complemented by a drum machine which is synced to the computer. This allows me to program patterns in real-time, on top of the music.

HF: We heard that you've also recently changed your live set-up. Can you tell us how you're planning on playing live at the Labyrinth and what equipment you're going to use?

PVH: The live set has been changed for Labyrinth in that sense that it's one of the only places where I can present slower, more psychedelic sounds. For this occasion I have prepared new material, new tracks which have not been played out before. Besides this I have added some hardware to the setup to enlarge the possibilities of improvisation. Everything just got a bit bigger, that's a good way to sum it up I guess.

HF: The Labyrinth turns 10 this year. Can we expect anything special for 10th anniversary?

PVH: Labyrinth in itself is a very special event, even regardless of the 10 years anniversary. There is always a reason to do something special when playing for the Labyrinth audience. My dj set will be a bit different from what I did the last time, with a bit more attention to abstract sounds and breakbeats. Also, recently I have gone through my entire record collection and recorded several older tracks I have not been playing for a while.

HF: I always feel that heavy, deep kicks and atmospheric vibration are very characteristic elements of your sound and it creates one "field" around the floor. Do you intend to do that?

PVH: Yes, this is definitely part of my interest. Sound is a spatial event, so for me it's important to treat it accordingly. On the Labyrinth sound system this becomes a rewarding exercise, as you can easily translate the spatial quality through the Funktion One system. It's just a matter of getting to know the system, then you understand what's possible with it. Many of my tracks are constructed with this idea of 'space' or 'field', as this is what sound is about for me. And I feel it is important to learn about sound systems and the different ways in which they translate the music. Prior to my live set at Berghain earlier this year I went to the club three weekends in a row, to really listen to the sound system's qualities. Listening attentively to the Funktion One rig definitely helped in preparing the live set.

HF: Could I ask you about your residency at Fuse? also, appreciate if you could briefly exprain the venue itself - of course Fuse is known for Japanese fans as one of the most important clubs in Brussel but still less information about it right now...

PVH: Fuse was the first real techno club in Brussels. Last April we celebrated the 16th anniversary. That in itself already tells you a little bit about the club, as it's not easy for any club to survive that long. The club itself has two spaces, one large (downstairs) floor and one upper room floor. The main floor holds about 900 people, the upstairs about 350. My residency usually takes place in the downstairs room, as this is the main techno room. Most people coming to the club are very much aware of what they are going to get, they are interested in the music and the people playing. We recently started an event called "Time To Express at Fuse". This event takes places every two to three months. It allows me to invite related artists that haven't played at Fuse before, or haven't been to the club for a while. In October we have James Ruskin as guest, we're very excited about that.

HF: Could I also ask you about Sendai, the project by you & Yves De May? Amazing "midnight lounge" set was definitaly the one of highlights of the Labyrinth 2009 for me.

PVH: Thank you for that comment, I will let Yves know as wel :-) It was definitely a very special event for both of us, playing for everyone gathered together under the stars. As far as Sendai is concerned, we are currently working on an album. It's not very clear to us when it will be finished, we're working on it without a fixed deadline. I guess it will be done with it's done, without any pressure. What we do know is that it will be the experimental side of Sendai which will be most present. Some of the material is quite abstract.

HF: How is the electronic music scene in Belgium these days? Could you name some interesting artist around you?

PVH: The Belgian scene is difficult to describe right now, to be honest. In the early nineties we had one of the best scenes worldwide. A lot of artists over here were making groundbreaking music, supported by a selection of interesting labels. But over the course of the year this slowly changed, for many reasons. Until three years ago the situation was a bit stagnant, but now I see some good things happening again. There are several producers making excellent music, finding their way to an interested audience. So it looks like things are moving forward again. Also, on the label side things are picking up. Labels such as Curle, Music Man, Mowar, Meakusma, they are all trying to push the scene forward. And lastly, electronic music, in any form, is still widely accepted by the audience. People are familiar with electronic sounds, that's something that will not change very fast. So all in all I think there are many reasons to be positive.

HF: Next, I'd like ask you about your label "Time to express". How did you start this label?

PVH: Previously I had set up Foton together with a good friend of mine. This was a label focused on experimental electronic music. Around 2006 I wanted to concentrate on techno again. It took me about two years to find the right setting. In 2008 I launched Time To Express as a sublabel of Foton. The idea was to create an outlet for my own productions, a bit like my own private musical playground.

HF: How do you choose the artist for Timecast? also, I like the idea of time-enhanced style. could you tell who makes it?

PVH: TimeCast is something Yves and myself have been working on together. The idea is to do a podcast series that focuses on a more abstract approach to music. Yves takes care of the enhanced podcast format, we are working either with the artists involved or between ourselves to choose the images and the style.

HF: In the linernotes of your album "Entropic City", I found the text about "Horizontal / Vertical nights". Appreciate if you tell us more about it.

PVH: This refers to events I organised in the past, between 2002 and 2006. The first part of the night was for listening, the horizontal part. We provided cushions so people could lie down and dream away into the music. The sound system always consisted out of four points, one speaker in every corner. Then, toward the second part of the night the music became more dancefloor-oriented. The cushions were take away and people moved to the vertical position. For us it was a natural way to allow the audience to experience different types of music in one night.

HF: Are there any other conceptual parties by you?

PVH: In 2007 I decided to stop organising events as this took up too much time. There was not enough time to make music anymore, so I had to make a choice. Maybe in the future it will happen again, who knows... For now my focus is on the music and the label.

HF: I also found that you did some musical works for theatre play and modern dance performance. Do you still do that? Is there any chance to see those works as videos (or hopefully live)?

PVH: Yes, I'm still involved with this type of work. The dance company I work for at the moment has just started touring again with a new performance. For this piece I have created a 5.1 surround score. As I had many engagements of my own (for example Labyrinth) I could not join them on the road, but it's nice to know that they will be playing all over Europe in the next couple of months.

HF: You 've visit Japan several times already not only for the labyrinth but also your Japan tour. What kind of impression do you get from there?

PVH: That's a question that could lead to a very long answer :-) First let me tell you that since a long time it was always my dream to come to Japan as a musician - to be invited because of my music. So when Labyrinth invited me in 2008 this was literally a dream come true. For many years I've been interested in Japanese culture, so whenever I am in Japan I try to experience as many things as possible. One of the recurring sensations is the hospitality and respect that I experience. In this regard Japan occupies a unique position in my view. There is also a deep respect towards the details in the life surrounding us. This I find necessary but also beautiful - in Europe people tend to sometimes loose sight of that. Somehow I share this love for the detail, so I think I can related to it in a certain way. This interview is probably also a very good opportunity to thank everyone in Japan for their continued support and hospitality. I will not mention any names but those people involved know that I am talking about them. Thank you.

HF: Could you tell your / time to express future plans after the labyrinth 2010?  Hopefully the album from Sendai ?

PVH: There will be three more releases on Time To Express before the end of 2010. Right now this is one of the label's priorities. The Sendai album will probably be released sometime in 2011.

HF: Please give a message for your fans who is waiting for you at the labyrinth. Thank you so much! I can't wait to dance to your set again.# my final (funny) question - is Sendai comes from japan's city name???

PVH: Yes indeed, Sendai is named after the Japenese city. We came accross the name in one of William Gibson's books. And my message is very simple: I feel very privileged to be part of Labyrinth again, so I'll do my best to make everybody happy with my music. During the last months there has not been one day that went by without thinking of Labyrinth, so I can't wait to be back to share the experience with everyone out there. See you soon!

 

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