http://www.delsinrecords.com/release/4355/conforce/depth-over-distance

Conforce - Depth Over Distance (107dsr)
a1. Depth Over Distance
a2. Plateau
b1. Rendez-Vous
b2. Closer

== 

One of the most busy and consistently excellent producers in all of electronic music is Boris Bunnik, and now he is back under his most loved alias, Conforce, on his most regular home, Delsin. As well as releasing as Versalife, Hexagon and many other monikers, the Dutchman is best known for his serious deep and underwater tracks that are part dub, part ambient and part techno. 

Opening up this new EP is title track 'Depth Over Distance'. Driven by buried deep kick drums, up top are thin lead lines that leave trails like beams of light as ticking percussion and more widescreen synths flesh out the airwaves. 'Plateau' is less spacious and has more detail in its midst including clacking hits which reverb off into the distance, supple and subtle bass notes and a general sense of aqueous fluidity all characterise this brain soothing bit of music. 

On the flip, 'Rendez-Vous' is more directed at the dancefloor with big drums, cold and edgy chords and gentle acid lashings. It's vast in size and scale once more, and drives along with a sense of muted menace. Finally, 'Closer' is another airy and cavernous bit of ambient music that is sombre and serious. Swathes of echo and reverb make for an immersive, underwater soundscape once again and close out the EP in devastatingly emotive style.


Buy at Delsin Webshop

Conforce - Depth Over Distance [107dsr] Previews

Requisitory

tecerpint5

Air Liquide - If There Was No Gravity

Hamburg Elektronisch Vol. 1 - Von House zu House

Törn

Mathew Jonson - Decompression - Nathan Jonson's Rewind to 96 mix

order wax at http://www.retreat-vinyl.de/buy/

P&P01 A2 - Puzzle (Vril Mix)

Mid June will see the launch of Echocord sub-label Echo Echo with the ‘Dream Observer’ EP from Grad_u. Copenhagen’s Echocord is a Dub Techno imprint with a history dating back fifteen years and a back catalogue featuring material from genre defining artists like Deepchord, Fluxion, Sven Weisemann, Pole and grad_u who launches the new off shoot imprint Echo

The release opens with ‘Jacob’s Dream’, fifteen minutes of release date: subtly modulating synth glitches, ethereal synth drones, sweeping atmospherics and dubby echoes creating a hypnotic, ever-unfolding composition.

‘Observing The Night Sky’ then follows on the flip side with thunderous kick drums, rumbling low-end pulses, wandering dub chords and bubbling glitches all subtly nuanced throughout the tracks ten-minute duration.

#grad_u #EchoEcho #Echocord #deep #dubtechno #dub #techno #ambient

Buy @ Kompakt

B1 grad_u - Observing The Night Sky

... greetings from the surface of Venus!

Illustration by David A. Hardy

R-CNVX1

Support Us

Convextion - R-CNVX1 [A.R.T.LESS VEXT RE 1] (Preview)

Bandcamp

Ebende - Apophis

Artist: Altone (@deep-step)
Color: Super Pink
Genre: Dub Techno / Techno

Super Pink

Download on Bandcamp

Altone – Super Pink

Amsterdam's Geert launches his SONNTAG imprint with the 'Meandering Minds' EP, Iceland's OHM on the remix...

https://soundcloud.com/sonntag_music
https://soundcloud.com/iamgeert
https://soundcloud.com/ohm-599575574

Deejay.de: www.deejay.de/GEERT_MEANDERING_M…G001_Vinyl__958334
Juno.co.uk: www.juno.co.uk/products/geert-me…-minds/788570-01/
Zwart Goud:
www.zwartgoud.org/distribution/pre…tg001?rq=sonntag

Geert - Meandering Minds EP (Incl. OHM Remix)

PREMIERE: Geert - Meandering Minds (Ohm Remix) [SONNTAG]

Mathew Jonson really is one of a kind.  
 
He's developed one of the most distinctive voices in electronic dance music: when you hear one of Jonson's tracks, you almost immediately know it's his. And yet there's no mistaking any given track for another. 
 
His music offers a rare fusion of populist intensities and nuanced musicality. With a keen understanding for the needs of the dancefloor and the universal laws of house and techno, he's thrown out the rule book time and time again, sneaking tricks learned from electro and even drum'n'bass into minimal clubs, and loading up his B-sides with tracks that do what they damned well please. (No kick drum? No problem.)
 
His standards for sound and presentation are exacting. Both on stage and in the studio, Jonson's fealty to analog equipment and real-time play—as opposed to mere playback—serves as a standardbearer for a kind of electronic music that goes way beyond the drag 'n' drop world of digital composition. Jonson has always been eager to get his hands dirty, and the music reflects that in gnarled bass sequences and long, intuitive lines. His sounds have serious teeth.
 
And despite his quick ascent through the ranks of the techno elite, Jonson hasn't just stayed personally grounded. He's devoted much of his energy to supporting his own close musical family, both in the groups Cobblestone Jazz and the Modern Deep Left Quartet, and with his Wagon Repair label, which he cofounded with Jesse Fisk, Graham and Adam Boothby, Frank Meyerhofer and Konrad Black.
 
He studied classical piano as a kid, plus jazz drumming, and played drums in a marching band —thus laying both the melodic and the rhythmic cornerstones of his music today. (Plenty of musicians claim to be "classically trained," of course, rendering the phrase all but meaningless. But here's something you might not have known about Mathew: he's actually begun studying piano again, which suggests a musical seriousness that's rare in the world of auto-didact button-pushers.
 
Thanks to his father's work with sound technology, he also got his hands on synthesizers at the age of 9. By the time he discovered hip-hop as a young teen, he was recreating its electro-based beats on his own rudimentary setup at home.
 
It was in Victoria, when he was 19, that Jonson met up with the crew that would help guide his musical trajectory: Tyger Dhula, Danuel Tate and Colin de la Plante, who were playing and DJing parties around the area. The four started playing in clubs together, an early version of the group that exists today as Cobblestone Jazz and the Modern Deep Left Quartet. (The Modern Deep Left Quartet was the original name for the foursome; after de la Plante moved to Montreal, the remaining trio carried on as Cobblestone Jazz.)
 
"It was all improvised," says Jonson of the group's early days. "We never really worked in the studio, we would just meet at the nightclub and jam. That's how it started. We did that for quite a while, and then it morphed into a residency at a club, once every two weeks." To keep it interesting, they would invite other musicians—on trumpet, violin, bass, sax, and rhythm sections—to join them.
 
After de la Plante left town, Cobblestone Jazz began focusing its efforts more squarely on the dancefloor, moving away from purely improvised sets to include composed and rehearsed passages. And Jonson gradually began honing in on his own sound, both in his productions and his DJ sets, inspired by a deeper, weirder sound that had begun filtering into the city's techno parties.
 
His first record, in 2001, was the first release on the B.C. label Itiswhatitis, appropritately titled "New Identity." Another followed in 2002, and in 2003. That year, he also made his first appearance on Perlon, "Alpine Rocket"—a track he recorded alongside Luciano during his first trip to Europe. And then, suddenly, Jonson was everywhere: Itiswhatitis, Sub Static, Arbutus, Kompakt, M_nus—and every track an anthem.
 
"I had all that music kind of saved up," says Jonson, "and then, just by chance, released it all at the same time. People criticized me for it, said that it wasn't a good idea. But it worked out for me. All the tracks did well. I wasn't saturating the market with bad music." He's right there.
 
In 2005, Jonson co-founded Wagon Repair, and it's been a blur since, a nonstop series of tours and recordings, solo and with his bandmates. Crucially, he moved to Berlin. Here, he and de la Plante—who moved over at the same time—have set up Cobblestone Jazz' European headquarters, providing not only the launch pad for European tours but, more importantly, the control center for the group's recorded activities. The studio is jawdropping, frankly: a semi-circle full of gear, from old workhorses like the 808 and 909 and SH-101 to unique beasts like their Cwejman and Roland System 100m modular system. Tate's Rhodes piano anchors one corner of the horseshoe, and everything feeds into a massive desk where tracks are mixed and recorded in real-time. Jonson makes his own music essentially the same way—only with two hands instead of eight.
 
Those two hands have come up with some remarkable material. Having perfected his brand of earthshaking epic with tracks like "Marionette," "Return of the Zombie Bikers" and "Symphony for the Apocalypse," Jonson has increasingly turned his efforts towards more personal, introspective music. He hasn't left the clubs behind—his new album, Agents of Time, features a number of tracks that are as hip-windingy wily as anything he's produced yet, full-on tracks like "Girls Got Rhythm" and "Thieves in Digital Land." But he's also taken advantage of the longplayer format to stretch out and indulge darker moods and slower tempos.
 
"I like to have phrases that sound like they're major, but then they go minor when they turn around," explains Jonson. "You think that you're in a happy place, but suddenly you're not. I like playing with that tension. When I look at the music I've made, the best music is always music that can stimulate any kind of emotion. It's more like a key, towards opening up whatever is inside of you -a gateway"
 
You can expect him to be unlocking even more emotions soon—ones you may not have even known you had—when he ramps up with Midnight Operator, a collaboration with his brother Nathan Jonson, aka Hrdvsion. With Nathan also based in Berlin, the two are finding common musical ground, expanding upon the platform they established with their lone, 2007 EP for Wagon Repair as they begin work on an album.
 
"Obviously, you can look at what I do with my label and the bands I have, to see what's important to me," says Jonson of keeping it in the family, so to speak. "I'm lucky because I have so many friends who are strong musicians. We can all feed off of each other.  You know, when you're doing music, it's such a personal thing. To have an outlet with the labels to be able to release our music, and be able to all stay together, I think there's a lot of strength in that. Everybody is stronger as a group." – Philip Sherburne


Mathew Jonson - Decompression - Nathan Jonson's Rewind to 96 mix

Mathew Jonson

Recent comments

Jacques Datt

Alejandro Lara

WTFpromo

Giuseppe Mura

Related tracks