Remix Rotation Electro Electronica (Auto Generated) - 2

Taken from the Present Shock EP on Transcendent records.

Versalife returns to his home base Transcendent with four iconic electro space trips. The Transcendent imprint, run by Boris Bunnik himself, is the deep sea playground for for all sorts of experimentation by the prolific Dutch producer. Having released there as Conforce, Hexagon and Silent Harbour before, this four track EP as Versalife is another thoughtful addition to the catalogue. A well varied package of dancefloor friendly atmospheric electro drifters.

Versalife - Shadow Warrior - TRSD008

Preorder 'Maintain The Golden Ratio': https://Cybotron.lnk.to/MaintainTheGoldenRatio

Cybotron has re-emerged in our contemporary cybercultural age when artifactual futures begin a transition into a new era of "Meta". 
 
By combining their knowledge of philosophy, science fiction, and mechanical engineering, at a time when electronic instrument companies were only just beginning to distribute their products to the masses, two prosumer audio technicians named Juan Atkins and Rik Davis were able to re-engineer Cybotron  &ndash;  a combination of the words "Cyborg" and "Cyclotron" (an atomic particle accelerator) &ndash; to be used as a home studio performance music that would change the course of independently produced and distributed electronic music.
 
Dissolving the boundary between singer, songwriter, and producer, Juan Atkins named Cybotron's future forward funkadelic sound "techno" in reference to Alvin Toffler's concept of unlikely "techno rebels" against technocracy. Techno is music that sounds like technology, and its purpose was to help society survive our collision with a universally felt "future shock" by inserting an audio virus into the cultural matrix. 
 
Techno's blueprint spread across the Detroit-Berlin Axis between Metroplex and Tresor. As human society began its transition from a post-industrial to an information-based market economy, Cybotron enabled a thorough system override of the human senses towards a tangible man-machine hybridity and showed the world how to channel their emotions and imaginations into new sound technologies and create new 'sonic' spatialities where listeners can transport themselves out of the physical world into the future. The cover of their debut album Enter (1983) transmitted a fragmented view of a body in motion being digitized mid-stride, dissolving physical and virtual reality into sonic fiction.
 
Today, the man-machine hybridity of Cybotron is still the truest form of techno, coevolving in conversation with the technological music they created and inspired. The latest data disk marks a new chapter that reflects a techgnostic musical expression of the knowledge acquired during their decades-long hiatus. Unlike the dance music industrial replications of the Model 500 formula, acknowledging the content marketing expectations that segments music into specific, sellable genres, this techno music is self-aware.
Cybotron processes dance music tropes spawned from its very own blueprint with a meta-tactical precision out of sync with our current rave new world. 

Cybotron's return demonstrates a studied engagement with what techno was and should be with a peerless update of Juan Atkins' initial inventive idea of do-it-yourself electrically reengineered music xeroxed onto both sides of the 12" &ndash; uploaded directly into the alleys of your mind.

-	The Rhythmanalyst

BANDCAMP

Cybotron - Maintain

Special mix for our Electric Cafe Podcast, recorded by legendary electro/techno bass duo AUX 88 !  For more info about AUX 88 please check: http://www.aux88.com/
Enjoy !

Electro Boogie (guest mix by AUX 88, Puzzlebox/USA)

Astral travel with Cybotron into the meta-narrative of the Parallel Shift, a new sonic fiction that raises many questions about military science of the near-future and the possibility of other worlds. 

Descending backward through the rhythms of time, the Skynet module retracts from the hyper-structural society of 2100, edging toward the mid-century modern age teetering on the brink of what was then the frontier of “the future”. The system boots the Infiniti process, morphing into a cosmotechnic vessel coursing the superhighway of burgeoning general intelligence, seeking data from just before “the overshoot and collapse.” 

R&D methods, rhythmanalytically applied, dissect the aftermath of an industrial society that burst through the ecological capacity of Spaceship Earth. Fractal visions of war and innovation spike and recede from and into the surfaces of reality being bent and guiding the eyes, ears, touch towards a laboratory in the year 1961. A nuclear expert, Don Lewis, receives orders to decrypt the mysterious black dodecagonal disc known as Fortec and the extraterrestrial biology unearthed in Roswell. He joins a team disassembling Fortec and studying the recurrent dodecahedral patterns linked to the human nervous system. 

Through dismantling and probing, the team cycles through a saecular search devoid of finite conclusions, limited by Earth’s intellectual and technological prowess. One 1960s night, Lewis, while meddling with Fortec’s cyborganic innards, accidentally electrifies himself. His cyclotron and missile experience guides him to circuit-bend Fortec, stirring the entity from a mechanical slumber. Lewis and Fortec communicate in resonances, until it drifts back into a tranquil stasis. 

The US Defense and contractors, unbeknownst to them, observe this breakthrough. They later permit Lewis to exit military service as the Air Force forms the Foreign Technology Division. Concurrently, MJ12 evolves into CY12, delving into second-order cybernetics. Lewis clandestinely keeps working on Fortec fragments, transitioning from military engineer to musician, pioneering the LEO module, a fusion of Fortec’s essence and audio engineering. 

He shares his insights with Roland founder Ikutaro Kakehashi, aiding the creation of the iconic TR-808. Meanwhile, Fortec branches out, coining “Cyberspace” – a collective illusion of liberty unshackled by physical, political, or spiritual bounds, anchored in the equitable distribution of The Golden Ratio across realities. Yet “Cyberspace” morphs into a chaotic truth reservoir, spilling over into deception. 

The Parallel Shift manifests in the perpetual “Now,” a collapsed event horizon where past and future are ensnared in a relentless present, unfurling along a dissolving timeline, overseen by a monolithic simulation under ceaseless watch… 

— The Rhythmanalyst aka DeForrest Brown, Jr.

Cybotron - Earth

FREAKMASTER FLEX

🟢 Buy Track: https://www.beatport.com/track/crying-robot/20449248
🟢 Buy / Listen Release: https://www.beatport.com/release/vol-3/5063042

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Vol. 3

🟢 Buy

Fasme - Crying Robot

Free Download

derive (FREE DL)

Identity

Computer World

Numbers (2009 Remaster)

Pat Pong

Pat Pong (Solid Groove mix)

Morphology - Plankton

This Is Electro

Destroy Him My Robots

Red Light District

Over Here

Over Here (M-Dub's Iron Mike Remix) [feat. Richie Dan]

Taken from the album 'Isles', released 22 February on Ninja Tune: https://bicep.lnk.to/islesSo

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Isles

Saku

BICEP | SAKU (FEAT. CLARA LA SAN)

Anthony Rother is described as an influential visionary, an electro pioneer and one of electronic music’s most prolific producers. For more than two decades Rother aggregated a vast musical canon that reflects his unique career as a sound researcher exploring the aesthetics far beyond the boundaries of electro, techno and pop music.

Starting his recording career in the late ‘80s, the Offenbach-based producer established himself in Germany’s electronic music scene with his first two releases, "Sex With The Machines" (1997) and "Simulationszeitalter" (2000). In 1998, he founded his label Psi49Net, allowing him to keep his artistic independence and showcase his vision of electro music that cultivated a unique storytelling approach, guided by dystopian future visions on societal changes due to technological progress. The vocoder-driven vocals and the dark dystopian synth sound with machine-like beats have become Rother’s trademarks, even before he found international recognition as a science-fiction avant-gardist with the virtual electro-pop project "Little Computer People" (2001) and his 3rd solo LP "Hacker" (2002).

In 2004, Rother created the Datapunk imprint to evolve an immediate, more song-orientated language that used simple melodies and even autobiographic anecdotes collected on "Popkiller." Perceived as one of his most venturous endeavors, yet his sonic shift had a decisive effect on many artists' careers: The Hacker, Boys Noise and Terence Fixmer published on Datapunk in its early days. While some of the experimental ambient recordings for Pete Namlook’s infamous label Fax +49-69/450464 reflects Rother’s prolific output, he also worked and co-produced with several prominent artists such as from former Kraftwerk member Karl Bartos, Sven Väth and DJ Hell.

After its success, Datapunk turned into an enlarging business which devoured both time and creativity to make music. In 2013, Rother decided to let the project rest and took a break that he used to move his studio while only producing music for his HYBRID sets. Through his self- contemplative retreat, he eventually rediscovered the artistic instincts that brought him back to his roots; both in terms of his renewed independence as well as how he channels creativity as a producer. In late 2017, Rother resurfaced with an EP on Danny Daze’s Omnidisc and contributed the track "Technic Electric" to Fabric 96 mix by DVS1. Last year, Rother returned to his Psi49Net label with a new album "3L3C7RO COMMANDO" that transports a clear message: Anthony Rother not only lives in and through his pure electro music, he still has something to say – here and now. The past represents the future!

In April 2019, Rother will release two 12’’ on DVS1’s Mistress Recordings followed by another EP as well as a conceptual LP for Psi49Net in fall. Moreover, Rother will drop a 12-inch on Radio Slave’s Rekids offshoot Stranger In The Night.

MY PRESENTATION! 


An exciting application for you! 


Hello to the right person, booker, music manager or managers. :-) 

My name is Georgij Alexandrov aka Gorgij Park as my artist name. 


I am looking for a job as a pianist, keyboard man 
DJ, composer, entertainer, studio musician, 
producer, a church organist and music teacher. 

I have 20 years experience in playing as a DJ, 
I have 28 years experience in performing as a pianist, 
keyboard man and entertainer and 
23 years of experience in working as 
composer, studio musician, producer, 
church organist and music teacher. 


My music styles is: 

Tech House, Deep House, Progressive House, Melodic House, Melodic Techno, Acid House, NU Disco, Indie Dance, Dark Disco, Progressive Psytrance, Psytrance, Goa Trance, Psybient, Psychill, Psydub, Electronica, Ambient, Chillout, New Age, Disco, Pop, Rock, Latin, Reggae, Classical, Jazz. :-) ;-) 8-) :-D   

I have a large network with over 7.777 friends 
and music people I can invite, 
when I am acting as a pianist, keyboard man, DJ or entertainer. ;-) 


With big greetings from 


George   

Red Light District

Anthony Rother (Official)

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