OUT NOW: Dubfire & Flug 'Magma EP' - CLR121

World: javier@analog-a.com
North America: mariesa@liaisonartists.com
Italy: alex.ravizza@vivoconcerti.com
MGMT: roland@rlcgmbh.com

Chris Liebing is synonymous with techno. His legacy is long assured, but his craft never stops evolving. Whether as label head, podcast curator, DJ or producer, he continues to challenge himself and his audience to explore new realms in the electronic world. And often ahead of the curve, too, from the early, hard-edged and loopy 90s sound which is back en vogue today, through his more stripped-back turn of the millennium minimalism and onto the cinematic atmospheres and broader alternative electronica of his latest albums on Mute. It's no stretch to say, then, that Chris Liebing's story is closely connected to the story of techno itself. 

Liebing is considered a global techno ambassador, but his ambitious album projects and direct club tracks excite and innovate as much as any new school star. A proudly forward-thinking attitude ensures that is the case as his DJ tools and studio setup constantly evolve. He continues to be an early adopter of emerging technology, too, just as he was with vinyl controllers, Traktor and when leading the way with full hybrid/live DJing. 

These days, Liebing incorporates an ever wider sphere of sound into his own work. After an eight-year break from full lengths, 2018's Burn Slow on Mute was a creative rebirth that received critical acclaim and confounded all expectations. It was a melancholic mediation on gothic moods, looming apocalyptic landscapes and optimistic broken-beat techno that drew from his childhood love of Depeche Mode, Gary Numan and the New Romantic movement. 

Remixes for Depeche Mode and Goldfrapp followed alongside a collaborative single with Charlotte De Witte, and 2021 brought a second album on Mute, Another Day. It found Liebing exploring all new ways of expressing both his euphoric and melodic side, all with high-grade technical skill and meticulous sonic craft with a range of collaborators from Miles Cooper Seaton to Polly Scattergood. This exceptional form continued into 2023 as he returned to the club with his Love Those Who Fight With Passion And Faith EP on CLR, a passionate and politically charged call to the dance floor that joined Liebing and Luke Slater’s remix of Depeche Mode’s iconic ‘Ghosts Again’ in the first half of the year. 

Born in Giessen and active ever since the 1990s, Liebing has always platformed the talent around him as much as himself: a long time before they were commonplace, he famously helmed his own CLR podcast. For many years, it was the scene's most influential series, with a who's who of international pioneers at the helm. After that came the equally important AM/FM radio show, but now following a hiatus, the CLR podcast is back and pushing a fresh techno agenda, as is his iconic label of the same name.

In its first chapter, CLR stood for Chris Liebing Records, then Create Learn Realize, and now Create Learn Repeat - a subtle evolution that is at the heart of everything Liebing does. The label will always be synonymous with exciting techno and is now back hosting parties and festival stages. 

Though his music is underpinned by pulsating menace and a stomping sense of drama, Liebing himself is friendly with a famous smile. It is the music that motivates him and the freedom that comes with increased experience. These days there are no limits, no expectations, but a continued love for the art and craft of techno that is taking him down all new creative pathways.

Astrix has been one of the leading trance producers and DJs in the world for more than a decade, carrying his musical message of psychedelic emotional uplifting trance to every corner of the world, to the biggest urban clubs and far away beaches, huge festivals and underground events. Devoted to his art and a true perfectionist, Astrix is known for his massive hypnotic explosive sets on the dancefloor and for his precise detailed production in the studio. Both always laced with tons of feel and musicality. His music has been topping the charts and his albums are considered milestones. Astrix fourth studio album, “He.art” will be released early in 2016

Detailed Bio:
Astrix is a unique phenomenon in the trance world, a leading DJ & producer, who came from the underground psychedelic scene, have been performing in the biggest festivals and venues, reached # 18 on the DJ Mag poll, and yet, chose to always stay true to the underground trance movement.

Avi Shmailov has been dividing his life is for more than a decade already between constant studio work and non-stop touring around the globe. With more than 15 years of releasing music and more than a 1000 concerts all over the world, he continues to bring his musical message of psychedelic emotional uplifting trance to the leading festivals such as EDC, Burning Man, Escape From Wonderland, Beyond Wonderland, Summer Music Festival and Dreamstate (USA), SW4 and BoomTown Fair (UK), Tomorrowland (Belgium), OZORA (Hungary), Psy Fi and Dance Valley (Netherlands), Weekend Festival (Finland & Estonia), Airbeat One (Germany), Universo Paralello,Tomorrowland, Tribe & XXXperience (Brasil), Solstice Music Festival, Discovery, The Gathering (Japan), Emmaboda (Sweden), Inox (France), BAT (Argentina) and to the world's top dance clubs such as Brixton Academy, Alexandra Palace, Ministry of Sound, O2 Arena, Pacha, Privilege, Exchange, Avalon, AgeHa, Zepp Tokyo and many more.
 
Devoted to his art and a true perfectionist, Astrix is known for his massive hypnotic explosive sets on the dancefloor and for his precise detailed production in the studio. Both always laced with tons of feel and musicality. His music has been topping the charts and his albums are considered milestones.

Astrix broke into global consciousness in 2002 with his debut album ‘Eye to Eye’, defining him as a trance music anthems producer. In 2004, he released his second album ‘Artcore’, igniting fire all over the global trance scene and is considered by many as the perfecttrance album. The album’s effect was followed in 2005 by the impressive entry to the world's top 100 DJs list of the famous Dj Magazine, where he took the respectful climb to the 18th position in 2007. His third album ‘Red Means Distortion’ was released in 2010 and since then he continues to release many tracks on various compilations and digital EP’s to delighted fans, who according to his Facebook page are over 900,000 and going on strong
 
Astrix 4th studio album, “He.art” will be released early 2016





Mgmt Alex alex@ground-music.net
Booking Richard richard@paramountartists.com/ James james@paramountartists.com
Italy valerio.serranti@vivoconcerti.com

Mathew Jonson really is one of a kind.  
 
He's developed one of the most distinctive voices in electronic dance music: when you hear one of Jonson's tracks, you almost immediately know it's his. And yet there's no mistaking any given track for another. 
 
His music offers a rare fusion of populist intensities and nuanced musicality. With a keen understanding for the needs of the dancefloor and the universal laws of house and techno, he's thrown out the rule book time and time again, sneaking tricks learned from electro and even drum'n'bass into minimal clubs, and loading up his B-sides with tracks that do what they damned well please. (No kick drum? No problem.)
 
His standards for sound and presentation are exacting. Both on stage and in the studio, Jonson's fealty to analog equipment and real-time play—as opposed to mere playback—serves as a standardbearer for a kind of electronic music that goes way beyond the drag 'n' drop world of digital composition. Jonson has always been eager to get his hands dirty, and the music reflects that in gnarled bass sequences and long, intuitive lines. His sounds have serious teeth.
 
And despite his quick ascent through the ranks of the techno elite, Jonson hasn't just stayed personally grounded. He's devoted much of his energy to supporting his own close musical family, both in the groups Cobblestone Jazz and the Modern Deep Left Quartet, and with his Wagon Repair label, which he cofounded with Jesse Fisk, Graham and Adam Boothby, Frank Meyerhofer and Konrad Black.
 
He studied classical piano as a kid, plus jazz drumming, and played drums in a marching band —thus laying both the melodic and the rhythmic cornerstones of his music today. (Plenty of musicians claim to be "classically trained," of course, rendering the phrase all but meaningless. But here's something you might not have known about Mathew: he's actually begun studying piano again, which suggests a musical seriousness that's rare in the world of auto-didact button-pushers.
 
Thanks to his father's work with sound technology, he also got his hands on synthesizers at the age of 9. By the time he discovered hip-hop as a young teen, he was recreating its electro-based beats on his own rudimentary setup at home.
 
It was in Victoria, when he was 19, that Jonson met up with the crew that would help guide his musical trajectory: Tyger Dhula, Danuel Tate and Colin de la Plante, who were playing and DJing parties around the area. The four started playing in clubs together, an early version of the group that exists today as Cobblestone Jazz and the Modern Deep Left Quartet. (The Modern Deep Left Quartet was the original name for the foursome; after de la Plante moved to Montreal, the remaining trio carried on as Cobblestone Jazz.)
 
"It was all improvised," says Jonson of the group's early days. "We never really worked in the studio, we would just meet at the nightclub and jam. That's how it started. We did that for quite a while, and then it morphed into a residency at a club, once every two weeks." To keep it interesting, they would invite other musicians—on trumpet, violin, bass, sax, and rhythm sections—to join them.
 
After de la Plante left town, Cobblestone Jazz began focusing its efforts more squarely on the dancefloor, moving away from purely improvised sets to include composed and rehearsed passages. And Jonson gradually began honing in on his own sound, both in his productions and his DJ sets, inspired by a deeper, weirder sound that had begun filtering into the city's techno parties.
 
His first record, in 2001, was the first release on the B.C. label Itiswhatitis, appropritately titled "New Identity." Another followed in 2002, and in 2003. That year, he also made his first appearance on Perlon, "Alpine Rocket"—a track he recorded alongside Luciano during his first trip to Europe. And then, suddenly, Jonson was everywhere: Itiswhatitis, Sub Static, Arbutus, Kompakt, M_nus—and every track an anthem.
 
"I had all that music kind of saved up," says Jonson, "and then, just by chance, released it all at the same time. People criticized me for it, said that it wasn't a good idea. But it worked out for me. All the tracks did well. I wasn't saturating the market with bad music." He's right there.
 
In 2005, Jonson co-founded Wagon Repair, and it's been a blur since, a nonstop series of tours and recordings, solo and with his bandmates. Crucially, he moved to Berlin. Here, he and de la Plante—who moved over at the same time—have set up Cobblestone Jazz' European headquarters, providing not only the launch pad for European tours but, more importantly, the control center for the group's recorded activities. The studio is jawdropping, frankly: a semi-circle full of gear, from old workhorses like the 808 and 909 and SH-101 to unique beasts like their Cwejman and Roland System 100m modular system. Tate's Rhodes piano anchors one corner of the horseshoe, and everything feeds into a massive desk where tracks are mixed and recorded in real-time. Jonson makes his own music essentially the same way—only with two hands instead of eight.
 
Those two hands have come up with some remarkable material. Having perfected his brand of earthshaking epic with tracks like "Marionette," "Return of the Zombie Bikers" and "Symphony for the Apocalypse," Jonson has increasingly turned his efforts towards more personal, introspective music. He hasn't left the clubs behind—his new album, Agents of Time, features a number of tracks that are as hip-windingy wily as anything he's produced yet, full-on tracks like "Girls Got Rhythm" and "Thieves in Digital Land." But he's also taken advantage of the longplayer format to stretch out and indulge darker moods and slower tempos.
 
"I like to have phrases that sound like they're major, but then they go minor when they turn around," explains Jonson. "You think that you're in a happy place, but suddenly you're not. I like playing with that tension. When I look at the music I've made, the best music is always music that can stimulate any kind of emotion. It's more like a key, towards opening up whatever is inside of you -a gateway"
 
You can expect him to be unlocking even more emotions soon—ones you may not have even known you had—when he ramps up with Midnight Operator, a collaboration with his brother Nathan Jonson, aka Hrdvsion. With Nathan also based in Berlin, the two are finding common musical ground, expanding upon the platform they established with their lone, 2007 EP for Wagon Repair as they begin work on an album.
 
"Obviously, you can look at what I do with my label and the bands I have, to see what's important to me," says Jonson of keeping it in the family, so to speak. "I'm lucky because I have so many friends who are strong musicians. We can all feed off of each other.  You know, when you're doing music, it's such a personal thing. To have an outlet with the labels to be able to release our music, and be able to all stay together, I think there's a lot of strength in that. Everybody is stronger as a group." – Philip Sherburne


Artist | Record Producer | Label


“MoBlack Records locks it in as the top-selling label in both genres, once again proving itself as a leading hub for Afro House's global appetite" Beatport 07.03.2023

"the prophet of the Afro House" DJ Mag Italia 06.10.2022

"italiano de alma africana" DJ Mag Brasil 24.03.2021

"One of THE main protagonists since day one, there is nobody else around, laying foundations on this level and pushing boundaries like MoBlack Records and its founder Mimmo Falcone (alias MoBlack). The Italian who lived in Ghana for ten years keeps surprising the RISE team as much as the scene with those cutting edge releases and a repertoire that shouts "classic" every second minute." RISE - Berin.

"MoBlack Records, the most prominent purveyors of afro house in recent years"  Beatport 11.09.2020

"Mimmo Falcone alias MoBlack is the prime mover behind Afro-House's inspiring label MoBlack Records. But the Naples based artist not only runs an ambitious and successful label, he's also shown himself as an equally strong producer and DJ.." Torture The Artist (20.09.2019)

"MoBlack has an impressive reputation for afro house music that comes out on his own self-titled label. The Italian lived in Ghana for ten years and made his debut release in 2013 so comes with a real sense of authenticity". Get Physical Music 

"Every single release comes out of a special edition on the global electronic scene, and Mixmag Adria is honored to present one of the most impressive labels on the market - MoBlack Records" Mixmag Adria 

"the dominant imprint when it comes to Afro powered House jams at the moment." DMC World Magazine

"Mimmo Falcone aka MoBlack is a real staple in the Afro House scene (for a reason) and keeps on pushing it further". Muting The Noise 

"MoBlack the enigmatic force behind the world’s leading Afro-House music label." MUZE - Nairobi

"MoBlack continues to bless us with truly ingenious and eclectic selection of tracks representing the many different flavors afro house music has to offer" Spirit Of House

"for me MoBlack Records is a new strong label that is representing the underground. And I like a lot of their music that they are releasing". David Morales

"one of the key players responsible for the evolution and advancement of the 'new' Afro House sound. MoBlack records, and its founder Mimmo Falcone aka MoBlack, of which both continue to fly the flag simultaneously as an inspirational music imprint, and as an equally strong producer and much respected DJ.
Falcone, the Italian Naples-based artist, spent ten years living in Ghana and made his debut release in 2013 warranting a stamp of authenticity for his craft. He's successfully carved a path for both himself and the record label, offering a consistent feed of high-quality and eclectic sounds that has put him at the forefront of Afro House. 
Often cited as a DJ's DJ and the label held in high regard by the truest of music heads and purists the world over, MoBlack represents the underground and is a beacon for originality and an outlet for imagination. The label has been home to some of the most revered producers. It has successfully channelled the energy of the newer, fresher artists coming through as well, adding extra fuel to an already flourishing imprint."  Traxsource 2020 
 
Demos: demo@moblack.com
Promos: promo@moblack.com
General Enquiry & Licensing: info@moblack.com
Bookings: booking@moblack.com  
Press: press@moblack.com

Fan Link: https://moblack.fanlink.to/moblack

This is the Official SoundCloud account for Richie Hawtin and contains all audio media from Richie’s career: releases, remixes, DJ mixes, Live shows and interviews. We invite everyone to listen and enjoy what will become the definitive audio history of Richie’s career from past to present. All this material will also be linked into the new richiehawtin.com website that is currently in development.

Please note that we will NOT answer any emails, listen to any demos or tracks, or follow any individuals that are sent to this account. QUESTIONS CAN BE SENT TO info@richiehawtin.com

Thanks and enjoy.

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