![CORVIN DALEK [OFFICIAL WEBSITE]](https://corvin-dalek.com/wp-content/uploads/2025/01/corvin_ICON_transp.png){kind=icon}
Label: FLESH 7608-6
Format: Vinyl, 12″
Land: Germany
Releasedate: 2001
Genre: Electronic
Stil: Wet&Hard, Techno
Pounds & Pénz (Remixes)
Released on Flesh, 2001
Following the release of Pounds & Pénz on MFS, the remix edition marked a continuation and expansion of the Wet&Hard project. Issued in 2001 on Flesh, this release brought together two distinct reinterpretations of the original – positioned as a defining moment for the label and for the aesthetic it was built to represent.
The A-side featured Alex Flatner’s Deutsche Mark Remix. Its percussive structure and tribal elements formed a grounded counterpart to the original. For the B-side, we invited Oliver Klein – his sensibility for functional, physical techno aligned closely with the Wet&Hard method. Oliver’s remix intensified the Flatners’s core components. The remix expanded the Wet&Hard language without leaving its frame. Together, the two versions formed a release that circulated widely among DJs and club systems.
The artwork was developed in parallel. The cover photograph – a close shot of red lace and a dollar bill – was produced in-house. It reflected the thematic axis of the track: currency, desire, exposure. The vinyl label featured a stylised pyramid and all-seeing eye, referencing the US dollar bill while shifting its meaning through placement and reduction. The layout was designed in collaboration with Mark Reeder and became part of the release’s identity, as our signature HOTKUNST visual alignment.
In August 2001, I performed at Face Club in Guangzhou. During the set, I played the newly released Oliver Klein Wet&Hard Remix alongside material from Flesh. The performance was recorded by a club staff member using my camera. The footage, later compiled into a live video, captured both the music and the surrounding environment.
The club’s atmosphere was defined by contrast: sensual choreography on stage, rigid security presence at the edges. The footage became part of my broader documentation of the Wet&Hard phase focused on the conditions that shaped its reception.
