Ever since the early 90s, The Mover has set the standard for apocalyptic melodramatic techno and has been praised as one of the leading artists of Planet Core Productions. His distinct tone and memorable production expertise, causes one to leave the world behind.

In 2018 he returns with “Undetected Act From The Gloom Chamber”, an album which implies all the goodness and fears he is renowned for.

Eight masterpieces carrying the authentic excitement that you would expect from the Mover in a timeless fashion.

Shifting between electro beats and classic old school techno patterns, the album sets a moody tone. The release is filled with magnificent bass lines and dark-dreamy pads that leave the mind in a trance. Muscular drums and authentic synth-lines paired with the unmistakable Mover signature, makes this assembly of gems an outstanding masterpiece.

A1 // Rap One Two Three
A2 // Horn of Glory
A3 // Im Gespräch
B1 // Nachsitzen
B2 // Disco 3
B3 // Warzenschwein

C1 // Zu Spät
C2 // Faust auf Faust
D1 // Spoil the Girl
D2 // Postman

‘Macht Macht Zement’—what does it mean? 80s drums, synths and vocals, almost without context.
Fallbeil, two soon-to-be men (aka boys), finish tracks at the rate of butchers kneading meatballs. Due to laziness and a lack of technique, everything gets recorded on one track and immediately thrown into the frier.
Nothing is planned. First up, school detention followed by rough LoFi rap.
The album contains a wide variety of themes; from mailmen to warthogs, from latecomers to sensible conversation, every track is created out of spontaneity. Two very short tracks on this album date back to 1999, when the boys performed as ‘Funky Granatos’ in the local youth centers. Sadly, their performances weren’t successful. Nobody wanted to listen to them and almost every concert ended in mass brawls.
The track ‘Postman’ comes from the duo’s side project Grand Malheur and was recorded in 2015 in Bronxfeld. More output from this project will appear on various EPs in the near future.
The album title ‘Macht Macht Zement’ originates from Tom Pötgen. Tom always wanted to throw the sacred hand grenades. We hope he does that right now!

A1 // Final Sickness
A2 // Down Deep And Cold
B1 // Nightflight (Nonstop 2 Kaos)
B2 // The Emperor Takes Place
B3 // Reflections Of 2017

C1 // Waves Of Life
C2 // Astral Demons
D1 // We Have Arrived
D2 // Into Wasteland
D3 // Invite The Fear
digital only // Over Land & Sea
digital only // Spirit Slasher

Over two decades have passed since The Mover AKA Marc Acardipane made his first appearance to the world of electronic dance music. Under the wings of Planet Core Productions (PCP) his releases spoke for themselves and he quickly earned a special pioneer status and cult following. The Mover was always a unique sound leaning towards the edge of darkness and abstract characteristics.
With several releases on his co-owned label PCP as well as R&S Records and Tresor he always managed to create unforgettable milestones of raw, apocalyptic yet danceable tunes that have remained timeless and individual until today. With „The Mover – Selected Classics (Remastered 2017)“ on his freshly launched label „Planet Phuture“ he returns to the surface and shakes the world with a compelling assortment of the most impactful tracks in a remastered, fresh sound quality.
Experience an uncompromising dystopia with tracks like „Nightflight (Nonstop 2 Kaos)“, „Into Wasteland“ or „We Have Arrived“. „Astral Demons“, „Waves Of Life“ or „Spirit Slasher“ will pull you deeper into the center of your subconscious mind and certainly leave you dazzled. „The Mover – Selected Classics“ is unquestionably one of those releases that can’t be ignored and must be a part of everyones Techno collection!

(Miro Pajic)

„Umwelt’s 12inch „… City“ from 1999 was one of the most impressive 12inches I had at that time and I played the shit out of it. It was dark and very emotional, it was abstract but also driving at the same time. This was 1999 though, before Discogs and before Facebook and all the other platforms people have now to do research on artists they like and follow their work. At that time it was the record shop – and that was it. Nobody knew this guy though, and I didn’t get my hands on any of the following releases, so in my world there was no follow-up to this record ever and I thought it would remain a one-off gem in my record box.

Until by some coincident I recently discovered he was still around and had actually released numerous releases in the meantime. I was very excited and contacted him straight away and ended up booking him for Krake Festival in the same year. Undoubtedly his set was one of the best of the whole festival! He took the roof off the place with his mix of raw electro, industrial and rave and everybody was talking about it afterwards, saying it was the highlight of the festival!
Talking to him I learnt, that most of the tracks he played were his own, mostly unreleased. He produces without computers, all his tracks are single takes, there is no editing, no mixing afterwards, he only has a stereo track recording which is what it is. He owns a cutting machine which he uses to cut dubplates from his tracks, which he then plays out during his sets. This whole information about this very unique artistic approach just killed it for me, and since working with him was so nice as well, I asked him for a demo for Killekill and its labels and was hoping for tracks I could make a great 12″ of. I got 14 tracks and after weeks of trying to pick the best, I finally realized I held one of the best electro albums ever in my hand – banging beats and the balls to go big and epic, subtle melodies, drama, funk – this album has got it all, and what’s most important, the music on it is the exact opposite of so much other music nowadays: It is emotional, it tells a story, it is easily recognizable and it is not interchangeable. It’s just Umwelt.“