We welcome Microtrauma with their debut on Traum. Microtrauma is a new cosmic force on the Traum planet. Microtrauma have been making music since 1995 but it was not until 2007 that they had their break through and real success with their EPs. Their biggest hit so far was "Aktin" which was played by people like John Digweed, DJ Sasha, James Zabiela and eventually ended up in a BBC Essential mix by James Zabiela. Microtrauma have played live together with Bodzin and Huntemann in their hometown and had great feedbacks coming from them and other associated classy DJs. They have released a remix on Traum for Max Cooper's "Stochastisch Serie" which marks their good relationship with Max. For their "Colourblind EP" on Traum they have attempted an even more sophisticated sound construction succeeding in three brand new tracks. The a-side "Saturation" makes a spiritual link to electronic avantgarde of the 70ies, connecting to the greater and dynamic moments of musicians like Klaus Schulze, still feeding the techno corpus with enough heavy bassline and kick to tweak dance floors. "Saturation" has sonic parts that give way to gooseflesh and a sun soaked intensity that makes it a "daylight" track.

"Diffusion" is soulful as well, maybe more linear and even more ghostly and haunting, spiced up with electronic sounding basslines, filtered voices from the distance, heavy delays and a pounding techno beat. "Contrast" as the title itself suggests, is very different to the other two tracks. The beat relies on a “break beat” and the musical theme may as well be the most adventurous of all tracks. Steering towards different levels, all parts are connected to each other in a magic way… the spirit is kind of gloomy and bright with nice feedbacks and a seductive mildness and musicality that makes it so unique and cool.

The extra mixes come by Max Cooper, Ryan Davis and Richie G. Max Cooper has twisted "Contrast" towards an 4 to the floor beat but has enhanced it with a lightness and soothing quality that provides "Contrast" with an ethereal and airy quality not to be matched by anything in the files of melodic techno we know of.

Ryan Davis has chosen to remix "Saturation" making it an epic track with stronger changes into clubiness… we can feel a bit of Paul Kalkbrenner substance here. The third bonus track comes from 17 year Canadian producer Richie G who has already released music for John Digweed's label Bedrock. Richie has stripped the original of "Saturation" to the bare essentials making it even more accessible for DJs.

Microtrauma - Saturation (Original Mix) // Traum Schallplatten

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Ron Flatter: A name that needs no introduction to all those who spent substantial amounts of time dancing themselves into the blissful state of melodic trance these last years. For those who don't know the Berlin based producer yet, here's the essentials of his sound: Streamlined, rhythmically and harmonically sophisticated, mind altering and horizon expanding, dream inducing and danceable as it can be. Ron Flatter presents three tunes that remind us vividly, even urgently about everything that is good and right about dancing to techno music.

Smiling Birds

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Echoes of the Void is a personal project born from the urge to explore a different dimension of sound.
It sits somewhere between ambient, dub techno and cinematic textures — where music stops being linear and turns into atmosphere.

Each piece unfolds like a scene: minimal layers repeating and dissolving, resonances stretching into silence, tension that feels as present as the notes themselves. Between the analog and the digital, the brutalist and the ethereal, a universe emerges that shifts constantly — sometimes evoking the earth, sometimes the depths of the ocean, sometimes the vastness of space.

Echoes of the Void doesn’t try to provide answers. It offers a place to inhabit — an invitation to lose yourself in the echo, and discover within it a different way of listening.

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Oliver Schories is neither a friend of dogmas nor an antagonist of reflection. He winks affectionately to his musical past with his fourth album, to - at the same time - bethink himself of his musical core. Accordingly profound and day-dreamfully rests "Relatively Definitely” in itself, without having any demand to be danceable.
Schories has allowed to let himself go and to listen into himself. In twelve tracks he tells about his experiences and allows a very deep view.
Who listens to music with the heart will understand what his ensouled basslines and oceans of melodies are telling.
He came down to rest solid as a rock and knows where he belongs to. 
And apparently he feels relatively well over there. How sweet, that he lets us listen so closely.

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