Nomada Records has shown several times that they have a good sense for fresh talents. This time the label spotted the sample-based producer Martin Georgi (quietelegance, OYE Black, Seismographic Records).

He has already popped up in the deep house scene a few years ago, as Delfonic kissed the artist from his slumber by releasing tracks of him which originally were produced on vinyl back in 2008. So, no wonder that on the flipside of the new release, a contribution by Delfonic can be found. It is a live session, originally penned by Georgi and pursuing the idea of bizarre mash-up. In addition, on the B-side you will find another interesting name which can be interpreted as an “alias” of Martin Georgi himself.

The A-side acts as an EP called “Motor City Damage”. Here, Georgi was inspired by the rising civic movement from Detroit. While the car industry had abandoned D-Town, they left behind not only a high unemployment rate, but also unused industrial wasteland. Some of those very large areas are used now by a citizens’ initiative for vegetable gardens, bringing in a benefit for the citizens involved. Georgi was so fascinated by this initiative that he sampled and connected interview excerpts from the project, in strong contrast to interview snippets from different documentaries, which focuse on Detroit's suffering from poverty and unemployment. This is how the track “Green Motor Damage” was created. As a musical reinforcement keyboardist and synth lover George John (Kommerz, Gettogether, BlaqNumbers) got to the keys, giving the track a soulful funky touch. Another track on the EP’s A-Side is called “Summer Kisses”, which “romanticizes” the dystopian aura of the city Detroit with idiosyncratic monotony. Here Georgi adapted the idea of film director Jim Jarmusch who pursued a similar project in his film “Only Lovers Left Alive”.
The third track is called “Waiting for a call” with a slight wink for the dance floor, but also an ironic statement on the exploitation of employees by outsourcing jobs to call center companies.

Undoubtedly Martin Georgi stands for a unique way of approaching musical productions. On the one hand through the dusty, persistent technique of sampling, on the other hand he is not guided by current trends, but much more by his reflections on social and ecological issues. One who ensures that the current dance floor continues to feel the skillful era of “intelligent sample-based house music”!