CONTINUUM

The Sound of Israeli Techno

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Pia Mia-Mr. President

Guy Mantzur, Roy RosenfelD - Epika [Kompakt]

A young artist with exceptional musical talent, able to create the most amazing music and with the vision and drive to develop his own distinct imprint is most definitely someone to take notice of. His debut label release, Lost & Found, showcases the extraordinary talents of Guy J, from its beautifully subtle, spacious intro onwards. The track builds seemingly effortlessly through a deep, swinging, handclapping groove, into an ever blossoming, journey-like arrangement with a highly emotive core. This is undoubtedly a masterful creation. As the mood builds ever upwards towards deep, throbbing euphoria, Guy J pushes melodic emotion buttons like no other. Joyous, uplifting, intelligent and beautiful, there can be no doubt that Guy J is one of the standout electronic artists in the world today. Guy Mantzur and Sahar Z are two long-standing friends of Guy J, their diverse and genre blurring musical styles making them the perfect choice as remixers for Lost & Found. Cleverly reconstituting the track with a spikey, heavier (yet equally enthralling) intro, they gradually blend in swirling melodic elements to the irresistable groove. Its easy to become lost in the delirious atmosphere as these two super-talented producers work their hypnotic magic, trading euphoric peaks with pure heads-down, hot and sweaty, darkroom dancefloor attitude. This is a musically dense and diverse trip that is as dynamic as it is organic, gradually turning up the pressure, until the very last drop of emotion has poured out of the speakers. Lost & Found is a mission statement, a superb label debut, exploring the psyche of electronic dance music, asking questions and tasting possibilities, forging ahead into the future. This is a new label that everyone should, most definitely, keep on their own personal radar.

Guy J - Lost & Found (Original Mix)

What to Do (Remixes)

What To Do

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What To Do (&ME Remix)

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 About 
It’s safe to say 2019 was the breakthrough year for GHEIST. It was marked by a series of festival and club gigs and a number of stellar releases on imprints like Solomun’s Diynamic and Watergate Records.

The Berlin-based band are kicking off 2020 with their first collaboration on their own imprint, Radau, welcoming New Zealand native Bayker to their label. The two-track EP comes two years after their vocal-heavy joint effort ‘Salvation’ was released via Exploited, instantly becoming a fan favourite. 

Two years later, Bayker and GHEIST get together in the studio again to continue where they left off with ‘Salvation’. The result is a two-track EP that bears the unmistakable GHEIST stamp, with Bayker adding a darker twist to the band’s signature dreamy, melancholic productions.

Dubbed ‘Howl’, the EP opens up with ‘Echoes’ is a four-to-the-floor beckoning to get down on the dancefloor that sees GHEIST step out of their comfort zone to show a new side to their masterfully crafted sound. In contrast, the title track is soaked in GHEIST’s dreamy melodic aesthetic. However, having Bayker on board adds a darker energy to the mix that turns the tune into an absolute dancefloor weapon. 

Radau will release ‘Howl EP’ digitally on February 28.  

BUY LINK 
https://www.beatport.com/release/howl-ep/2845473

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https://soundcloud.com/baykermusic
https://soundcloud.com/gheistmusic

PREMIERE : GHEIST & Bayker - Howl (Original Mix)[RADAU]

EP number sixteen, called ‘Abyss EP’, comes from the Greek trio Symmetric (@symmetricofficial) & Future of Matter (@futureofmatter). This obscure collection of tracks with a melodic touch, goes the most towards a techno EP from the label so far. Especially because the three originals got strengthened by two great remixes of bastinov (@bastinov) and VNTM (@vntmofficial).

The EP starts off with the title track ‘Abyss’. This is the most obscure track of the EP. It got a raw and heavy lower part on which some frightening, atmospheric and almost randomly sounding, synths are build. The further in the track, the less random these synths get and when everything comes together it is one perfect fit.

The second track, called ‘River In The Sky’, is a brighter one. In this piece of music the melodic side of the EP gets more clear through its hopeful lead melody, but still the track is guided by the characteristic techno influenced lower groove elements. 

Where the originals are raw and stripped down, VNTM’s remix of ‘River In The Sky’ is round and full. It’s the most melodic track of the EP and attracts the attention with its spacey and fluctuating ambiance. All this together results in a composition in which you can totally lose your thoughts.

‘Anderida’ is the fourth track of the EP and is also driven by this characteristic lower part. Some small additions such as a hat are making this track pretty groovy, but the real ear-catcher is its intriguing main lead, which you won’t hear every day. 

In his remix of ‘Anderida’ bastinov added some power to the lower end, by using his heavy kick-bass combination. He took the main synth of the original and brought it company through some interesting and massive synth melodies. All together forming a strong end to a strong EP.


Tracklist:
1.	Abyss (Original Mix)
2.	River In The Sky (Original Mix)
3.	River In The Sky (VNTM Remix)
4.	Anderida (Original Mix)
5.	Anderida (bastinov Remix)

Symmetric & Future of Matter - River In The Sky (VNTM Remix)

Artist: Ivory
Title: Hold Your Breath
EP: Exhibition Vol. 2
Label: Multinotes
Release date: April 17th

Photography by www.elenakulikova.com

PREMIERE: Ivory - Hold Your Breath [Multinotes]

This new chapter of our podcast series is curated by Portuguese talent & resident of Lux Frágil: Marco Antão a.k.a Switchdance.

Follow https://www.facebook.com/switchdancemusic/ / @switchdance

Melodic Diggers 060: 'Fever Dreams' by Switchdance

It’s taken @yotamavni a little while to get to his debut album; almost a decade, really, since his debut 12”, “That’s What The World Needs”, on California’s Seasons Limited imprint. During that time, the Tel-Aviv based producer has refined his productions, tightening the groove and paring everything back to bare essentials; the power in an Avni cut is its combination of piston-pulse propulsion and a deep, but gently applied, musicality. This combination gives his techno productions added heft on the dance floor, but also a lyrical sensibility that places him squarely in a tradition of techno legends who somehow manage to make the four-to-the-floor a space of poetic intensity, of rigorous joy.

Avni’s been on Kompakt’s radar for a while, first appearing on the label last year, with his Speicher contribution, “Mañana Mañana”. (“Track For Agoria”, from that EP, also appeared on Total 19.) The connection immediately made sense – dance music that managed to feel both lush and streamlined across the same great gasp of late-night energy. But with Yotam Avni Was Here, he’s taken a huge leap. After a brief intro, Avni sets his stall with “Beyond The Dance”, which features slow-moving vocal melisma over sculptural, melting tonalities, a tintinnabulating, harpsichord-like two-note phrase pacing out the track. Then “It Was What It Was” comes into view, its strip-light textures suddenly placed into sharp relief by a muted trumpet figure that hangs in the air, melancholy and pensive.

It’s no surprise, at this point, to discover that Avni’s inspirations for Was Here took in the histories of both techno and jazz. “I wanted to try something more around Detroit Techno meets ECM,” he reflects, when explaining the motivating forces behind the album. “Carl Craig’s Just Another Day EP and Kenny Larkin’s Keys, Strings, Tambourines came out during my high school years and had huge impact on me.” Avni’s also appeared on Transmat compilations, and remixed artists like the Midwest’s Titonton Duvanté, and Orlando Voorn – the latter particularly important for the way he connected the Detroit and Amsterdam techno scenes – his career path is marked by ongoing connections, direct and indirect, to Detroit’s storied history.

“I always wanted to go back to those hi-tek soul roots on a full album,” he continues, and he’s definitely exploring that terrain here, with the sky-strafing brass on “Free Darius Now”, morse-code keys on “Vortex” and glitchy, microhouse tickles of “Know Hope” all contributing to an oblique narrative that seems to arc across Was Here – one fleshed out by guest musicians, who include dop and Gerog Levin on vocals, and trumpets by Greg Paulus (of Beirut and No Regular Play). The cover art makes the jazz connection explicit, riffing on the text-based, minimal design of The Modern Jazz Quartet’s 1955 album for Prestige, Concorde. But the way Avni has gathered around him both inspiring musicians and intriguing reference points makes me think of his broader career as well, the collectivism behind his AVADON nights in Tel-Aviv, his many and wide-ranging releases on labels like Innervisions, Hotflush and Stroboscopic Artefacts, and the openness of his productions, which seem to be all about the multiple, the possibilities of cross-pollination, of fusing this with that, of adding and subtracting, all under the pulsating thumbprint of techno.

Good things, after all, are worth waiting for.

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Yotam Avni - Just Another Day Feat Dop Greg Paulus

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We receive a lot of demos every day. Please understand that we are unable to listen to everything. Send your private soundcloud link to: label@kompakt.fm.