Originally released on 28 May 2013, the Ginning EP by Stavroz returns 12 years later with a special vinyl repress.
Following the record’s Gold and Diamond status in France, Stavroz felt the time was right to bring this beloved release back to vinyl. This new edition features two additional ambient tool tracks.
Secure your copy now and celebrate the return of a modern classic.
Ijsbrand & Gert had always wanted to create balkan inspired music, and hence came the duo Stavroz. Beyond just sharing the same musical tastes, these two buddies bond over both being sound engineers (live for Ijs, studio for Gert), which makes them real “goldsmiths” behind each and every production (such can be seen in this short clip which presents their title “The Ginning”).Their music is imprinted with original inspirations while keeping to a jazzy/burlesque influence, leaving little to be left displeased. The bridge, so it seems, borderlines between minimal and jazz-house.
The first title of the EP, “The Ginning" is constructed around guitarist, Max Honckelinx. The track’s instrumental harmony is skilfully constructed by the duo as they borderline minimal and deep house.
The second original title of the EP, “The Finishing" is merely a dialogue between a rhythmic stratospheric universe and the sax of Nathan Daems, well preserved from the first studio recording. The end result leaves us with 8 minutes of lyricism soaked in sophistication and technicality.
In regards to the remixes,Felkon,who has been presented several times before on the Délicieuse, takes on “The Ginning” by including vocals which create a more dance-like ambiance.
Britta Arnold, a legendary pioneer from Bar 25 and Katerholzig, worked on “The Ginning” as well with Sascha Cawa.
They delivered a version more obscure yet wickedly effective.As for the remixes of “The Finishing”,Powelcontinues to captivate us while executing his deep and melancholic twists. He entirely redesigns the piece’s structure by retiring the “voice” of the sax.
And then there’s our man,Viken Arman, who spins his version of “The Finishing” by refiguring the rhythm pattern and adding a new dimension to the bass.
