See you around is the second vinyl release by margaret dygas and first on non standard productions. this 12’ is a warm combination of healthy and mellow yet solid beats combined with rough shredded guitars. you’ll be hearing round edges as much as square bubbled sounds and psychedelic synths traveling through out both tracks. tobias freund was responsible for the production and the additional analog mixdown treatments. all in all a record that follows the idea of non standard productions.

D'julz: “nice subtle trippy music, will play”

Efdemin (Dial): “lovely. ”

IDJ Magazine: “Dygas has impressed before with her elegantly restrained minimalism for labels like Contexterrior, but this outing with a little help from revered engineer Tobias Freund is her strongest work yet. ‘See You Around’ is a complex, intricately syncopated affair, melding clattering acoustics, distant synths and otherwordly overtones. Flipside ’37 Minutes to 7’ features a more prominent 4/4 pulse, with compressed percussion and gentle drones distilled to their pure essence. ”

Jamie Jones (Crosstown Rebels_: “Like the b side here... nice groove coupled with interesting well placed sounds..”

Jimpster (Freerange): “loving 37 minutes to 7. hauntingly funky. if that makes sense. ”

Littlewhiteearbuds.com: “For a producer who seems enthralled with a quintessential set of musicians and entertainers (as evinced by her top Myspace friends), Margaret Dygas’ latest release could hardly be further from the norms and standards of dance music. The Polish producer’s thorny and compellingly off-kilter debut for Contexterrior hinted at experimental instincts, and “See You Around” jumps into the deep end of abstract electronics without looking back. Aided in the studio by the venerable Tobias Freund, Dygas explores the farthest reaches of what can still be called dance music with a confidence uncommon in many fledgling producers. Fittingly, “See You Around” is released on Non Standard Productions, Freund’s label with Max Loderbauer, one outlet where unconventional sounds are the standard. Dispensing almost entirely with dance floor functionality, Dygas regards rhythm as just one facet of her oddly textured works. The title track busts off snare hits like haphazard Glock shots, its kick drum heart beating in syncopated clusters, while “37 Minutes to 7″ is tapped out as methodical morse code in more dependable intervals. But the leading roles go to an endlessly rotating cast of disparate sounds: distorted voices sloshing and sinking, winsome pads, strangled, plucked and abused guitar strings, random ticks and tucks, each leapfrogging each other for prime positions in “See You Around.” The more orderly “37 Minutes to 7″ is pounded out in industrial timbres of resonant clangs and woozy clinks, hovering drones ensuring its elements are kept moving. Taken together, “See You Around” is something of an aural Rorschach test, yielding varying degrees of disquiet and enjoyment depending on the listener’s taste for IDM-like abstraction. But for any producer, let alone one with only one previous release, music this creative is an accomplishment and perhaps indicative of a bright and unconvential future. Keep your eyes and ears on Margaret Dygas. (post by Steve Mizek)”

Mike Monday: “Fantastic programming on this very atmosheric set opener”

Mr. C: “A: Very interesting. Loving the off beats & some great noises here. Guitar sounds great. Great for after hours etc. On rotation. 9/10 B: Also very good & great for after hours or starting a tripped out set. On rotation. 9/10”

Philip Sherburne: “Non Standard Institute's Tobias Freund and Max Loderbauer have long histories in electronic music: in the early 90s, Freund began recording for labels like Rising High, Ongaku and Fax (in addition to working as a studio engineer for the likes of Meat Loaf and Milli Vanilli), while Loderbauer was a member of 90s ambient pioneers Sun Electric. But with nsi., which they launched in 2005 with the Max Binski EP on Cadenza, they feel more relevant than ever. They didn't put out that much in 2008, but what they did release was jawdropping, essential listening; their ambitions are matched only by their considerable skills. Theirs is the rare voice in minimal techno that seems intent upon an expression of something greater than 10 minutes of abandon-on-autopilot. Like STL, they work mainly on analog machines (TR-808, 909, Doepfer and Cwejman modular synthesizers, etc.); their compositions often spring from extended improvisational sessions. And again, at the risk of a rockist emphasis upon chops and intuition, their method results in superior music: thrumming constructions underpinned with ungodly bass that threaten to explode into chaos (or dissolve into nothingness) at a moment's notice-- Autechre meets Acid Trax, if you will. Nsi.'s Squelch EP (Non Standard Productions) is typical of their entirely atypical approach: "Ride", a shuddering maelstrom of ride cymbal and FM bass; "Squelch", a slab of deranged funk led by an errant kick drum; and "Nikita", a blissed-out lullaby set to a dancehall rhythm (really!) that was written in honor of Martin Schopf (Dandy Jack) and Sonja Moonear's baby daughter. They close out the EP with "Risset," an adaptation for drum machine of Jean-Claude Risset's so-called continuous glissando, a sort of Op Art auditory illusion rendered in kicks and toms. In a year that seemed to be defined by DJ tools, this took the cake: too long, too weird, too minimal and too unmixable for even the most deranged crowds, it was a clever trick that also served as a "fuck you" to clever DJs and tricky tracks. Freund's solo output, as Tobias., remains more faithful to the conventions of house music; his Street Knowledge and Dial EPs for Logistic, in 2006 and 2007, made explicit reference to icons like Trax, KMS and Strictly Rhythm. But this year's I Can't Fight the Feeling EP took deep-house tropes (fluttering chords, distended vocal samples) and sent them into hyperdrive, with a hypnotic, reductionist intensity. "Beat Study One" and "Beat Study Two" are gnarly, teeth-bared workouts for steely drum machine and buzz-bomb bass; "Go" is a fever dream of sourceless, churning tones and scissoring hi-hats with a vocal sample that sounds like lungs and larynx being turned inside out. The title track is the best: built of jittery 16th note patterns, it trembles like a house of cards; an uncredited singer intones the refrain, "I can't fight the feeling," with the force of an apocalyptic wind. If nsi. was quiet this year, Freund stayed busy: his unsettling, subaquatic remix of Los Updates' "Pictures of You" (Cadenza) was possibly my favorite quasi-pop, should-have-been-huge anthem of 2008, and remixes for Tampopo (Métisse/Curle), Jim Rivers (Simple) and Two Armadillos (Buzzin' Fly) continued to sketch in the outlines of an ample vision. (You'll never think about the spatialization of sound in quite the same way after hearing Tobias.) Freund closed out the year with Non Standard Productions' release of Margaret Dygas' See You Around EP, which he co-produced. Its two long, undulating, teasingly arrhythmic tracks could care less about peaktime or afterhours; the only place they're likely to win "Track of the Season" is Bizarro Ibiza, a clubbers' paradise frequented by borderline-autistic mathematicians with twisted libidos and a thing for DMT-- which, for my money, is precisely why it points the way forward for 2009. ”

Stefan Goldmann (Macro): “Great debut! Loving both sides. Already charted it.”

Woody (Fumakilla): “nice soundscapes and atmosphere, definitely a non standard production! ”