What Feels Good To Me

Retza - What Feels Good To Me

Reto Erni - Close Desires (Mihai Popoviciu Remix)

“Move in space with minimum waste and maximum joy. “
- Sade Adu

Sade edit - This is my prayer- long version.aif

Kalua - Apă (Lukea Remix) [WNG019]

What a wonderful day this is! Why? Because our Long-awaited collaboration: Juuz and Friends 3: Dubøka arrived !

Dubøka Records – one of the oldest and coolest families in the underground scene – joins forces with us for a release that feels as natural as it is exciting. Our musical styles not only align, but many of our artists have released on both labels over the years. This project is a celebration of that shared history, built on mutual respect and a love for timeless grooves.

After years of supporting each other from afar, we decided to go arms-in-arms and create something special – together. And to make it even more meaningful, we're meeting this summer in the beautiful city of Barcelona, Spain, the place that also inspired the album cover.

The Various Artist LP includes 10 tracks – five from each label – and a Bandcamp exclusive by the minimal maestro Fedo, who will also headline our release event in Barcelona. Hit https://soundcloud.com/dubokarecords for side B !

This is more than just a release – it’s a moment.
Come be part of it.

Daniel Meister - zuuj (original mix)

Archie Shepp - Blase - Traumer Vision

Depeche Mode - The Sinner In Me (Villalobos Mix)

https://electricano.bandcamp.com/track/nina-kraviz-ghetto-kraviz-electricano-remix

Nina Kraviz - Ghetto Kraviz (Electricano Remix)

Martin Buttrich - Mischievous Pixie

Davide Squillace & Martin Buttrich - Mishima

Listen to the exclusive GROOVE-Premiere of Ricardo Villalobos remix of @yumatheduos track „Smek", taken from the „Smek Remixes EP” on @crosstownrebels. Released digitally and vinyl on the 22nd january.

Read our introduction here: bit.ly/39SVEVf

Ÿuma - Smek (Ricardo Villalobos Remix)

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.