Sha! Shtil! / The BoogiemanG. Vump
Sha! Shtil! / The Boogieman

Release date: 20/09/2009
Catalog number: SNP006
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Infosheet
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Track list

  1. Sha! Shtil!
  2. The Boogieman
  3. Casablanco
  4. Sha! Shtil! (L-Vis 1990 remix)
  5. The Boogieman (Downtown remix)

SNP 006: G. VUMP — ‘Sha! Shtil! / The Boogieman’

April 15th, 2013
by Sound Pellegrino by

There are times In the carreer of a top international DJ/Producer where things get a little bit out of control. Times when the glitter, the glam and the fame get a little out of hand. Times when the whole “travelling from the hotel to the jet, and from the jet to the 5000 capacity venue via a helicopter made of gold” – thing kinda blurs one’s vision of day to day reality. In times like these, it’s important for said DJ/Producer to take a step back, return to anonymity and focus on the music that keeps the underground clubs buzzing. The sweaty, dirty, forward-thinking, genre-defying, risk-taking house music that drives the cool kids crazy. That is exactly what the mysterious entity hiding behind G. VUMP is doing with the release of Sha! Shtil!The Boogieman and Casablanco on Sound Pellegrino.

If we wanted to tell you who G. Vump was, let’s just say we get into some big fat legal trouble with legions of record company people, managers and agents and it would cause an unprecedented diplomatic incident. He is such an important and heavy money-generating figure in the international DJ scene that every piece of information regarding every single one of his release shakes the whole industry up. It’s an amazing and exciting thing but we feel that such a media tsunami would turn Sound Pellegrino into a relentless money-making-attention-grabbing-hype-creating machine and ultimately cause more harm than good to the label. The humble little craftsmen of house music that we are much prefer to keep it on the down low. Therefore G. Vump’s mysterious identity shall not be revealed.

Evidently there has been a lot of talk and speculation surrounding this release and the identity behind the alias “G. Vump”. People have not quite nailed it yet and all the names that have been thrown around the internet in the last couple of months have all revealed themselves to be phoney. The mystery remains, and the buzz is growing, as G. Vump appears to be playlisted by more and more VIP DJs from around the globe, leaving people asking “who is this guy and what the hell is a Vump?”. Mystery and controversy are one thing but when it comes to the music itself, G. Vump delivers.

Sha! Shtil! was inspired by a traditional Klezmer song telling the story of a Rabbi dancing like a madman to get rid of the demon in him. According to the general feedback we received, from tastemakers to regular weekend clubbers, the track is a smash hit capable of pleasing every dancefloor. People are just too happy to hear that lady sing in Yiddish, and the production is so crisp, it makes it the perfect tool for every dj to turn the techno party into RABBI-DOME VOLUME FIVE.

Totally in touch with the current interest in local scenes and the merging of fhe folkloric and the futuristic, G. Vump adds a political dimension to the “conceptual sample” game by using bits and pieces from both Jewish (as we heard with Sha! Shtil!) and Arabic traditional music on the same EP. The Boogieman could be the background for a fantasy Indiana Jones pursuit scene in a bazaar that ends up in an indian pit of snakes. And when he received Casablanco Orgasmic instantly described it as “Raï meets UK Funky”. The comparison is a little bit “pulling it by the hair” as we say in French, but the tracks are two immense bangers.

On remix duties we have the man of the moment L-VIS 1990, known for his recent releases on Mad Decent and Dress2Sweat, building anticipation for his forthcoming Sound Pellegrino release Compass/Zahonda by providing a deadly yet classy take on “Sha, Shtil!” including one of the most venimous typhoon-shaped basslines heard in a while. Last but not least, Downtown, one half of star duo Renaissance Man, re-invents The Boogieman as a brilliant dubby tech house odyssey complete with sitar stabs and menacing howling noises, a guaranteed hit on deeper dancefloors.