buen tema bro pasate  aber si asemos algo chiloo luegooo ai andamos animo men saludos 

Fcking love it, Love the happy feeling all the way throughout the track

techno

BUTCH - DESERT STORM - SOUND14 - CORMIX045 CD2

CONFUTE - On The Hour (Original Mix) [Gem Records]

Gregor Tresher kicks off 2015 looking to break new soil with his first ever full release for John Digweed's Bedrock Records.   

Last year was as hectic as ever for the Gregor and he came into it on high from the success of his artist album Nightcolours and having closed out 2013 by releasing an astonishing Laurent Garnier remix of the title track, on his own imprint.   Time to relax a little maybe? Not a chance. January saw the remixed version of the album hit the stores and this was backed within a few weeks by 'Taurus', Gregor's enticing collaboration with Petar Dundov. The summer saw him remix the Chymera classic 'Shadowdancer' and he closed 2014 with the superb 'Midas / Disturber' double-header.   

Somewhat of a musical chameleon, Tresher is as at home creating deeper shades of house for the likes of Moon Harbour and Ovum as he is techno rhythms for Music Man, Cocoon and Drumcode.   With label boss Digweed a huge fan, Bedrock is yet another perfect fit for the German and he opens his account with the mighty, melodic and Kraken'esque 'Goliath' and the razor-sharp lightning bolt that is 'Stormblade'.

Gregor Tresher - Goliath (Bedrock)

E.F.G. & wavebeat - Primal Energy (Original Mix)

This track brings you into a shadowy realm, where every pulse of bass feels like a heartbeat in the void. A journey through shadow, where escape isn’t the goal, it's only for the thrill of breaking through.

As usual this is dedicated to my mom fighting pancreatic cancer <3 

All the support is appreciated, If you wish to donate or share here is the Gofundme :

gofund.me/7502484d

Breaking Through

Konstantin Sibold - Mutter

"L is for lover,
O is for an offer, 
V you got to venture,
E maybe forever."
(Al Jarreau, 1986)

Okay, ob die mehrfach Grammy-geehrte Jazz-Ikone Al Jarreau bei seinem 86er Hit tatsächlich schon an die zwölfte Cocoon-Compilation gedacht hatte, wissen wir leider nicht. Aber dass es bei der Cocoon Compilation L um Liebe geht, steht außer Frage: Die Liebe zur elektronischen Tanzmusik, zu ihrer Vielschichtigkeit und ihrem Facettenreichtum, die Liebe zu dieser globalen musikalischen Sprache und nicht zuletzt die Begeisterung für die bekannten und noch unbekannten Protagonisten dieser klanglichen Romanze, die uns seit über 30 Jahren treu durch Nacht und Tag begleitet. Und deswegen beginnt L mit einem ausgemachten Liebeslied: Das in Berlin residierende Duo Tale Of Us hat sich für "Equilibrio" gemeinsam mit ihren derzeit schwer angesagten Förderern Seth Troxler, Ryan Crosson, Shaun Reeves und Lee Curtiss alias Visionquest ins Studio gesetzt. Herausgekommen ist dabei ein romantisches Sonett für das 21. Jahrhundert, dessen traumhaft dahin getupftes Klavier uns noch in so manchen Sonnenaufgang tragen wird – ein perfekter Start für diese Compilation. Weiter geht's mit den Tiefschwarz-Schützlingen Rampa &amp; Re.You, deren letztjähriger Clubhit "Ghost" aus der zwölften Ibiza-Season nicht wegzudenken war. Auch "Yeah Yeah Yeah feat. Meggy" betört mit einzigartigem Gespür für soulige Vocals ohne barocken Zierrat, und mit seiner deepen Orgellinie gewinnt der trocken bassbetonte Trax-House eine ungeahnte emotionale Intensität. Der Londoner DJ Tim Green, bekannt für Releases auf Four Twenty, Trapez und nicht zuletzt für seine "Lemon"-EP für Cocoon Recordings aus dem vergangenen Jahr, generiert dann bei "Curious Smile" aus verspielten Keyboards-Improvisationen clubbezogenen und irgendwie doch scheuen Pop-House. So was würde man in einer besseren Welt im Formatradio hören.
Und auch im weiteren Verlauf der Compilation wird das Füllhorn voll ausgeschüttet: Das italienische Zweiergespann Doomwork, bekannt durch Tracks für 100%Pure und Tronic, verliert sich mit perkussivem Dub, wunderschönen Flächen und Zeitlupen-Vocals lustvoll im sommerlichen Raum-Zeit-Kontinuum, Graham Goodwin aka Sian pumpt mit "East Of Eden" sein subsonisches Ravesignal klar nach vorne und dürfte damit einige Club-PAs vor echte Herausforderungen stellen, der keine stilistischen Ängste kennende Keinemusik-Act Adam Port macht seiner Vorliebe für Boogie Bass auch mit "Black Noise" alle Ehre, während DJ-Weltenbummler und Tronic-Labelchef Christian Smith (zuletzt dank seiner Remixes für Carl Craig und Underworld in aller Munde) mit tropisch kraftvoller Energie auch große Tanzflächen garantiert zum Beben bringt. Zwei perkussiv betonte Energieinfusionen der Extraklasse zelebrieren dann Mark Reeve ("Planet Green") und der Pariser DJ Paul Ritch, dessen Kernaussage "music never separated people" gar nicht oft genug betont werden kann, während das niederländische Dreamteam Secret Cinema und Peter Horrevorts überraschend industriell geprägten Techno goutiert. Das Finale übernimmt dann der neben Guy Gerber bekannteste israelische Produzent Guy J, dessen "Genesis" ganz im Stile seiner Arbeiten für John Digweeds Bedrock-Label eine perfekte Balance zwischen hypnotischer Melodie und fordernder Rhythmik findet, bevor der Leipziger Daniel Stefanik tatsächlich den letzten Schlussakkord setzt. Das über zehnminütige "Everything Goes Green" erhebt das Warten auf den rechten Augenblick zu einer Kunstform und bringt die Geduld auf, mit fragmentierter Rhythmik geraspelte Schokolade statt überbordender Süße zu intonieren. Besser kann man jedenfalls die magische Intensität einer grandiosen Afterhour nicht für alle Zeiten festhalten. Wie gesagt, ein Album zum verlieben!


Mark Reeve - Planet Green

Mutter

Gregor Tresher and Cocoon are linked by a long-time relationship which starts all the way back in 2004, when Sven Väth played Gregor's productions in heavy rotation. "Neon", "Full Range Madness", "The Now People" or "Still", just to name a few, can be considered as Techno classics of the Noughties. Almost ten years later, Gregor has established his position and is one of Germany's top notch techno producers. With "About A Good Place", he delivers his long overdue EP debut for Cocoon Recordings. He plays his favourite game straight to the point, with massive analogue synth lines, fat kick drums and hi hats that force you to move: This is adrenaline for the big floors on this planet, those with the real fat PAs!

The title tune "About A Good Place" is one of Sven's secret weapons in his recent sets and breathes Tresher-air XXL! It's all about that crazy, detuned synth line that grows bigger and bigger and results in pure harmony at the great breakdown in the middle of the track. The massive kick drum adds what you need to let the sun shine and wave your hands up in the air!
"Lifecycles" follows that vibe, but digs a bit deeper and adds more sensitivity to Tresher's Techno formula, with all the elements that we already know from "About A Good Place". Crazy arpeggio lines, filter moves and the mandatory dark bass line: hypnotic techno with no chance to escape!
Last but not least, there is "The Sun Sequencer" – the dignified answer to the preliminary techno bangers. More relaxed, with slight touches of House and Trance, "The Sun Sequencer" should be the right choice for fans of Chymera and Slam. Imagine the rising sun at an open air festival site or use this as your first tune for the next after hour – this is the sound of the summer of 2012.


Gregor Tresher - About A Good Place

Cocoon Recordings is back in full force with the follow up to last year’s superb vinyl compilation ‘Dots & Pearls’. Providing a tracklisting that is nothing less than the modern interpretation of House, Techno and Tech-House ‘Dots & Pearls II’ eschews monotonous loops and predictable formulas and rather delivers a selection packed with energy and depth. 

Ilario Alicante and Todd Bodine have the honour of opening the record and very much set the tone for the feel of the album. "Modern Apocalypse" gives the impression that the duo wanted to produce a matching track to follow up Ambivalent's "Iwato" in a DJ set. The record has a wonderfully stripped and spacious feel to it, conjuring up an early hours feel with its entrancing effect and stabs plucking at the air around you. Next up we have Subb-an feat. Jacob Phono with "In The Night" a track that explores how the sound and atmosphere of big 90s Techno acts like Underworld can be transferred into our contemporary Minimal and Deep House universe, a task in which they succeeded brilliantly. Resonant beats and percussions, some 808 claps, funky fills and filtered layers match perfectly with the hypnotic vocals and form an impressing overall result that fits into the DJ's set at any time during the night. 
Mark Reeve's contribution "Carry Me" springs from typically Reeve-like UK-influenced House sounds. Softly filtered layers and cool vocal elements provide the right mood, and the long build-up with much patience and even more emotion makes "Carry Me" one of the best and deepest British Tech House tracks in recent times, a certain winner for fans of 20:20 Vision and Global Communication. 
With "Jellied Eels", Marco Effe steps up to try and win the prize of 'the fattest beats on the compilation'. The E-piano chords are a sure fire hit and the warm layers in the breaks loosen the heavily muscled beats a little, but they can't hide the fact that there is an energy packed affair, which erupts in a perfect surrounding and will take any dancefloor beyond the boiling point. It’s easy to hear why this has been sitting in the sets of Sven Väth and Luciano for some time. Danito & Agent! have just recently delivered their Cocoon debut and their mix of deep House elements and big-room Techno citations has already convinced the experts. Their track "Raw Symphony" is no exception here but rather travels further into the realms of cinematic techno. Detroit sends its regards with a fat bass/strings combination and much pathos, based on an elegant House-style beat that never demands too much and leaves enough space for the above mentioned big-room sound. With "Iwato", Minus figurehead Ambivalent contributes a slightly dark but still deep and minimal Techno track that lives on a juicy Chicago bass line and pays tribute to the compilation's motto by using uncommon sounds and effects. The pearls are literally hearable in the arrangement, setting accents in order to prevent the track from sounding too rounded-off. Hypnotic and kicking, but still unpredictably different. Berlin, 07:30 h in the morning – here's the matching soundtrack for a winter sunrise! 
Harvey McKay's "First Strike From Mars" sounds like its title suggests, and Captain McKay doesn't take prisoners. Demanding, massive and equipped with a mighty beat, the tune is reminiscent of recent Slam releases or some of the stronger Santos productions. A peak time production that has only one message: no escape and total madness on the dancefloor, this is a winner that has been getting plays from Sven Väth and Luciano! Sawlin's "Posay" is plumbs the depths of the Techno ocean, with plenty of echo and even more reverb, his remote metallic percussion sounds create an atmosphere that would also be perfect as the soundtrack for a big art installation. "Posay" shows that Techno in the year 2012/2013 does not only mean 'in-your-face', but rather depth and elegance. 

Besides the vinyl edition, ‘Dots & Pearls II’ is also released in a digital version, which contains four extra pearls, in addition to the eight tracks of the vinyl version: With "Sequence Of Moments", Martinez sends the listener back to the high times of that DBX-influenced Detroit sound full of bleeps and blonks, like Daniel Bell or Fred Gianelli perfected at the time. However, he doesn't deliver a retro piece at all, but combines the raw and direct vibe of Bell with modern sounds, layers and pads, and thus moves himself a little towards the Reboot or Johnny D corner. With their contribution "The Gate", Patrick Kunkel & Sascha Barth follow the current sound of now: matching parts of House, Minimal and Techno, in a skilful mix that, on the one hand is reminiscent of the hypnotic-minimal DJ sets of Ricardo Villalobos and on the other hand releases energy galore, in order to make demanding ravers happy. This is definitely one for fans of Pele and Matthias Tanzmann. Next Ross Evana pays tribute to fat Chicago beats and follows Sneak & Co. with his superb production "Cheget". The kick drum pumps, the claps and hi-hats clack heavily and the thick, pitched-down organ stabs in combination with the percussive staccato vocal fragments make the whole thing even more driving. And as if this wasn't enough, Evana adds some industrial sounds and effects that would easily fit in any big Depeche Mode remix, just lacking Dave Gahan's vocals in order to make the crowd freak out. Playing, dancing, partying, you have everything in here. With their track "Still Laughing", Fumihiro Hoshi & Tadac present their unique and different sound and provide a perfect closing opus to this outstanding compilation.

Marco Effe – Jellied Eels

This featured track is "K of 7" from "New Detroit" a live record that documents the unique sound of Kelvin Sholar and group as they perform Jazz originals from the Kalavan Suite (composed according to new formal principles) and live covers of Detroit Techno classics by Jeff Mills, Rob Hood and Juan Atkins.

Kelvin Sholar is a unique musician. He has been awarded over 10 musical prizes, and his recordings and performances reveal a masterful technician. But, his sound is difficult to categorize so neatly. Even when ArtForum International placed Sholar high in the ranks of the Best Of Music as an "exceptional producer and keyboardist” the most they could do was to compare him to Cecil Taylor fused with Kevin Saunderson. Apparently, Sholar is a living unicorn. Despite the categorical problems of style description, Kelvin Sholar’s unique sound is showcased brilliantly on “New Detroit”, his new release due March 22, 2013 on Kasmavtsu Music. 
New Detroit is a twelve-song live record. The first four songs of “New Detroit” are one-third of “The Kalavan Suite”, Sholar’s original twelve-movement work conceived according to new compositional principles. These songs feature Sholar on piano, Jonathan Robinson on bass and Tobias Backhaus on drums taking leaps of creativity with bold stretches of imaginative interplay as they navigate through colorful jazz swing, synthetic clouds of strings, balkan rhythms and powerful grooves. The remainder of the album features Sholar’s live performance of classic Detroit techno, with Klaus Frauenholz on additional electronics- lovers of the dance floor with not be disappointed; Jazz-lovers will soar during Sholar’s mercurial live solos. 
New Detroit is an interesting review because it has a multi-generic appeal; it references Jazz, Classical and Electronic styles of music. As a result New Detroit is three times more likely to reach a responsive audience. In support of the record, the above Artforum quote is a good endorsement because the first four songs of New Detroit reference Jazz and Classical styles and the remaining eight songs reference Detroit Techno styles. New Detroit is a unique product and Kelvin Sholar is a unique artist because worldwide there are few competitors in terms of combining the wide range of styles presented, award wining abilities and region-based music (i.e. Detroit Techno).

###

If you would like more information about New Detroit or Kelvin Sholar, or to schedule an interview with Kelvin Sholar, please call Jimi Wunderlich at +49.30.2944.9781/ +49.176.6460.0553 (Germany) or email him at info@be1two.net. For more info on Kelvin Sholar, please visit http://www.kelvinsholar.com/html/showcase.php

"K Of 7"

Brodinski - Bromance #7
Release date: December,10, 2012
Catalog number: BRO-007

FULL STREAM : http://www.youtube.com/watch?v=WK6TIDv5WQQ

-----------------------
1. BRODINSKI – DANCE LIKE MACHINES – 4’’05
Written and composed by Louis Rogé, Quentin Lepoutre, Cédric Steffens,
Samuel Tiba and Victor Thieffry-Watel
Produced and Published by Savoir Faire
℗ 2012 Savoir Faire/Bromance
© 2012 Savoir Faire

2. BRODINSKI – HYPNOTIZE – 4’’33
Written and composed by Louis Rogé, Quentin Lepoutre, Cédric Steffens,
Samuel Tiba and Victor Thieffry-Watel
Produced and Published by Savoir Faire
℗ 2012 Savoir Faire/Bromance
© 2012 Savoir Faire
-----------------------

"Bromance #7"
© 2012 Savoir Faire

Mastered by Precise

Artwork by Jonny Negron

Bromance #7 - Single

Dance Like Machines

Brodinski - Dance Like Machines (preview)

Sam Paganini - Polyester

HERON | Reborn
[SOMA366D]
 

1.	Reborn (Instrumental)
2.	Foolish Solina

Heron’s first release with Soma is a single that brings a new and different sound to the label that is both interesting and engrossing. “Reborn” incorporates motifs and style drawn from various genres with wobbling bass and deconstructed rhythm sections influenced by certain areas of bass music. This convergence of distinctive forms helps the EP to maintain a dynamic structure with layers added sequentially and separate elements given their own focus throughout. 

Title track ‘Reborn’, follows the ingenuity represented throughout the EP combining various different elements. The track opens up with bold, bouncing rhythm matched well with the distinctive repetition of the bassline. Again these elements are carried on a wave of hi-hat and metallic rhythm which gives the track a recognisable edge. Coupled with the sharp synth line the track conveys an industrial feel and moves to slightly darker areas. The interplay between elements maintains a strong dynamic with rhythm parts subsiding to highlight the synths and effects being brought to the fore amongst well balanced interplay.


Foolish Solina finishes off the EP with a perfectly old school feel. Deep pads open quickly followed by a bassline reminiscent of Saunderson-era techno. A stomping 909 kick flashes in alongside crisp ride cymbals as electronic fluctuations give this track a unique progression finally unloading a full assault from the 909 as the track moves into overdrive.

This is a single that develops a new sonic avenue for Heron and Soma as the artist encompasses a busier and more prominent style.       

Heron - Foolish Solina (Soma 366d)

Cocoon Recordings has been founded in the year 2000 as a part of the Cocoon Music Event GmbH. Sven Väth has initiated Cocoon Recordings in order to complete the Cocoon platform as a supporting tool for young artists in Electronic Music. The label philosophy is as simple as demanding: helping young producers and DJs to release their music without depending on Major Label structures. The releases can mainly be assigned to the genres Techno and House.

Cocoon Recordings as a label and Sven Väth as an artist stand for the use of vinyl as sound carrier, also in the future. Admittedly, the Digital Division of Cocoon Recordings has also been set up in 2008 and the numbers of downloads are indeed enjoyable. However, the label's focus is on vinyl, now and in the future. In order to complete the range of services that Cocoon Recordings offers, the publishing company Cocoon Publishing was founded in 2010.

Gregor Tresher - About A Good Place

cocoonrecordings

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