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Mr. Stefanik concludes his 'days of old' ep series on KANN with this third and final part. As highly valued friend and artist from the labels neighborhood he locks his diverse journey to its own past with another awesome track collection. As part 'one' and 'two' already certified, KANN15 teases out Daniel Stefaniks many-faced shining talents in techno and housemusic.

Next to the regular catalogue number, here comes a strictly limited 3LP handmade package including represses of all parts from daniels "in days of old" voyage. Kann locks the awesome project with a complete collection of all tracks from "#one - #nine" that teases out Daniel Stefaniks many-faced shining talents in techno and housemusic. Welcome full edition "days of old" - Hello Future!

SVS Records was set up by Beni Brachtel and Daniel Hermann-Collini as an imprint of Brachtel's sister project Selbstversorgersound (SVS). A compilation titled "SVS 1" was released in Oct 2012. This was the first official collection made up of songs from the last three years by various artists whose backgrounds could hardly be more diverse. Next up is a three vinyl series named "Polyrhythmic Series 1-3". Volume 2 contains exclusive productions from Gnther Lause (Karlsruhe/ Berlin, Crosstown Rebels, Paradise Now!, Laut und Luise, SVS), Larkin & the Sky (London/Munich, Paradise Now!, Goldsmith, SVS), Bartellow (Munich, Pollyester, Tambien, Columbus, GTA Hoffmann, SVS) and Konrad Wehrmeister. Five techno tracks of the highest calibre ranging from from dubbed out to tripped out and way beyond!

DJ support by Norman Nodge, Extrawelt, Ripperton, Trus'me, Ben Westbeech, Alland Byallo, Archiepelago, Brett Johnson, Eric Duncan, Agoria, Jonas Kopp

Back in stock!

Some friends think that Shihab the man owes the balance of his soul to his beautiful Danish wife. They may be right; for Eros is the very essence of what Shihab plays.Yet Eros is a god with many a face. A tale of tender mournings Shihab's flute is telling in MAUVE - a piece that translates its title into delicately changing colors of sound. In UMA FITA DE TRES CORES he has his instrument wooing with the proud self-reliance of Latin grandezza. Calmly, softly, almost blandishly Shihab blows the solo flute in the Jimmy Woode composition MY KINDA WORLD. Serene and somewhat playful his own title ANOTHER SAMBA comes along - a most uncommon composition by the way: lasting for sixty bars as if growing independent out of itself, with solos that appear to be additional spinnings rather than improvised choruses; and yet; a perfect, self sustaining melody no element of which is superfluous. In the last of the pieces for flute, in Klook Clarke's THE WILD MAN, which is based on a flourish of trumpets, Shihab for the first time reminds of the sombre, the demon-like face of God Eros. He contrasts flawlessly intoned passages with challenging phrases, phrases raucously sung into the flute - really, he is a 'wild man' who is playing like that. This raucous challenging sound prevails throughout the four baritone-titles ('Shihab never withholds long to caress', Campi says). Shihab blows the instrument the same way he speaks: without any delay, directly coming to the point. And he treats it like a voice, not aiming at an artificially homogeneous sound in all the registers, but at their different modes of expression. In the high pitches the horn gains a brilliant tenor-like quality - for instance in PETER'S WALTZ, dedicated to Shihab's son Peter, and in Kenny Clarke's simple drum fills comprising theme JAY-JAY. In the deep register Shihab produces snotty sounds filling lady's ears with horrors like Pan - thus in JAY-JAY and in the boppy blues SET UP . Shihab's sense of a scurrilous humor breaks through in SEEDS (which reminds of the West-African heritage of jazz with its multiple rhythms and its renunciation of harmonious development - only the eight bars of the bridge base on a progression of chords): not only does he omit the notorious bombastic chord by the ensemble after his own final cadenza, he even ends with a minor second above the keynote. Seems as if Shihab now unrestrictedly conveys to his music all the experiences and emotions he formerly did not deal with in a musical way. Shihab the man need not be disturbed so that Shihab the musician may improvise passionate choruses. It would be unjust, however, to forget the choruses of the four other musicians for those by the 'born leader'. Francy Boland, taciturn and always introverted: he plays an extrovert, a masculine piano. Even with spare single note lines he produces a piercing and ringing sound that hitherto nobody except him has discovered, a bluesy sound bespeaking the very element of frustration that lies within the title of the trio number WHO'LL BUY MY DREAM. The unfailing feeling for rhythm the musicians of the CBBB praise with the arranger Boland, becomes manifest in the piano solo on SET UP. Francy's improvisation is rhythmically styled in a Monk-like manner, and yet no accent could be set differently. Maybe this is the secret of the Shihab-Combo. 'Rhythm is our business', this credo of Jimmy Lunceford could be the one of the five musicians as well. Sadi hits his vibes as dryly as if wanting to bring its ancestors to memory, the wooden chimes of West Africa's coastal tribes. To reach the fullest poignancy possible, he intentionally calms down even the resonance in MY KINDA WORLD. In UMA FITA DE TRES CORES Jimmy Woode bears out the crispy jazz beat against Sadi's Bongos and Klook's Latin-American percussion all by himself. Moreover - and that, too, is connected with the school of the Duke who was the first in the history of jazz to discover the instrument's potential as a melody instrument - Woode rips a marvelous counterpoint to the inventions of the other melody instruments, take for example PETER'S WALTZ. And then there is Kenny Clarke. Klook. On the entire record he only uses his brushes. Means by which different drummers only know to bring forward impressionistically blending noises: He drums a vigorous beat with them, fanciful fills, a solo, melodious and at once skillfully playing with cross rhythms in JAY-JAY. The 'born leader', the 'outstanding baritone saxophonist of modern jazz' (Joachim-Ernst Berendt), he could not wish himself different sidemen for this record overdue since some years.

002 is coming from M.in (Desolat, Cecille) with two tech-house slammers
and big remixes from Pig & Dan (Cocoon, Elevate, Soma, Bedrock) and
RabaukeN residents Sebastian Phillip & Danito.

Magnus International's releases are few and far between. With his solo debut 12"out in 2006 and one in 2009 we can easily classify him as our least prolific(lazy) family member. However, Magnus has that rare gift for melody and drama... the so called Magnus factor. So whenever he decides to lay his knowledge upon you, lend him an ear. Debuting on Full Pupp as part of "Kalle, Magnus & Daniel" together with Kalle Risan SandÂs and Blackbelt Andersen, Magnus helped lay the foundations to what we all know as nu disco/space disco/cosmic disco/scando disco etc.(insert your own silly take on it here).

INCL. REMIXES BY ALEX DANILOV & WASSERFALL
STRICTLY LIMITED TO 300 COPIES - VINYL ONLY!

orange black marbled vinyl !!

Kink's heavyweight 'Detunator' from 2011 gets three re-workings, courtesy of Mathias Kaden, Adam Port and La Force, who all add their own unique touched of genius to the package.

Wir wissen wirklich nicht, was alles im dänischen Trinkwasser landet, doch irgendetwas muß verantwortlich sein für den reißenden Talentstrom, der diesem Land entspringt. Man denke an WhoMadeWho, Jatoma, When Saints Go Machine oder Kenton Slash Demon: sie alle teilen einen ähnlichen Sinn für strukturale Komplexität, erlebbar gemacht durch Emotion und puren Willen zum Floor. Diese Leute haben ihre Scheren im Kopf schließlich schon vor längerer Zeit im Altmetall entsorgt und lassen nun umso befreiter die Hookline kreisen. Tatsächlich gehören zwei der oben genannten Acts bereits zur Kompakt-Familie, die anderen beiden sind Klassiker der täglichen Bürobeschallungsmaßnahmen, da war es nur
eine Frage der Zeit, bis wir die nächste Trüffel im skandinavischen Unterholz aufspüren. Womit wir zu Taragana Pyjarama kommen, dessen Output als gleichermaßen raffiniert wie chaotisch wahrgenommen und von manchen schlicht als Märchen mit Bass beschrieben wird.

Here we are with the first Curle of 2012, after a lengthy but refreshing hibernation. To wake up slowly but surely, we picked out these two fine dubby techno tunes. The A-side is kinda housey even. Man at work is Resoe from Copenhagen, a fixture on the Danish Echocord label. He is also a part of Pattern Repeat and runs his own Baum imprint. We will release this one on limited transparent green & white mixed vinyl.

DKMNTL letting out the celebration 12"s like fireworks ..this time it's the turn of Hundred20 (MCDE & Praterei team up!) and one of our personal favorites, Hunee turning in two awesome tracks...TIP!
Hundred20 - Minke Whale Congregation
Aka Felix Bergleiter and Danilo Plessow (Motor City Drum Ensemble). Analogue Chicago sounds for this one, resulting in a cut-the-crap-and-get-on-the-floorand-dance record. Pure bliss.

Hunee - The Lowest Animal Rising star Hunee digging up some oldschool sounds for his The Lowest Animal.
Nine-o-nine action and a string-laden climax do the job properly here. The 7.38 minutes are gone before you know it.

ROYAL THRONE ROOM, BOSRAH, HAIL RASTAFARI, FUNERAL, BLACK ROSES, SLAVEMASTER, DANIEL, HEAVEN IS MY ROOF, GO DOWN IN SILENCE, GOLD DIVER, JAH JAH BIRD, GO TO SCHOOL, JUST ONE WAY

next on house wax !!

Support by:
Anthony Collins, Daniel Sanchez, Richie Hawtin, Danny Tenaglia, Jonas Kopp, Matt Star, Meat, Laurent Garnier, Jonas Kopp,
Laurent N (Radio France), Tim Green, Super Flu, Dan Curtin, Resident Advisor...

Taken from their forthcoming debut album, the spellbinding "Alive In Us", Darkness Falls announces their next single, the melancholic and mysterious "The Void". Featuring the heartwarming tones of lead singer Josephine Philip, who co-writes with band partner Ina Lindgreen, the whole album was produced by leading Danish composer and recording artist Anders Trentemøller.

Affkt & Felipe Venegas, Nick Curly, Ethyl & Huxley, Premiesku, Daniel Kampf and Negru vs Boola !!

After several hot releases on Labels like Cadenza, Kling Klong, Globox, Capsula and his own imprint called Andes Music Chile based Producer Francisco Allendes is back on the street and debuting for Phaze Records. Two great tribalistic tracks with hot remixes from Someone Else (Foundsound, Resopal, Glückskind, Microcosm) and the Bad Boys !!

Support by: Brett Johnson, Brothers' Vibe, Technasia, X-Press 2, Silicone Soul, Butch, Gregor Tresher, Tiger Stripes, Deetron, Mihai Popoviciu, Alex Niggemann, Masomenos, Daniele Papini, Matthias Meyer, Jay Bliss, H.O.S.H., Federico Grazzini, Arnaud Le Texier, &Me, Alex Neri, Superlounge, Sebastian Lutz and many more

So at last after all those Andre Lodemann records a new artist on Best Works Records, a fellow who runs by the name of Subfossil (Daniel Ramm).

In 2006, Dutchmen Bert Kroes & Krijn van Heuseden teamed up to explore their shared passion for techno house music under the name K-DRIVE & GINMAN. This resulted in a remix for the upcoming German dj/producer Daniel Melhart on the Manual Music imprint. Their musical style covers about the whole spectrum of techno music, raging from pure techno do more minimal sounds and electro.

Motoko & Myers is the collaborative project of Bay Area-based duo Wonja Fairbrother and Daniel Letson. “Colocate” follows their 2018 debut release on the Open Hands Real Flames imprint (Bass Clef), further developing their distinctive style which combines melodic, pop song structures with live improvisation and odd or no-meter approaches to rhythm and timing. It is a collection of bright, addictive listening, full of tracks that manage to feel at once hooky and aleatory, naive and rigorously arranged.

Recorded and assembled sporadically over a period of several years, the album’s idiosyncratic palette was achieved through much technical and methodological eccentricity: “4-handed” collaborative keyboard playing; 12-bit sampling and archaic presets; field recordings of cicadas in Louisville, Kentucky and church bells in Freiburg im Breisgau. The album’s nine tracks exude a homespun quality that is rare to find in contemporary electronic music – hazy, warm, and disarmingly organic.