Hello everybody,
For the last week’s session in 2016 we have a really special one. It’s a mix by Felix Laband containing only his own productions and remixes!
We hope you and your listeners enjoy this moody, trippy and elegant guest mix!

Tracklist:
01. Felix Laband - DEBUSSY 26
02. Felix Laband - A TRUE FRIEND IS HARD IS HARD TO FIND - REMIX
03. Felix Laband - DING DONG THING - REMIX
04. Felix Laband - THE WHITE PALACE
05. Felix Laband - WHISTLING IN TONGUES - REMIX
06. Felix Laband - BLACK PEOPLE DREAMING
07. Felix Laband - BATS IN MY HAIR - REMIX
08. Felix Laband - CROOKED BREATH - REMIX
09. Felix Laband - RED HANDED - REMIX
10. Felix Laband - THE WARNING
11. Felix Laband - THE DEVIL THREATENS ME - STEADY ON REMIX

Merry Christmas & happy holidays to y'all!

__________________________________________________________________________

Follow FELIX LABAND: 
https://soundcloud.com/felix-laband
https://www.facebook.com/Felix-Laband-18041251748/

Follow us: 
www.facebook.com/compostrecords
www.twitter.com/compostrecords
www.youtube.com/user/compostrecords
www.compost-rec.com

CBLS 392 | Compost Black Label Sessions | FELIX LABAND guest mix

More than 30 years in business, over 800 catalogue releases, over 8000 songs + remixes and still going strong!! Compost is one of the most prolific, highly acclaimed and in demand indie labels in Europe. Compost and its sublabels Compost Black Label, Compost Disco, Drumpoet Community, Derwin Recordings and rumpelmusig standing for quality music, a sophisticated mixture of electrifying disco, house, techno, soul, jazz and a little bit of pop. XLR8R wrote: "...top address where electronica meets musicality". Besides internationally respected artist like Robert Owens, Trüby Trio, Koop, Beanfield, Christian Prommer, Felix Laband, Karma, Ben Mono, Kyoto Jazz Massive, Marsmobil, Eddy Meets Yannah, Sepalot, Alif Tree, Shahrokh, Wigald Boning a.o. the label is also well known for its praised compilation series V.A. "Elaste" (Vol.1-4), "Future Sounds Of Jazz" (Vol.1-14), "Partykeller" (Vol.1-3) or "Glücklich" (Vol.1-5). Like Gilles Peterson once said: “With great pleasure I pronounce Compost the most consistent and forward thinking record label of continental Europe.“

Good grief savage cosmos—there he goes again. Some kind of strange audio beast crawling through the digital underbrush with a head full of acid and a suitcase full of vinyl. Fifteen years this sonic deviant has been terrorizing dance floors from Ibiza to the alkali flats of Black Rock City with his peculiar brand of audio hallucination they call "techno."

I first encountered this rhythm junkie in the back room of Amnesia, where Sven Väth was conducting some kind of Germanic tribal ceremony for 2,000 Spanish teenagers and a handful of British tourists who looked like they'd been awake since the fall of the Berlin Wall. Our subject was there, of course—eyes like silver dollars, hands moving across the equipment like a man defusing a bomb while simultaneously conducting an invisible orchestra.

The man is EVERYWHERE. Like some kind of rogue cultural anthropologist with a pathological addiction to bass frequencies. One weekend he's serving dark, hypnotic soundscapes to the leather-clad deviants at Panorama Bar alongside Gerry Reed, the next he's in Brazil, standing next to Sasha and Renato Ratier at Warung Beach while 500 beautiful mutants writhe in the sand like creatures from some Jacques Cousteau nightmare about the future of human evolution.

And then there's Burning Man—SWEET SAVAGE INFINITY—where he's become a fixture at the Mayan Warrior, that rolling monument to technological excess and questionable decision-making. There he stands, this audio desperado, conducting a symphony of synthetic noises for dust-covered freaks whose perception of reality has been chemically adjusted to the point where they believe they're receiving transmissions from another dimension. AND MAYBE THEY ARE.

His production style is the audio equivalent of a Hieronymus Bosch painting—intricate, terrifying, and somehow beautiful in its depraved complexity. Underground to the bone. The kind of sounds that make record executives break out in hives and reach for their heart medication. But to the night people—those strange nocturnal creatures who live for the moment when the kick drum aligns with their heartbeat—it's a siren call they cannot resist.

This is not a man playing records. This is a shaman conducting mass exorcisms through frequency manipulation. A sonic psychiatrist treating collective trauma with carefully calibrated vibrations. A renegade physicist exploring the relationship between sound waves and human consciousness.

He continues his relentless global crusade, expanding his discography with the fervor of a man who knows that somewhere, in some sweaty basement club or desert festival or abandoned warehouse, there are people waiting to have their neural pathways permanently rewired by his particular brand of audio alchemy.

"When the going gets weird, the weird turn pro," I once wrote in a moment of clarity between bourbon shots. Well, this professional weird-turner has made a career of navigating the strange edges of club culture, transforming darkened rooms into temporary autonomous zones where time dissolves and only the rhythm remains.

By all cosmic forces. He shows no signs of stopping.​​​​​​​​​​​​​​​​

“ Hunter S Thompson AI on KidIsLive “

.. the average heart rate of a man is 70 beats/minute, and that of a woman is 78 beats/minute -
   how many beats are needed to brake your heart? ..

.. music is love .. <3

.. the more you dance,
the more you sweat. 
the more you sweat, 
the more you pray. 
the more you pray,
the closer you come to ecstasy.
.. 