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Ben Klock - Subzero (Original Mix)

Nina Kraviz launches her трип (pronounced ‘trip’) label with a double-EP compilation entitled ’The Deviant Octopus’, featuring a pair of brand new productions from Kraviz alongside material from Terrence Dixon, emerging talent Parrish Smith & Bjarki, and veteran producers Exos & Steve Stoll.

The idea for трип has been gestating for some time with Nina Kraviz, an avid crate-digger and frequenter of numerous second-hand record stores, who has long wanted to begin a label of her own which would build on some of the principles of her beloved 90s techno labels in terms of attitude and aesthetics, whilst looking for forward-thinking modern productions that reflect her core tastes for idiosyncratic electronic music.

The art and title of 'The Deviant Octopus' comes from a single-sentence scenario dreamt up by Kraviz: “Without a moment's notice an Octopus appeared and devoured everyone in sight”. Supplied with this scenario, artist Tombo rendered his own unique visualization for the artwork that adorns the release sleeve. It's Kraviz's own nod to the labels that inspire her and grab her attention while digging through second hand records, the best of which were imbued with the unique personality of the people behind them. This extends to the sound Kraviz intends for трип: dusky, divergent and trippy music to stimulate brains, dreams and fantasies.

In this respect ‘The Deviant Octopus’ is a perfect introduction: Kraviz herself is represented on the tracklist by two new tracks that take up the mantle of last year’s Mr Jones EP by returning to the vocal-flecked hypnotic techno that marked out that release. Complimenting those are two new cuts from a true master of hallucinatory off-kilter techno, Terrence Dixon in his Population One guise.

Joining them will be a pair of names from the techno pantheon who have been huge influences on Kraviz: with a career that’s taken in releases on Synewave, Trax, Novamute and Richie Hawtin’s early-90s Probe Records, Steve Stoll has been mining his own variant on techno and acid minimalism for over twenty years, heading up the Proper NYC label and releasing under various pseudonyms, such as Cobalt, of which Kraviz has been a long-term fan. His counterintuitively titled ‘Pop Song’ sits alongside a 13-minute 90s techno excursion from Reykjavik’s Exos - the only previously-released cut (originally appearing on Thule Records sub-label Plast Trax in 1998) - together illustrating that трип will also live up to its name in the geographical sense: showcasing great music from historically vibrant electronic music scenes outside of the usual Detroit-Berlin axis.

With Kraviz looking to build a small repertory of talent around трип, this first release also makes room for two newer names: Bjarki is an Icelandic talent to keep a firm eye on, who drew Kraviz’s attention in a chance meeting after a gig at Copenhagen’s Culturebox club, after which he passed her a collection of mind-bendingly odd demos; while Parrish Smith is a talented Netherlands-based producer whose short yet impactful sketch ‘1.0 / 8.0 Afrika Genocide’ brings the second 12” to a bewitching close.

All tracks on ‘The Deviant Octopus’ will feature on Nina Kraviz’s DJ Kicks compilation, out in January 2015 on !K7 Records.

Tracklist: 
A1 Nina Kraviz - Prozimokampleme 
A2 Steve Stoll - Pop Song 
B1 Nina Kraviz - IMPRV 
B2 Bjarki - Polygon Pink Toast 
C1 Population One - Out of Control (Vocal mix) 
C2 Population One - Bonus Beats 
D1 Exos - Nuclear Red Guard 
D2 Parrish Smith - 1.0 : 8.0 Afrika Genocide

B1. Nina Kraviz - IMPRV

Rekids welcomes Madrid-based producer Regal to the label for the first time, with the long-awaited release of the Figure/Enemy Records affiliate’s interpretations of Ghetto Kraviz. 

With the original named by FACT Magazine as one of the top 100 tracks of the decade so far, Regal’s 303 and Dub remixes have meanwhile been a recurring feature in Radio Slave's sets since last year, leading to their eventual release on his recently relaunched imprint. The A-side sees the Involve Records boss turn in an jacking, acidic take, while on the flip, the Dub version heads in a more classic techno direction, replete with pounding kicks and cathedral-filling reverb.

Nina Kraviz

Ghetto Kraviz

Ghetto Kraviz (Regal Dub Remix)

Efdemin | unten links

I Have A Question

B2 Bjarki - PC Muscles

'One' is the debut album of Ben Klock. 

Stylistically, Klock draws on plentiful resources. There's the dirty techno in 'Grip', the sexy intermittent 'Check Your Pulse', alongside ambient like tracks like 'Init One' and 'Init Two', as well as the dubstep inspired 'Goldrush'. And then there are the outstanding cuts 'Goodly Sin' and 'Ok' featuring Elif Biçer's vocals. In comparison to her records with Prosumer & Murat Tepeli, here her voice has been reduced to the bare essentials.

With its rugged bassline and crafty claps 'Ok' is even reminiscent of a contemporary version of Nicolette's early work with Shut Up And Dance, but first and foremost it expands the Berghain sound to include a notion of pop.

'One' displays a depth and maturity of sound rarely found in this compactness. In all its stylistic variety, this album oozes with Klock's traditional understanding of techno. The special sound at Berghain, the low bass, the hiss and the rumble, the economically used melodic fragments and the eerie atmospheres are present at any moment of this recording. The album creates a sealed off space reflecting Berghain as an actual place. Ben Klock defines techno as visonary music knowing about its past, yet appearing completely up to date without ever coming close to Detroit and minimal clichés.

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Ben Klock | Gloaming

'One' is the debut album of Ben Klock. 

Stylistically, Klock draws on plentiful resources. There's the dirty techno in 'Grip', the sexy intermittent 'Check Your Pulse', alongside ambient like tracks like 'Init One' and 'Init Two', as well as the dubstep inspired 'Goldrush'. And then there are the outstanding cuts 'Goodly Sin' and 'Ok' featuring Elif Biçer's vocals. In comparison to her records with Prosumer & Murat Tepeli, here her voice has been reduced to the bare essentials.

With its rugged bassline and crafty claps 'Ok' is even reminiscent of a contemporary version of Nicolette's early work with Shut Up And Dance, but first and foremost it expands the Berghain sound to include a notion of pop.

'One' displays a depth and maturity of sound rarely found in this compactness. In all its stylistic variety, this album oozes with Klock's traditional understanding of techno. The special sound at Berghain, the low bass, the hiss and the rumble, the economically used melodic fragments and the eerie atmospheres are present at any moment of this recording. The album creates a sealed off space reflecting Berghain as an actual place. Ben Klock defines techno as visonary music knowing about its past, yet appearing completely up to date without ever coming close to Detroit and minimal clichés.

Ben Klock | Goodly Sin (feat. Elif Biçer)

Etapp Kyle - Sakura

Pact Infernal's debut release 'The Descent [Chapter I] arrived in early 2015 on Samurai Horo. A slow flock of unexpected, but very welcomed, fans from outside of the labels normal market began to build. One of the more exciting admirers of the Pact Infernal EP was Berlin based Lucy who offered to rework 'Chapter I' into his own stylistic interpretations. The resultant 2 remixes incorporate elements from all 4 tracks on the first EP into 2 long pulsing, hypnotic grooves. If subtlety was the main instrument of the originals, Lucy's versions refine that instrument into a new form and sprinkle carefully plucked references delicately around his sinuous rhythms. Over 25 minutes of delightful audio hypnosis from one of the electronic worlds favourite individual voices.

http://www.samuraimusicgroup.com/products/pact-infernal-the-descent-chapter-1-lucy-remixes-vinyl

Pact Infernal 'The Descent' (Lucy Subterranean Remix) [Samurai Horo]

Answer Code Request picks up where he left off with his album (Code, Ostgut Ton, 2014) and 12“ (Calm Down, MDR, 2015): With the Neume EP the Berghain resident offers three new tracks, meandering between restrained club contexts and brittle break beats, machinery and futurist soulfulness.

Answer Code Request | Neume

Out Now: https://PokerFlat.lnk.to/pfrwax004

https://www.facebook.com/juliensandremusic/
https://www.facebook.com/MennieMusic/
www.pokerflat-recordings.com
www.facebook.com/pokerflat.rec
www.twitter.com/poker_flat
www.youtube.com/PokerFlatRecordings

Poker Flat Recordings offers up another mouthwatering collaboration in the form of this EP by Mennie and Julien Sandre.

Mennie hails from Italy, and had fast been gaining a serious reputation on the underground, both as a resident at Club 999 in his home country and as a talented up and coming producer. 
Teaming up here with the Frenchman Julien Sandre, this is an international project that will hit home with DJs and house lovers globally.
 
The Night Riots EP kicks off with 'Partitions', which sees the boys in sparkling form - twisting and teasing a sick groove out of fairly simple sources.
 
'Darth J' follows a similar path - the devil is in the detail, and Mennie and Sandre get down to some serious beat science, punctuated with some subtle chords and vocal stabs in the process.
 
'In A Pixel World' reveals the pair’s love of classic Chicago vibes distilled though French Touch, bringing in a super funky groove filtered though various effects and processes, and paying homage to the timeless sounds of early Daft Punk.
 
'No More' closes out the EP with a yet another weapon - a ray of house sunshine that skips along on a fidgety beat offset by filtered strings and chopped up vocal stabs. It’s got summer written all over it.
 
Tracklisting: 
A1. Partitions 
A2. Darth J 
B1. In A Pixel World 
B2. No More 

Darth J

Mennie & Julien Sandre - Darth J

Tobias. explores space and gasiform substances with his Helium Sessions on Ostgut Ton. 

“LAGEOS 1” on A1 already sets the tone with meandering drones atop a gnawing synth pad and distorted flickering percussion. The title refers to the satellite LAGEOS-1 which will continue to orbit planet earth in 5,860 kilometers altitude for another 8.4 million years (or 4,418064E+12 minutes) – we’ll let you do the maths of how often the 6:03-minute “LAGEOS 1” could be played until the satellite’s returnal.
“Nucleon” on A2 comes with a more dubby, deep and throbbing feeling, “Helios” on the flip features epic noise textures with shimmering melodic synth leads and a multi-layered break beat vibe, while “Spectrum V” on B2 closes this 12“ with another dub cut, detailed synth explorations and alienated vocal bits.

More info: http://ostgut.de/label/record/178


Tobias. |  Spectrum V

Tobias. | Nucleon

https://www.beatport.com/release/dancer-dancer/1812679

There is no one genre or style to classify the many achievements of Kevin Yost. Ever since picking up drumsticks at the age of four, Kevin has been obsessed with creating and performing music. DJ, producer, film composer, drummer...he has consistently thrived and evolved by indulging his passion. In the mid 80s, at the age of eleven, Kevin discovered his life's mistresses: DJing and house music. He spent the next few years fostering his deep jazzy house style, and in 1998 he broke through with his first album, One Starry Night, which has the distinct honor of being considered a deep house classic. With close to 100 single releases, 8 albums and many mix cd's over the years since, Kevin has earned his reputation as an artist who has no desire to stop creating music and pushing forward. The audience is invited into the private world of Kevin Yost, and given an experience that he has spent his life captivated with, that sacred moment when inspiration manifests into a tangible reality and music is breathed to life. As personal and creative Kevin’s DJ sets can be, his "Live & Improvised" shows are spellbinding to watch as the audible vision flows from him into music and then into the hearts of the crowd.

Follow Kevin Yost:
http://facebook.com/KevinYostMusic
http://instagr.am/KevinYostOfficial
http://twitter.com/KevinYost

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http://facebook.com/LeenaMusicbyMobilee

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http://facebook.com/Mobilee
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http://Mobilee-Records.de

Dancer Dancer

Defence Mechanism

Buy now!

Kevin Yost - Defence Mechanism

Five years after his last album release Luke Slater returns to Ostgut Ton with a new Planetary Assault Systems longplayer, titled Arc Angel.

After 22 light-years Luke Slater’s Planetary Assault Systems keeps exploring space and time with different musical means. Staying true to the project’s initial mission statement, Slater comments on the new yet familiar musical direction: “For me music has to go forward. I’d feel I was cheating by sticking to tried and tested formulas. There’s a valid use for these, but this album has its own agenda.” With Arc Angel, Planetary Assault Systems departs to new musical frontiers by focussing on melody, but staying rooted in the purist values of Techno that Slater shaped over his decades- and generations-spanning career.

3x12" | 2xCD | all formats include digital download code

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Planetary Assault Systems | Sonar Falls

Expect wandering synths, thick kick drums and cymbals that add groove by the second. The rolling drops are frequent and components are added tenderly for the duration of the track, so our advice with this one? Turn it up loud and jet off to Deniro's high-octane universe.

Premiere: Deniro 'Painting 1'

After the release of their collaborative &#8216;BREED&#8217; EP at the end of last summer, Nicole Moudaber and Skin have unveiled the highly anticipated remix package featuring a long list of respected producers. Carl Craig, Fur Coat, Jamie Jones, Jerome Sydenham, Paco Osuna, Pan-Pot and Scuba are just some of the names which have turned their hand to the project. Originally born out of Nicole and Skin ofSkunk Anansie&#8217;s desire to fuse their rock and techno backgrounds, this is a true for a collaboration project with a difference. 
 
First, techno legend and remix master Carl Craig provides the only remix of &#8220;Someone Like You&#8221; featured in the EP. A powerful kick drum alongside the original chords take center stage, whilst Skin&#8217;s vocals come to the forefront in a series of tension-filled breakdowns. The EP includes two remixes of &#8220;Don&#8217;t Talk To Me I&#8217;m Dancin&#8217;.&#8221; Jamie Jones&#8217; take involves a thudding, heavy bassline, including the Zebra Katzvocals sampled over the top, whilst Jerome Sydenham takes the track into faster, heavier territory. 
 
Paco Osuna&#8217;s jacking, percussion-filled remix of &#8220;You Like This&#8221; is currently one of Nicole&#8217;s favorite tracks to play out - featuring a surprise buzz-saw synth drop mid way through, it&#8217;s easy to visualize the effect this would have on a dancefloor. In his remix of the same track, Berliner Hector keeps the strolling rhythm of the original, adding sub bass and synth touches before bringing the vocals in more than halfway through. MJ Hall, Nicki Minaj&#8217;s producer - uses the original as a hip-hop sample, with rapper Luz Wang featured on the track. 
 
Pan-Pot takes on &#8220;These Walls Are Made Of Water&#8221;, adding the duo&#8217;s characteristically stomping touch as well as dramatic new synth melodies. This remix is another Nicole favorite, often featured in her sets and her In the MOOD radio shows. French emotive techno specialist Paul Ritch turns in an atmospheric, driving remix for this track as well. 
 
Lastly we see remixes for the most conventionally &#8220;techno&#8221; track of the original EP. &#8220;Organic Love&#8221; is treated to a melodic yet industrial remix by Scuba, whilst Fur Coat remixes the track into a more dark and dramatic affair. 
 
&#8216;BREED The RMXS&#8217; EP is the latest incarnation of Nicole and Skin&#8217;s collaboration since the original project&#8217;s release in September last year. The pair have since been sharing the stage with each other at high-profile slots such as Space Ibiza and Coachella. Furthermore, the original EP was submitted and accepted into the Grammys for consideration - the remixes ensure that there now is a version of each track to fit into any set.

Nicole Moudaber & Skin - Organic Love (Scuba Remix) [MOOD]

Preceding their album ‘Turns’ – out via Ostgut Ton on 25 November 2016 – Barker & Baumecker return with a double faced two track 12“. “Love Hertz” is a blissful, uplifting, melodic and – at times – bluesy UK Bass-inspired cut, shuffling and playfully flicking throughout. The record’s alternate lead track “Cipher” on the flip side is a rework of a two-part track from the forthcoming ‘Turns’ LP: while the album’s “Encipher & Decipher” puts focus on the home listening-aspect, this 12“es’ “Cipher” is made for the club. The track’s atmospheric build-up eventually turns in favor of a heavy, dark kick drum and multi-layered percussion, feeling at times as if the duo’s hammering onto Berghain’s steel staircase.

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Barker & Baumecker | Cipher

Bjarki is from Iceland. Born and raised. Despite the fact that Bjarki is known for making extremely powerful dancefloor tracks he doesn’t seem to belong to any particular genre. Something this triptych of LPs demonstrate very well. His music is at times cinematic and there’s a story behind each track. Bjarki’s music always has something to do with him personally, but he’d rather the listener lose themselves in the music than pay much attention to the man behind them. Either on a record or to one of his ever evolving live sets.

Б | Lefhanded Fuqs | Æ are being released over the coming months and represent a snapshot of his archive, selected by Nina Kraviz for Trip. The tracks were produced months ago, years ago, or in the case of the last track just a couple of weeks ago. What began with 30 tracks is now 41. The three LPs aren’t albums in the traditional sense - the concept being to release the contents of his burgeoning hard drives. The music might fit together like an album, but Bjarki doesn’t see it that way. It’s essentially an archive that sounds like an album but none of the music was made with this in mind.

‘’I think making an album is always hard, especially with all critiques that can be scary, in the end I just want people to enjoy what I put out without the music being forced into some category’’.

"Lefhanded Fuqs” [TRP009 | 23rd September] - in naming one of the tracks that he made with a left hand for the LP, he was so left-handed that he completely misspelled it. But in honour of all the left-handed people making mistakes because of tools made only for right-handed people, he decided to keep it. The LP contains the more experimental material from the archive, including one the first film scores he produced several years ago for a story he wrote himself.

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Bentleyman