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Mit seinem 4. Release ' Introducing' auf Zaijenroots präsentiert Matt Nowak ein herausragendes DJ Tool für ein breites internationales Publikum der Elektronischen Tanzmusik. So verschieden wie die Künstler selbst, so verschieden sind die 4 Tracks. Toyz on Acid - Hawaiien Teacher, Das mysteriöse Duo mit einprägsamen Namen kreierte eine narrative Techno Hymne, die mit Sicherheit in die tiefsten Tiefen der Darkrooms der Clubwelt vordringen wird. Eine punchige Sp1200 Kickdrum und ein düsteres Rauschen wird immer wieder unerwartet mit futuristischen Sounds und einem treibendem Shaker begleitet. Ein innovativer Dancefloor Kracher! Must have! Heroine from Venus mit Sabine Hoffmann ist eine acosmische Reise mit treibendem Breakbeat und knackigen Snaredrums. Warme sphärische Synthsounds unterstreichen die anmutige und heroische Stimmung dieses Tracks. Matt Nowak und Apoena aus Brasilien haben mit Dub Rout' einen Big Room tauglichen Dub Techno mit Primetime Qualität geschaffen, der sicherlich kein Tanzbein still stehen lässt. Durchgehende Hats und eine extrem punchige Bassdrum machen diesen Track zum perfekten DJ Tool. Happy Handsome von Matt und SRA SRA rundet die Platte sehr gelungen ab. Ein melanchoilisch, treibender Techno Track, nach Zaijenroots Manier. Die klatschende Snaredrum und deepe Moog- Bassline, bringt die nötige Wärme auf den Techno Dance Floor zurück, die heute leider so oft fehlt.

Ark & Pit Spector continue their inspired journey with an extended EP full of groovy jams and absorbing rhythms for Hold Youth. The Frenchmen have formed a potent alliance with a series of expertly-crafted, high-quality releases dropping over the last couple of years. On this new EP they go deeper into their sound explorations with five original works and a remix from their Parisian buddy and Hold Youth member, Le Loup. First up, we go into bumping jazzy territory with 'Chauffage Central', a mesmerising cut with swirling pads, soulful vocal clips and a jaunty b-line. Straight up after that, Hold Youth rudeboy Le Loup gives 'Chauffage Central' a funky little rework, throwing live sounding percussion, Nubian vocal clips, trumpet parps and a pumping bassline into the mix which gives a totally different identity. The final track on side A, is a cheeky teaser called 'Petite Ondée'. Rolling out for just under two minutes the track has a muffled, jazz-esque feel to it with a warm rolling bassline and bright, sparkling piano keys.

On the flip we kick off with 'Air Conditionelle', a lush, retro feeling with those oh-so-familiar heavy-hitting eighties snare licks. The bassline takes you to a New York City street and the whole atmosphere is that of an old school NYC neighbourhood, while a spoken-word sample adds a human touch just before the track comes to an end. 'Sub Tropical' goes a little leftfield with an unusual combination of sounds in tandem with a pulsating low end, occasional sax licks and punchy percussion to give it plenty of energy. 'Averse Et Contre Tous' closes out the EP with a slothish ride into the sunset - Ark and Pit Spector show their experimental side presenting an odd union between blues samples, gruff electronic sounds and piano keys.

Another triumphant effort from Ark and Pit Spector, in fact, some of the finest work to date. Make sure you check it out!

Outstanding and miraculous, this record is an international effort, resulting in a great combination, relevant for both bagging it or playing out on a soundsystem. The original music is by one of Russia's most prolific and gifted reggae musicians - Rebelsteppa. Melodic instrumental music, a swing-stepper with a saxophone.

None Shall Escape the Judgement', vocals by Stikki Tantafari from Jamaica is on the A side of the record. This song is rough and tough, dynamic and persistent. Stikki Tantafari has previously released music with Paul Lush on Nucleus Roots Records.

On the B side "Give Unto Jah' by Sista Sherin, the German singer. Compared to the record's first side, this one is smoother, the voice of this young lady is glorious and captivating - positive vibrations.

Both sides feature Rebelsteppa's dub-mixes - His style is always a mixture of classical energy combined with peculiar intelligence of sound given by restrained echoes, created for the soundsystem.

Phoebe Killdeer & The Shift is the collaboration between newly Berliner Phoebe Killdeer (Nouvelle Vague, The Short Straws) with experimental musicians Thomas Mahmoud-Zahl (SFX, The Nest, Tannhäuser Sterben & das Tod, Von Spar) and Ole Wulfers (Kapaikos, Party Diktator), supported by actress and singer Maria de Medeiros (i. e. »The Saddest Music in the World«, »Pulp Fiction«).

»The Piano's Playing The Devils Tune« is »free music« in a most emphatic sense: The interplay between the abstract instrumentation on the one hand, equally recalling genres as diverse as noise rock, bass music and musique concre`te, as well as the intimate, concrete humanity of the sound on the other hand establishes a sprawling sonic space that gravitates around the haunting vocal passages of Killdeer and de Medeiros. »The Piano's Playing The Devils Tune« thereby succeeds in combining a decidedly experimental gesture with an urgent, uncanny familiarity and warmth; a precise sense of composition with an almost lavish casualness.

Phoebe Killdeer & The Shift do not resolve the numerous paradoxes that mark »The Piano's Playing The Devils Tune«: The result is an equally challenging and rewarding album that in fact — as played out as this predicate may be — truly defies categorization. Devils tunes.

Black magic, what is that supposed to be A spell that seeks to do harm to others Usually yes, however Taron-Trekka are animated by the best intentions, rather aim for the magic of the night and as always want to merely destroy the dancefloors of this world in a symbolic way. In fact, nobody has comes to grief with the four tracks of their "Black Magic EP" (the last part of their "Magic" triology) - nevertheless, they possess a certain magic.

However, Taron-Trekka don't make jumbo jets disappear, they don't walk through the Chinese wall or initiate other cocky tricks à la Copperfield. They are more like thimbleriggers. Or card jugglers. You know, those guys who surprise you when you least reckon with it. Those who have already outsmarted your mind when you were still thinking that it was just about to really begin. Taron-Trekka have the groove and cast a net of loops, which magically creates a tremendous energy. Loops with which the smallest shift can open up worlds. Worlds, which admittedly appear accessible, but are hardly decipherable. This way, tools become magical tracks. Furthermore, house becomes a music, which brands itself to the last corners of a soul. Just like the trick that you haven't understood until today.

A1 Black Magic Taron-Trekka's ride through the night starts funky and dry with the title track of the EP. The effects bleep here and fade away there, however over distance a magical pull develops. A pull that can only be escaped from with great difficulty.

A2 Monofile Regarding "Monofile", Taron-Trekka conjures a groove as selfwilled as enchanting by initially making vocals and keys appear on a dead straight beat and then letting this very same one stumble over itself. At the right moment it engenders at least as much "Ohs" as "Ahs" in a club, you bet.

B1 Red From black to red, from night until morning. For exactly this moment "Red" was made, which brings every last person to the next afterhour with its swing and depth.

B2 Distance Entirely against its own title, "Distance" may indeed affect one deeply. Namely then, when one wants to delve into funk as subtle as extensive. That is Jan Jelinek at a gallop or SND with more punch. Both are fantastic

We are excited to finally announce and share 'Presentiment', the second Long Player from The Connection Machine.
This release is particularly special for us as it will be the first time in over 20 years that Jeroen and Natasja have put an album out on vinyl. Despite having a string of aliased releases in the '90s on the mighty U-Trax, a 12" during the early days of Carl Craig's Planet E, a remarkable album 'Painless' on Down Low Music, and most recently a series of in demand E.P.s with Lost Trax on Tabernacle, their output has remained tantalisingly infrequent.
With 12 tracks that capture their unique and awe-inspiring sound, 'Presentiment' opens you up to a world that only The Connection Machine have access to.

Analog ist besser: Vinyl-Wiederveröffentlichung eines Retro-Klassikers von 2008.

Das Album "Music Components" erschien ursprünglich im Oktober 2008, damals aber lediglich als CD.

Mittlerweile ist Vinyl wieder schwer gefragt, und deshalb schiebt ziemlich genau sieben Jahre später das Label !K7 eine Doppel-LP-Edition hinterher. Die ist auf 500 Exemplare limitiert, also schnell zugreifen.

Was hat es mit "Music Components" auf sich Bei der Albumaufnahme galt für Arnaud Rebotini die konzeptionelle Devise: Zurück zu den Wurzeln. Mit Hilfe diverser analoger, elektrohistorischer Klangmaschinen, die auf die Vornamen Roland, Arp, Korg oder E-Mu hörten, stellte Arnaud im Studio ein Dancefloor-Set ohne Laptop oder externen Sequenzer nach, und spielte zehn überwiegend tanzbare, sehr warme, zeitlos-romantische Techno-Tracks live ein. Damit landete er nicht allein bei der Kritik einen Treffer, auch Kollegen wie Laurent Garnier ("I am a big fan"), DJ Hell ("The first two songs are monsters, very hot, super elegant movers") und Dave Clarke ("I really like") wussten "Music Components" zu honorieren.

Roberto Capuano has delivered Drumcode an immense 3 track EP that will blow out the cobwebs and see Roberto step back onto Drumcode with a bang. Lacing each track with pads and tantalising hook lines, Capuano's tracks fire on all cylinders with good use of vocals and drum rhythms.His tracks have a certain swagger that only Roberto can conjure.

Hitting you like the soundtrack to some wonderful film you will never see, the depth and emotion of the sound of Farbror Resande Mac will take your breathe away.
They have crafted a wonderful EP for Back To The Balearics, which offers the listener a refreshing break from the norms of electronic music making.Across the 5 tracks they cover a variety of moods and themes with great technical skill and top class production values, while creating musical patterns that conjure up images of star studded Scandinavian skies, Balearic sunsets and the buzz of great cities at night.So why not step off the musical beaten track with Farbror Resande Mac on Back To The Balearics You won't regret taking the wander...

Dark Entries and Honey Soundsystem Records have teamed up again to release another volume of gay porn soundtracks by San Francisco-based musician and producer, Patrick Cowley. Perhaps one of the most revolutionary and influential people in the canon of disco music, Cowley created his own brand of Hi-NRG dance music, ''The San Francisco Sound.'' Born in Buffalo, NY on October 19, 1950, Patrick moved to San Francisco at the age of 21. He studied at the City College of San Francisco where he founded the Electronic Music Lab. During this time, Patrick, along with his classmates Maurice Tani and Art Adcock, would create radio jingles and electronic pieces using the school's equipment: first a Putney, then an E-MU System, and finally a Serge synthesizer. He would make experimental soundtracks by blending various types of music and adapting them to the synthesizer.

Mental jacktrax by Gerry Read. Easy to resist these non-formulaic jack tracks in the days of conformist dance music cause its not the tunes that will make your crew do the fist pump thing during the weekly big headliner rave... but we like!! Mr Read is funky as fuck and reminds us a bit of dutch Techno punks Unit Moebius (which is always a good thing!!).
Some feedback from family and friends:
Moxie Feeling the darkness of this and the percussive beats. Thanks'
Leon Vynehall really great'
Mosca Ur Head and The Grand National are wicked genreless things'
marcel dettmann thx'
Aera I love the romantic melodies. Will definitely play on my next wedding party!'
Ambivalent I've been a big fan of Gerry Read's stuff for a while. His stuff definitely doesn't sound like anyone else. I love Tango, Woosy and Ant Eater Robot. Thanks for sharing!!'
Danny Daze freaking huuuuuuuge gottttt daaaayum!!!'
Vin Sol WIld ass trax! Woosy gonna make it's way in to my sets'
RANDOMER Enjoying 'Tango''
Arttu Bonkers! and I LOVE all of it!!! :D'
Paul Woolford Truly demented in all the right ways. I'm going to play 'Stand By...' out for sure.... Thank you !'
Marco Bernardi liking this mad shit'
DJ Haus BIG'
DJ Deep Dope!'

The Infamous is the second studio album by the American Hip Hop duo Mobb Deep, released in 1995. The album features guest apperances from Nas, Wu-Tang Clan members, Reakwon and Ghostface Killah. It marked Mobb Deep's transition from a relatively unknown Rap duo to an influential and commercially successful one.

One of the cornerstones of the New York hardcore movement, The Infamous is Mobb Deep's masterpiece, a relentlessly bleak song cycle that's been hailed by hardcore Rap fans as one of the most realistic gangsta albums ever recorded.

This is hard, underground Hip Hop that demands to be met on its own terms, with few melodic hooks to draw the listener in. Similarly, there's little pleasure or relief offered in the picture of the streets Mobb Deep paint here. They inhabit a war zone where crime and paranoia hang constantly in the air.

The product of an uncommon artistic vision, The Infamous stands as an all-time gangsta/hardcore classic.

I'm in Love is back on the main label with a huge two track package. Joschka Tschirley und Sebastian Habben, together well known as Raucherecke, contribute one track each. On the A-Side you'll find an epic techno bomb - Tschirley-Style - that shows some similarities to the duo's early works... On the flip Sebastian Habben delivers a groovy techno jam matched by some really deep synths! You also got to check the yellow vinyl and it's fresh design!

Adam Beyer's Drumcode imprint welcomes wAFF to its roster with two thudding techno tracks. British producer wAFF has been making waves in recent years, reflecting on a diligent 2015 spent playing across the likes of Europe, Africa, Asia and the States, when not making routine appearances at Paradise, Ibiza.
As a producer he's dropped several lauded releases on Jamie Jones' Hot Creations imprint, not to mention Matthias Tanzmann's Moon Harbour and Sven Väth's Cocoon, with his next outing landing on renowned Swedish label Drumcode run by techno titan Adam Beyer. Laying down hard hitting kicks from the off, Holographic churns out an undulating synth combined with shuffling hats and a cavernous low-end, before Vibrationz employs a low-slung groove fashioned from a sultry bassline, floating chords and a sinister vocal..

* Emerging from the shadows are the thrills and chills of Royalston's new album the People on the Ground' LP out 30th October on Med School - the experimental sister label of drum & bass empire Hospital Records. For his second album, Sydney-based DJ and producer has ripped apart the rulebook with fifteen eccentric and exciting electronic tracks.
* The People on the Ground' LP explores through the obscure yet brilliant sounds of one of Sydney's most talented exports for a haunting and hypnotic take on drum & bass. Title track features the captivating vocals of Hannah Joy and moves through melodic, piano foundations before catapulting into a euphoric whirlwind of sounds and styles making way for mania to come.
* There are the sudden, schizophrenic switch-ups of Give Me the World' and I Saw the Face of a Person' that highlight Royalston's unpredictable style. His game of guesswork keeps things exciting and exhilarating throughout with influences of techno, house and trance all enticingly tangled into dirty drums and deep bass. The Wrath of Mr Sparkles' and Don't Give Me Up' are not to be taken lightly, unrelenting and unrestricted to any musical parameters.
* Royalston has also enlisted a number of artists to join in the fun and games. Welcoming back Victoria, from pop group MA, cousin and fellow drum & bass producer Pearse Hawkins, Sydney-based singer Emily Harkness and emerging UK hip-hop artist Lyflyk.
* When he's not writing drum & bass Royalston pursues his other passion of illustration, which he's made full use of in this project, with the intricate detail in his music replicated in the artwork he solely designed.
* The "People on the Ground" LP accelerates Royalston from his previous album "OCD", whilst keeping to his unorthodox approach to production mashing and merging genres into one crazed counterpart.

(en) French duo THE SILENT ONES aka Aalik and Fred Traverso have specialized in their own brand of indie-infused electronic pop, putting a modern spin on vintage cold wave and minimal synth influences. MAGICAL PARTY is a prime example for their distinct melange of swirling melodies and catchy songwriting, an iridescent piece of dreamy musical drama with lots of charm. Known as incurable romanticist, fellow countryman JONAS BERING was the obvious choice for a remix, finally returning to Kompakt after his 2008 release CAN'T STOP LOVING YOU (KOMPAKT 172) - his immersive rework successfully trims the vocals and transplants the original's delicacy into a deep, but buoyant mover geared up for the distinguished floor. Pushing for a trance-inducing throb, the BEN WATTS mix is a fitting companion cut, promoting a slightly bouncier approach and seasoning its propulsive beats with tension-building synths for that special whiff of epic broadness.
(de) Das französische Duo THE SILENT ONES alias Aalik und Fred Traverso hat sich auf eine eigene Variante von Indie-geprägtem, elektronischem Pop spezialisiert, eine zeitgemäße Übersetzung von klassischen Cold-Wave- und Minimal-Synth-Einflüssen. MAGICAL PARTY ist ein herausragendes Beispiel für ihre individuelle Melange aus wirbelnden Melodien und mitreissendem Songwriting, ein irisierendes Stück verträumtes musikalisches Drama mit viel Charme. Bekannt als unverbesserlicher Romantiker, ist ihr Landsmann JONAS BERING eine offensichtliche Wahl für einen Remix - eine langerwartete Rückkehr zu Kompakt nach seinem 2008er Release CAN'T STOP LOVING YOU (KOMPAKT 172). Seine einnehmende Neubearbeitung stutzt die Vocals zurecht und verpflanzt die Zartheit des Originals erfolgreich in einen deepen, aber lebhaften Schieber, bestens gerüstet für anspruchsvolle Tanzflure. Dank eines grossen Interesses an Trance-induzierendem Pulsschlag entpuppt sich der BEN WATTS Mix als ein äusserst passender Begleiter der eine eher federnde Gangart einschlägt und seine treibenden Beats mit spannungsgeladenen Synthies abschmeckt - für das gewisse Extra an epischer Breite.

Single sleeve glossy LP jacket with double sided euro sleeve art insert and Dropcard w/ free digital download.
When Lindsay Pitts and Clifford John Usher first met, their connection was instantaneous. That bond still fuels their art. As GEMS, they self-released the Medusa EP in 2013, a debut with a remarkably mature sound. On Medusa, Lindsay's haunting and deeply emotive vocals provide the backbone for Clifford's dark and dreamy production, balancing gauzy atmospherics with emotional heft. That mix finds new tension and release on GEMS' first full-length album, Kill the One You Love.

The record more deeply indulges in the group's evocative shadow pop, influenced by R&B production and shoegaze. At the core of GEMS' music is existential longing. Lindsay and Clifford try to capture the intangible and they arrive closest with Kill the One You Love. Music is a never-ending process of learning and growing and reaching,' Clifford says. Of stepping outside of what is familiar and moving into a place where there aren't answers.'

* Jon Gurd's Birth Right EP is the first material from the Portsmouth based Techno producer in more than 2
years since his ventures on Octopus recordings, 8 Sided Dice and Quartz. The EP therefore indicates an
audible step change not just in the approach to production but also in the mindset and emotive feeling
behind each texture and layer. Having emerged unscathed from a traumatic family related drama Jon
communicates a tortuous and re-evaluated life message across all 3 tracks, and is dedicated to his brother
with a hidden meaning conveying, Tomorrow Is - Promised - To No One'.

* Dissecting the EP further the educated are blessed with field recordings, analogue rumbling and modular
synthesis exiting from almost 24 months of lab driven experimentation. No real process has been applied or
extant formulae followed and the EP's resounding success is that this now exudes what Jon feels' innately
rather than what the industry wants, therefore the journey, endless noise making and experimentation gives
a balanced and exciting offering. Jon comments seriously my process for producing this has been all over
the place, literally stumbling on shit, slipping over my own creative vomit, workflow went out the studio
window on day one'.

* Having spent two years asking himself why he makes music, I think on first listen of Birth Right EP we will all begin to empathise why. Remixes kindly provided by Messrs Dave Clarke and Ancestral Voices (new project from Liam Blackburn formerly Indigo / Akkord).

* A long time-friend and recording partner of Alan Fitzpatrick, as well as one third of Mister Woo with Dave from Reset Robot, Jon Gurd is best known for his work on the likes of Octopus Recordings, 8 Sided Dice and Quartz. Abundant with field recordings, analogue rumbling and modular synthesis, his latest signing to Derelicht is a result of almost 24 months of lab driven experimentation, and marks an auspicious return from a musical hiatus that stemmed from a personal tragedy. From the off, 'Tomorrow Is' is a driving piece of techno complete with sinister undertones and menacing atmospherics, meanwhile 'Promised' focuses on a low-slung groove as tantalising synths operate on top. The last original, 'To No One', then exhibits a deeper vibe with ebbing pads and spectral chords. Dave Clarke's decadent rendition of 'Promised' ups the tempo whilst demonstrating commanding kicks, until Ancestral Voices, the new project from Liam Blackburn (Indigo / Akkord), strips back the beats of 'To No One' for a subdued subterranean workout.

* Press / Promotion: 3 x Co-ordinated PR Campaigns (In House campaign by Derelicht, Dispersion PR and EPM Music, 100 vinyl hand-distributed to leading editors, artists and tastemakers. Key editorials through Resident Advisor, Inverted Audio, Ran$om Note, Beat Vision, Slate The Disco, Magnetic Magazine, DJ Mag, Noise Porn, Mind Grub Audio, Portals, Elevated Culture. 1 x videos produced to support Dave Clarke remix
Tiefschwarz - 'Just Beautiful!'
Alan Fitzpatrick - Yeah massively into this, will play a lot. Thanks for sending.
Dustin Zahn - Feeling the original of "To No One." the chord/pads are hitting the right spot for me this morning! The remix is also a nice take on the original
Baikal - to no one and Derelicht are dope
Kirk Degiorgio - Dave's mix for me!
Bas Mooy - yep! A1 for me mate!
Ben Sims - a1 is the cut for me, heavy and heady but still has the groove
Benjamin Damage - Thanks for sending this, top work!
Bryan Chapman - really feeling this EP, fav is the Ancestral Voices remix, that downbeat vibe
Bryan Zentz - Wonderful, moody, and emotive...LOVE it
Carlo Lio - Actually feeling all of them. Something for every time of the night. Can see myself playing a few of these for sure
Lo Shea - Tomorrow is sick! Dave Clarke's remix is dope too.

HOUSEWAX welcomes back Orlando Voorn aka The Stalker!
This great release came originally out on Slamdunk Records 1998. Now it's time to make it available to the new generation of funk lovers!

Vor eineinhalb Jahren war er noch Tellerwäscher in einem Restaurant in Fort Worth, vor drei Monaten jagten vierzig Plattenfirmen nach seiner Unterschrift. Nun, im Frühling 2015, steht Leon Bridges vor der Veröffentlichung eines DER Alben, die mit Spannung erwartet werden. So musste zuletzt beim diesjährigen SXSW Festival in Austin beim seinem Konzert hunderten Besuchern wegen Überfüllung der St. David's Episcopal Church der Eintritt verwehrt werden. Doch wie war dem extrem schüchternen, 25-jährigen Texaner, der mit seinem Look und Sound den Soul der Prä-Beatles-Ära aufleben lässt, in der kurzen Zeit dieses Kunststück nur geglückt Leons große Liebe war eigentlich das Tanzen und so absolvierte er zunächst eine Ausbildung als Choreograph. Auf die Idee, irgendwann einmal selbst Musik zu machen, wäre er damals nie gekommen. Seine eigene Musikerkarriere begann Leon Bridges mit dem Schreiben einfacher Songs und trat bei "Open Mic"-Abenden im Großraum seiner Heimatstadt auf. Im Laufe der Zeit entwickelte der junge Texaner dann ein Faible für perfekt nuancierten Retro-Soul und -Gospel, der ihm Vergleiche mit seinen Helden Sam Cooke, Percy Sledge und Otis Redding bescherte.

Es ist die langerwartete Rückkehr einer klassischen Kombo - die Kompakt-Koryphäen MICHAEL MAYER und REINHARD VOIGT verbünden sich für TIME IS RUNNING, der nächste Geistesblitz in einem fortlaufenden Dialog, der uns bereits legendäre Releases wie etwa Speicher 2 bescherte (KOMPAKT EXTRA 2, mit den Tracks "Pride Is Weaker Than Love" und "Supertiel"). Wie von tanzflurerprobten Produzenten wie diesen beiden zu erwarten war, trägt das neue Material alle Kennzeichen eines Clubfavoriten, geprägt sowohl von der knackigen Rauheit der frühen Kompakt-Stampfer als auch vom ausgeklügelten Klangspektrum unseres aktuellen Katalogs.

Fasziniert von der Dynamik elektronischer Tanzmusik und der ungeheuren Kraft und Reichhaltigkeit von Live-Instrumenten, schufen Chris Davids und Liam Ivory, aka Maribou State, mit "Portraits" ein unwiderstehliches Album. Es ist ein Album, auf dem sich Organisches und Synthetisches umarmen und an James Blake oder SOHN erinnern und dessen Groove es durchaus mit dem von Moloko aufnehmen kann. Maribou State setzen uns atmosphärischen Dubstep gepaart mit House und einer gesunden Prise Pop vor - "glitchy, sad and slow" (The Guardian), aber ungeheuer tanzbar und garantiert aus der Mitte des Herzens kommend. Die letzten 18 Monate des Duos waren strikt getaktet: An den Wochenenden wurde wild durch die Gegend getourt (von England, Europa, den USA und Australien war alles dabei, die Bühnen von Glastonbury und Bestival waren nur zwei der Meilensteine auf ihrem Weg), während man sich unter der Woche disziplinert den Albumaufnahmen widmete. Bei Radio-Schwergewichten wie Zane Lowe oder Huw Stephens schaute man auch vorbei und werkelte ganz nebenbei an einer schönen Palette von Remixen für "alte Hasen" wie Kelis, Lana del Rey oder den Crookers. Die harte Arbeit zahlt sich mit Erscheinen des Debüts nun endlich aus.

Composer, improviser, and Buchla Music Easel master Charles Cohen returns to Morphine with a suite of new material.
In keeping with the timbre spectrum of his semi-modular system, Brother I Prove You Wrong is built around pointillist analog tones—Cohen's cosmic "beeps and boops"—that swarm and scatter in mesmeric patterns across four sides. Moving through surrealistic textural overlays and industrial miasma, the album's nine tracks reveal a more introspective and personal side of the artist, following from a retrospective LP trilogy released via Morphine in 2013. Those assembled works, dating back to the late '70s, quickly became essential listening and brought Cohen—at the time largely unknown outside Philadelphia's experimental circuit—to critical renown.

Brother I Prove You Wrong was recorded in Berlin in September 2014 using the Buchla Music Easel, with production help and support from Rabih Beaini. Mastered by Neel and curated and designed by Tank Boys; cover art by Nathalie du Pasquier.

Garofano Rosso is the latest project by Italian producer Giorgio Luceri, perhaps better known for his work on Jamal Mossí Mathematics label. This new work eschews the house stylings of previous releases in favour of a more classic Cosmic approach. Echoes of Tangerine Dreamís Thief OST mixed with what could perhaps be the imaginary soundtrack to Miami Vice if it had infact been set in Rimini and starred Maurizio Merli as Sonny Crockett. These are not however just mere mood pieces, but take the sun, the sea and the body-count straight to the dancefloor. Not to be missed. Including download code.

Working on opposite sides of the landmass we call Canada, Vancouver/Montreal duo Potatohead People (producers Nick Wisdom & AstroLogical) have been making waves for quite some time with their signature jazzy boom-bap meets boogie inside the bassbin vibes. Called a "formidable tandem" by OkayPlayer, their sounds have been championed early on by the likes of Kaytranada, Soulection, Nightmares on Wax, Pomo, Exmag, Big Boi, and Phife Dawg. After a few early releases on Vancouver based netlabel Jellyfish Recordings, Brooklyn's Bastard Jazz reissued their 2012 landmark Kosmichemusik EP and pressed a 7" released on Valentine's Day 2013. The association landed their song "Back To My Sh*t" (featuring Frank Nitty of Frank'n'Dank) on a Powerade produced LeBron James documentary and Nick and Astro began working on a debut LP for Bastard Jazz, presented here.

Big Luxury draws from influences disparate as classic jazz, prog rock, disco 90's hop, DJ Shadow-Era downtempo beats, alongside modern influences like the Brainfeeder crew and new electronic sounds coming out of Nick Wisdom's adopted hometown of Montreal. What's resulted is a finely honed, extra buttery album that effortly glides between tempos, but never loses the mood. The album also features a whole host of guest vocalists - J Dilla's younger brother Illa J, legendary Canadian MC Moka Only, New Zealand's Sorceress, and Amalia all provide contributions to the sounds within. Big Luxury is a velvety ride through vibes and a magnificent debut for these talented young Canadians.

Limited edition 8 track double 12" featuring some of the best tracks from now out of print MEMBERS ONLY 12" singles plus some tracks never released on vinyl previously. Tracks compiled from cassettes and overdubbed by ANNE CLARK, FGTH, BANANARAMA, LAST POETS and more. Hand stamped white labels.

Die langerwartete Rückkehr eines Kompakt-Pioniers steht ins Haus: endlich präsentiert REINHARD VOIGT mit RACHANEE neues Solo-Material - das erste 12'-Release unter eigenem Namen seit ALL IN von 2007 (KOMPAKT 168). Zwei beeindruckende Techno-Stücke rangeln hier um die Führungsspitze im Frequenzbereich, erfolgreich die altbewährten Methodiken des Künstlers aufbohrend für eine zeitgenössische Meute am Rande des Abhebens.

Was erste Eindrücke angeht, sammelt der Opener und Titeltrack RACHANEE bereits in den ersten paar Sekunden eifrig Punkte, dank des inspirierten Einsatzes eines hypnotischen Vocalsamples. Eine Lektion in griffigem Minimalismus, ist es vor allem dieser wogende Stimmschnipsel, der den Hörer ins Geschehen zieht - gefolgt von einer stoischen, aber überraschend funkigen Bassline deren Sex-Appeal eindeutig in ihrer Einfachheit liegt. Die DNA des Tracks weist ihn als Verwandten des Outputs von Voigt & Voigt aus - insbesondere deren wendiges Debüt-Album - Die Zauberhafte Welt Der Anderen' (KOMPAKT 274 CD 104) und die Verwendung von Found Footage und Collage-Ästhetik mit attraktiven Rhythmusmustern.

Der rückseitige Klopfer TISCH FÜR ZWEI hat eine etwas andere Mentalität und zeigt offen seine schwindelerregende Vorliebe für oldschoolig schleifende Synth-Spuren - erinnernd an eiskalte Klassiker aus dem Voigtschen Katalog wie etwa How We Rock' (KOMPAKT 72) oder - Supertiel' (KOMPAKT EXTRA 2). Als aufgebockte Reminiszenz und meisterhafte Wiederaneignung dieser traditionellen Kunst der Hirnschraube funktionieren die ausscherenden Synth-Bleeps hier prächtig - sie halten die Beats am Raten und sichern das richtige Maß an Irrsinn in einem Track der exklusiv nur nach eigener Pfeife tanzt. Hier springt keiner zweimal in den gleichen Fluß.

New York City-based DJ, producer and The Corner label owner Anthony Parasole makes his debut on Ostgut Ton with three new percussive-heavy Techno tracks on the My Block EP.

"Percussive music, that's my ground, my foundation but I am missing the feeling of tribalism in Techno today. I've been using a lot of different drum techniques over the past years, implementing them to Techno. The record 'Quickstrike', that I've released on my own label The Corner, was an edit record of an old sample-based house release. To me this was a test if people would gravitate to this sound and it was the biggest record on The Corner so far. From there I knew I could do this and two tracks off my new EP on Ostgut Ton work like this: 'Typhoon' features bongos, congas and all kinds of skin percussion, 'My Block' uses a different kind of percussive color.

HipHop in general and the Cut-up technique in particular have also heavily inspired me as a producer. During the 1990s music seemed really profound - a little bit tougher too. I listened to a lot of HipHop when I was writing the music for this new release and applied its methods to my own music. Many producers at that time were very forward-thinking. Wu-Tang Clan's RZA uses a sixteenth note technique that made me realize that I wanted this kind of hypnotizing sound to work in a Techno format. Another big influence were late 1970s Horror movie trailers. I was watching them while I was working on 'Bizarre' in the studio, I was inspired to capture the eerie tones and textures of those short clips in 'Bizarre'.

At the end of the day I work within certain parameters. Everytime I make a sample, I drop it into my personal folder - so all my music has a similarity of up to 50 or 60%. Maybe I'll use the same drumkit or kickdrum. I apply limitations to myself, but doing this also gives me my own voice. When I was learning how to produce, Levon Vincent taught me to make my own drum kit, to make my own synth kit and to work within this. Sample-based music is inspiring, and creating something out of found sound is very interesting to me. I think a sound signature is something that will always refine ones sonic pallet and skill set."

- Anthony Parasole, Berlin, September 2014 -

Ein wahrer Überraschungserfolg in unserem 2014er Release-Kalender, führte VERMONTs gleichnamiges Debüt-Album die Hörerschaft an eine überraschend andersartige Seite des musikalischen Schaffens der beiden Projektgründer MARCUS WORGULL und DANILO PLESSOW (aka Motor City Drum Ensemble) heran. Ein Langspieler voller abenteuerlustiger Jam-Sessions und schnittiger Synthie-Klanglandschaften, berief sich 'VERMONT' lieber auf kompositorische Neugierde und einen informellen, kollaborativen Geist als auf den laser-ähnlichen Fokus, welcher den Club-Produktionen der beiden Künstler zu eigen ist.

Mit VERMONT - THE PRINS THOMAS VERSIONS betritt nun ein weiterer, hochverehrter Held zeitgenössischer Tanzflure die Bühne: der norwegische Disco-Connaisseur und Bootleg-Experte PRINS THOMAS taucht mit drei brillianten Neubearbeitungen tief in die VERMONT'schen Klangwelten hinab und betont die rhythmischen Elemente der originalen Album-Tracks DYNAMIK, ELEKTRON und MACCHINA - ohne jedoch deren zurückgelehnten Grundgestus zu verraten. Er tut dies unter Zuhilfenahme von luftiger angelegten Varianten klassischer Tanzmusik-Stile - Techno, House, sogar eine Prise Dub Reggae - und lässt diese die Hauptbeinarbeit versehen. Das Ergebnis präsentiert sich dementsprechend so drängend wie nötig und so entspannt wie möglich.

Italian DJ & Producer who relocated in Dublin in the 90's before coming to prominence with a series of productions for great labels like Uzuri, Osgut Ton, Million Of Moments to name a few. Now for the thirteenth release of HotMix, realizes a special EP with four Techno/Hypnotic tracks highest level

NORD Records is now ready with their fifth release. NORD004R is an EP containing four diverse remixes of NORD004 from four different artists; CTRLS, Steven Tang, Tapirus and AntonZap

After releases on John Osbourne's label Tanstaafl BILL YOUNGMAN once again rips it off for Killekill with our catalog number 019.
From straight forward, hard hitting techno as in 'LEVITATE' he crosses over to the typical Youngman style 2-step/techno hybrid as in 'MAGNETIC'. Broken beats and playful me- oldies as in 'TEARDROP TURNS TO SOLID' are definitely not new to him, but the combi- nation of these two elements, as we find it here, definitely is. A beautiful masterpiece that works for the lonely hours as well as for the peaktime dancefloors.

Pink marble vinyl / Sleeve artwork by ' The 'Warm'
Friendly Feeling Embodied in a Red-Pink One 1961 by Mcdermott & McGough.

ISNISNT offers it's second release of forward leaning electronics with a diverse group of modern techno from label head Jesse Siminski. Acting under his Heartthrob guise, Jesse initiates the release with 'Someone Called Again' a tough, but funky, bass driven tune that marries detailed production with his signature ominous melodies to great effect. Subtle modulating percussion work against harder, swung snare and synthetic drums workouts, as surprising analog synth bursts glue things together. Building smoothly into a headfirst groove, the track pressurizes and never loses it's drive as heady synth riffs keep things musical and emotionally interesting. In an even funkier tangent the two mixes of 'Cougar Juice' draw together an irresistible bass line with pushing breakbeats and precise synth stabs. These horn like synthesizer bursts mark surprising turns and recall similar moments in classic Hip-Hop jams or even tracks from Detroit's Anthony Shakir or Robert Hood- two of Jesse's production heroes. The 'Driving Past the Jail Mix' incorporates these synth stabs hypnotically within the melodic structure, while the 'Reduced Dub Mix' dials things back and focuses on the bass line, drums and dubbed out flourishes. With their funk driven momentum constantly moving forward, either mix will bring something unique to either a house or techno set. And finally 'Let Them Go' rounds out the group in a deep, yet still driving fashion. It splices sub bass pulses, a melancholic synth atmosphere, absurd bleeps and submerged voices amongst stripped down drums into a steadily building hybrid cut- not quite house and not really techno.

The phrase 'feux follets' from which Archipel 105 draws its title, comes from the Latin ignis fatuus, and translates as will-o'-the-wisp. The etymology reaches back to old folktales in which ill-intentioned spirits would cast an atmospheric glow at night, in order to lead weary travellers astray. Today, the term refers to ghost-lights - artificial light reflections caused by decomposing organic emissions. Anyway you choose to understand it; this music contains the mysterious and unattainable. Feux Follets are meant to depict an elusive (and perhaps also illusive) ambition. A tense equilibrium colours the constant, foundational sounds with aleatory movements. The compositions are detail-oriented, and boldly explore their tangential elements.

We Make Releaseinfo After the glorious release of his first studio album 'Disconnect to Connect' in 2013, Steven Tang is back with another lovely package of Hitec-Soul. Inspired by his new residency in Berlin the Chicago-native builds up three highly grooving sound seducers which will be part of his live set at Panorama Bar on May 31st . Join Steven Tang at leaving the physical world!

MF DOOM is the man in the iron mask. The most mysterious figure in hip-hop has also become one of the most popular, supplying beats and rhymes for Gorillaz, De La Soul, Madlib, Danger Mouse, and Wu-Tang Clan, and drawing praise from heavyweights like Just Blaze, Nas, and Mos Def. Since 2002, DOOM has released numerous volumes of Special Herbs, one of the longest-running instrumental series in hip-hop history. Now, volumes three and four of the acclaimed series are available on vinyl for the first time in years. With obscure loops and dusty samples galore, Special Herbs Vol. 3 & 4 is a must-have for any DOOM fan or hip-hop head. Also includes a limited-edition bonus 7', featuring two beats from DOOM's days as a member of 90s hip-hop trio KMD.

Die Stimme von DAF (Deutsch Amerikanische Freundschaft) ist
zurück!!
Nach über 30 Jahren erscheint am 28 Februar 2014 Gabi Delgados neues Album - 1' auf GoldenCore/ZYX Music.
Geschichte schrieb DAF, die sich 1978 in Düsseldorf gründeten, mit Hits wie - Der Moussolini' oder - Der Räuber und der Prinz'.

Das mit 18 Titeln bestückte Album wird alle DAF Fans, aber auch und vor allem die Freunde moderner elektronischer Clubmusic begeistern.
DAF-artige Sequenzen, modernste House- und Electro-Beats, dazu die für Gabi Delgado typischen deutschen Texte bilden ein einzigartiges Gesamtbild, das sicher für Furore sorgen
wird. Vorab wird am 31.01.14 die Single NEBELMASCHINE/LIPPENSTIFT' digital veröffentlicht, auf
der sich neben einem IN STRICT CONFIDENCE auch ein EISBRECHER REMIX befindet.
Zum Release startet Gabi seine Solotour, auf der das gesamte Album und einige DAF/dos Hits präsentiert werden. Die Tour wird präsentiert von INTRO und SONIC SEDUCER. Gabi DelGado ist als einer der Pioniere deutscher Techno- und Electromusik anzusehen und sorgte zusammen mit Robert Görl in der 1978 gegründeten Formation DAF (Deutsch amerikanische Freundschaft) für nationales und internationales Aufsehen.
1995 gründete er zusammen mit dem Schauspieler und Musiker Wotan Wilke-Möhring das Projekt DAF/DOS.