My Stoned Autopilot reprises of 'Wild Slide' by Better Lost Than Stupid are out nowwww! Stream/download: skint.lnk.to/wildsliderepriseWE

Alto - Reprise

Martin Buttrich is famously as fluent behind a mixing console as in front of a virtual drum kit. That technical prowess, combined with a fascination for music of every shape, has resulted in outstanding releases on influential labels such as Planet E, Four:Twenty, Cocoon, Poker Flat, Nervous and Desolat. He’s also put his sonic thumbprint on many big ticket artists, notably receiving a Grammy nomination for a Tori Amos remix in 2003. Such diverse musical horizons are rare. While other prolific artists may have slowly watered down their music, Buttrich’s star has risen in diametric opposition. His vision has become more and more condensed, more and more crystallised. Flipping and puncturing grooves in a live setting is a snap for him, and he’s entranced audiences at festivals like Time Warp and Creamfields, at temples of boom such as Fabric (London), Womb (Tokyo), Cocoon (Frankfurt), Panorama Bar (Berlin) and Amnesia (Ibiza) and at worldwide Desolat Experience parties with Loco Dice.

Buttrich’s journey into electronic music began in clubs in Berlin and Hannover at the dawn of the ‘90s, when post-Summer of Love-Europe began to swing to its own hypnotic, machine-like groove. At 18 years old he began experimenting with production as X-Rotation (with Daniel Bross), which led to the projects Rhythm Assault, Sounds of Life and Phunk Diggazs (with engineer Andy Bolleshon).

Buttrich began a notorious collaboration with his then co-worker at Peppermint Jam distribution, Timo Maas, in the mid-‘90s (they worked the telephones together). After setting up his first studio in the basement of the Peppermint Park studio building, the partnership led to over 100 co-productions and remixes that included Madonna, Muse, Fatboy Slim. Josh Wink and Green Velvet. Buttrich has produced funk legend Bootsy Collins, while switching the patterns for artists including Tom Jones, Kelis, Moloko, Depeche Mode, Placebo, Yello, War and Roger Sanchez. His Azzido Da Bass “Dooms Night” remix with Timo Maas hit the UK top ten charts.
 
All the while he created an impressive library of beats and collected an arsenal of music production equipment for his studio in Timetools, a studio complex founded in 1997 in Hannover with a group of musicians. Buttrich is happy with the subtle crunch of an SP-12 sampler and the ‘smoky’ vibe of his analog mixing desk – adding a bass guitar or other instrument when necessary. But he’s not above having fun with a laptop either: approaching music programs as if they were video games. He doesn’t rely on any one machine or music composition technique, and his array of outboard gear is mouth-wateringly state of the art.
But he never loses touch with the gritty, human side of music, and the environments that it is played in.

Another key musical partnership, with Loco Dice, begun in 2002, undoubtedly inspired Buttrich to delve deeper into the musical histories that first lured him towards after-dark melodies. In a short space of time they’d built up a deep discography creating an era-defining sound in the process. They spent more than half a year living in New York in 2006/2007, with half of Buttrich’s studio set up in a rickety hideaway in Brooklyn that looked out over Manhattan’s vistas. Between late night production sessions and snowstorms, their Desolat label came to life.

Having his debut solo album Crash Test released on Desolat in early 2010, Martin Buttrich is taking his vision to the road, fusing wild imagination with solid musical architecture, cherry-picked inspiration with true perfection of his musical craft. 

Since then constantly on tour, in 2011 Martin Buttrich still has dropped a remarkable collection of music - productions like “Fire Files” EP on Desolat or remixes for Marco Carola and Lee Curtis amongst others.

Currently based in LA, Martin Buttrich is working on his second artist album and a jazz project called The Stoned Autopilot.

Stay tuned.

Attic Ears is the resident of the JATE Progression clubnights, where they invited such names like East End Dubs or Izhevski, he also played alongside Ittetsu and Chris Lattner. His tracks are supported by Marco Carola, Marc Antona, Nima Gorji, Cuartero, Chicks Luv Us, Chad Andrew, Alexandar Kyosev, Leix, HITCH, Tony Dee, Maertz, Owen Ezard,Chriss Baker, Adam Touch, Miguel B. Dimitri Monev, Nikola Gala... About new releases: the new EP is on the way with Crossninetroll, Alex Ground / Adam Touch remix.

Attic Ears' producer carrier has started in 2009, his first release reached No. 4 on juno deep house category. In 2012 on the spanish Citrica Records came out his first self-supporting EP the Spiral Drums, which now supported by such names like Luciano, AFFKT, Hector Coutu, Alexandar Kyosev, Alex Noto, Maertz etc.

Attic Ears' and If-Ican's music career is closely intertwined since 2006, they founded SNOBHAUS Crew, then from 2010 as members of DEEP CITY, from the beginnings they featured as a duo on line ups. Their greatest success was in November 2010 JATE Progression clubnight, in which party series, for the first time they had a foreign guest DJ. The choice was IZHEVSKI, one of the founders of famous Deepmix Moscow Radio. In November 2011 they've get back to JATE Progression, Thanks for the positive feedback, the Attic Ears - If-ican duo rejoining guests are on the JATE Progression. Also their reputation is raising nationwide and getting positive feedbacks from all over the world. Regarding to that, their great satisfaction was that, they could welcomed Izhevski again in Szeged, also they have been respected to play on the Deep 'n Freak 3rd birthday with Chris Lattner, Ittetsu and Plastic Soul & Studiohead.

Attic Ears and If-Ican’s name became more and more known to the hungarian underground e-music scene, proving their knowledge at various locations, such as CINEMA HALL, HA01 Bistro, Dokkolo Progressive Boat, the U26 Club Shop, SZIN 2011, JATE Klub,also the Club BABYLON or even Club 222 in Békéscsaba ,Club Liberté in Kecskemét.