Kompakt: Total 25

Brainwave Technology (Wassermann's Brainwave Inferno Mix)


https://song.link/vd5bjdt548fb9


TOTAL 25… Another anniversary in a year that is already rich in anniversaries. For the 25th time, the Kompakt family is gathering for its annual rendezvous. Prick up your ears, here we go!
ROBAG WRUHME has named his new track ‘Total’ and sings in the chorus with his family for the first time.


01. Pop Vampires Cologne - Karianne
02. Superpitcher - Pandora’s Box feat. Alexis Taylor 
03. Jürgen Paape - Grace (A Tale) feat. Hella
04. Triola - Arcadia feat. Irene Kalisvaart (The Modernist Mix) 
05. Reinhard Voigt - Zahl an einem anderen Tag 
06. Gui Boratto - Panorama X-Press 
07. Robag Wruhme - Starsow Total 
08. Michael Mayer - Brainwave Technology (Wassermann’s Brainwave Inferno Mix) 
09. Michael Mayer - Erdbeermond 
10. Hardt Antoine - Let Me Go (Extended Version)
11. Wassermann - Sog

ROBAG WRUHME - STARSOW TOTAL

All Darkroom Dubs releases are available from our Bandcamp: https://tr.ee/Bandcamp

To celebrate the 20th anniversary of their seminal 2005 album Staring Into Space, Glaswegian duo Silicone Soul present a Darkroom Dubs reissue featuring two pivotal remixes that helped define the album’s legacy. 

Leading the charge is Ewan Pearson’s electrifying remix of The Poisoner’s Diary - a masterclass in sonic transformation. Pearson channels raw new wave urgency into the original, fusing its proto-dark disco leanings with climactic synth flourishes and machine-gun claps. The result marked a creative breakthrough for Pearson and added a defining edge to Silicone Soul’s catalogue, foreshadowing the darker aesthetic that would come to shape European dancefloors.

The vocal version adds another layer of intensity with the haunting delivery of Stuart Gray (from Glasgow indie band Viva Stereo). His stark post-punk refrains narrate a chilling gothic tale of emotional unravelling, an allegory for love’s collapse.

Adding further weight to this anniversary package, Berlin’s Dirt Crew deliver a powerful rework of Inferno. Amplifying the original's deep dub foundations, they lay down an irresistible Italo-disco bassline while framing the timeless toast, 'What does it profit a man to gain the whole world, and suffer the loss of his own soul?’ This is a remix that balances spiritual gravitas with dancefloor intensity, a reminder of Dirt Crew’s signature touch during their own breakthrough years.

These remixes have been lovingly remastered by Conor Dalton (Glowcast Audio) from the original DATs, giving DJs, collectors, and new listeners a fresh chance to experience two standout reinterpretations from the Silicone Soul archive. Twenty years on, they remain as vital as ever.

Originally released in 2005 on Soma Records.
Mastered by Conor Dalton at Glowcast Audio. 
Design by made.by.andy 
℗ & © 2025 Darkroom Dubs
https://darkroomdubs.bandcamp.com
https://www.darkroomdubs.com

Listen back to Staring Into Space on Spotify: spti.fi/staring-into-space

Bandcamp

The Poisoner's Diary (Ewan Pearson Instrumental) [Darkroom Dubs]

Speicher 137

It Isn't What It Isn't

Wolfgang Haffner is one of Europe’s most respected jazz drummers, known for his impeccable sense of timing, groove, and atmosphere. Though rooted in jazz, his musical language transcends genre boundaries, guided by pulse and subtle nuance rather than tradition alone. For Cocoon Recordings, he now enters an entirely new dialogue, offering warm, organic reinterpretations that honor the spirit of the source material while opening a fresh sonic horizon. The result is a meeting of two artistic worlds where Sven Väth’s timeless energy and Haffner’s refined touch flow naturally into a new musical form, an encounter between two artistic universes, merging into something both unexpected and deeply musical.

L’Esperanza, originally a dreamy, trance like track, envelops listeners in strings, filtered downbeats, and a playful synth melody, a perfect canvas for Haffner’s warm, organic touch. Its ethereal layers and subtle tension allow him to explore the track’s emotional depth while preserving its entrancing charm.

Fusion is a groove driven piece built around a clear, flowing melody, allowing Haffner to reinterpret it acoustically through a jazz lens. Its straight, driving pulse lets him explore the track’s rhythmic and melodic interplay with clarity and nuance.

Barbarella, emblematic of Sven Väth’s early 90s vision, carries the energy and innovation of a club classic. Haffner’s reinterpretation transforms it into a rich, acoustic exploration that honors its hypnotic essence. By emphasizing the track’s iconic motifs and underlying drive, and by drawing out the track’s essential elements, he bridges its electronic origins with a new, organic perspective.

Together, these three reinterpretations form a cohesive journey that celebrates the timeless essence of Sven Väth’s music while revealing a new dimension through Haffner’s masterful touch, a release that invites listeners to experience familiar classics in a completely new light.

SEE MORE

Barbarella - My Name Is Barbarella (Wolfgang Haffner Jazz Version)

Sven Väth – L’Esperanza (Wolfgang Haffner Jazz Version)

Sven Väth – Fusion (Wolfgang Haffner Jazz Version)

buy/stream https://kompakt.fm/releases/speicher_138

An Egyptian guy named Raxon rolls through,

Flexing his muscles like he’s got something to prove.

Get those legs moving, stop the distraction,

Shake to the beat — here’s the sound of Raxon.


Creature Of The Night

Raxon - Creature Of The Night

Pale Window Haze

You don’t have to fall asleep — you are already resting inside it.

HELD | 8 Hour Sleep Field

Bird of Passage began in January of 2023. The loose idea was to compose a full album of piano pieces with an overarching atmosphere, not a concept, that tied them all together. By April I had composed and recorded one piece per month leaving me with a total of four piano pieces.

At this point in time I felt slightly burned out and uninspired, and so rather than forcing myself to compose more (which I had already unsuccessfully attempted numerous times); instead I approached a number of artists and invited them to contribute to the four tracks that were completed.

Iker Garmendia, who releases music as Sugaar Pan, was the first artist that I reached out to and he generously contributed improvised flute parts to the first three tracks. The flutes are beautifully minimalistic and he overdubbed different flute tracks to create a sort of a woodwind cushion.

Simon McCorry, who releases music under his own name and under many other guises, contributed cello to track one and three. On the first track, Simon made a dry recording with the mic at some distance from the cello (1m to 1.5m) to fit in with the rest of the recording. He kept quite a lot of rosin on the bow to keep it gritty to fit in with the pianos distortion and played closish to the bridge for the same reason. He didn’t use any overdrive or anything, leaving it to the bow, cello & pre amp to do this. I couldn’t be happier with how it turned out!

Jez Thelwell, who operates the Moolakii Club Audio Interface label and performs and releases music under the name Loopatronica, contributed an amazing rhythmic part for track two that complements the opening piano refrain before building into an epic climax.

Around this time I had begun noticing that several artists were releasing entire albums consisting of nothing but remixes. The concept of remixing really started to fascinate me and I started becoming genuinely curious to hear what these tracks I had been working on might sound
like in the hands of another. It would also have the added benefit of (probably) doubling the length of my rather short album.

Simon McCorry, The New Emphatic, hyacinth, and autumna each remixed one of the original four tracks. Their versions are a welcome complement and intriguing contrast to the original four tracks. They all had complete creative freedom to approach the remix in whatever way they desired and I’m so grateful for their generosity and for what they made.

The solo piano versions of the first three tracks are the same as the original tracks, with the exception of track one which, on the solo version, is extended by almost two minutes.

Released January 12, 2024
Flute on Tracks 1, 2, & 3: Iker Garmendia (sugaarpan.bandcamp.com/music)
Cello on Track 1 & 3: Simon McCorry (simonmccorry.bandcamp.com)
Rhythm on Track 2: Jez Thelwell (loopatronica.bandcamp.com)
Keyboard, VST (Track 1 & 4), Artwork, & Mixing: Levi Taschuk
(cabbaggage.bandcamp.com)
Mastering: James Edward Armstrong

Buy it out on Bandcamp

Moving Away (Simon McCorry Remix)

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.

Sven Väth – L’Esperanza (Wolfgang Haffner Jazz Version)

cocoonrecordings

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