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Window Shopping EP

The Song

Digital Diogenes, the multifaceted DJ, producer and visual artist hailing from Seville, Andalusia, presents his latest EP on Flumo Recordings – Chicago – a pulsating ode to the origins of house music and a candid reflection on the complex relationship between a city and its beloved, yet sometimes disappointing, sports team. Known for his groundbreaking contributions to the Sevillian scene, being part of groups like Califato 3/4 and Industrias94, Digital Diogenes now turns his attention to The Windy City, the birthplace of house, weaving its raw energy and gritty spirit into a captivating sonic tapestry.

This EP dives deep into the sonic landscapes of Chicago house, exploring its foundational rhythms and soulful melodies, all while infused with Diogenes' distinct Andalusian flair. However, the inspiration extends beyond the city's musical legacy. A profound influence on this project is the agonizing decline of the Bulls in their latter seasons – a narrative of fallen giants that resonates deeply with the artist. The EP masterfully captures the highs and lows, the triumphant swagger, and the melancholic disillusionment that defines this duality. Expect tracks that are both celebratory and elegiac, echoing the joy of a slam dunk and the sting of a buzzer-beater loss. Through intricate beats, evocative samples, and Diogenes’ signature production, listeners are transported to the streets of Chicago, experiencing both its undeniable musical heritage and the bittersweet emotions tied to its basketball dynasty.

Written & produced by Digital Diogenes
Mastered by The Greys
Artwork by Jacobo Carmona

FLR062

Release Date: 03 October 2025

Pre-order: flumo.bandcamp.com/album/chicago-flr062
Audio clips: Flumo – https://soundcloud.com/flumo/flr062-digital-diogenes-clips

PREMIERE: Digital Diogenes - & that was 4 me (Dub Mix) [Flumo Recordings]

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Martin Buttrich - Enough Love To Hate It

Ian Pooley - CompuRhythm (Dixon 's 4/4 Treatment)

Khan Feat. Julee Cruise - Say Goodbye (LoSoul "She's Homeless" Mix)

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.

Martin Buttrich - Enough Love To Hate It

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