TechnoBoomBoom

Rrose - Kneeling - Strobscopic Artefacts 
Alberich - Image of Progress - Hospital Productions 
Ctrls - Displacer - Token 
Regis - Gymnastics (Subsatnce Remix) - Downwards 
Ontal - Troposphere - Unreleased 
Ascion - San Gennaro - 3TH 
Papers - 002 Aside - Papers 
D Carbone - Lost In Sadness Of The Soul - 3TH 
Dualit - Triton - Earwiggle 
Rich Oddie - Bloodstream - Surface Ltd 
AnD - Free At Last - Ann Aimee 
Fret - Untitled (1995) - Downwards 
Gaja - B1 - Repitch 
Cut Hands - Madwoman - Downwards 
Violetshaped - Spectral Nightdrive (Grischa Lichtenberger Remix) - Violet Poison 
AnD - Changed My Views - Ann Aimee 
D Carbone - Kerst - 3TH 
Eomac - Tunnel - Trilogy Tapes 
Dbx - Superphreak - Peacefrog

AnD Bodytonic Podcast

Safeword - Gaze feat. Cari Golden

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Boiler Room Berlin : Terence Fixmer, Dadub, Shapednoise, Kobosil, Answer Code Request

Broadcasted on November 13th 2013

Tracklist & Video at boilerroom.tv/

Answer Code Request 80min Boiler Room Berlin Mix

Andre Kronert - What Else

Tiger Stripes Feat. Vanita - Twilight

A: Twilight 
B1: Twilight (Dub) 
B2: Twilight (HNNY Remix)

Swedish house hero Tiger Stripes steps to the Barnhus with Twilight – a high-octane destroyer of clubs loaded with thunderous drums and shadowy yet sweet organ melodies.

The dub version strips the track right down while adding some extra crash 'n boom before Studio Barnhus comrade HNNY closes things out with a slow-swingin' spook story recorded straight to cassette.

Vinyl only until further notice.

Buy at Juno

OUT NOW: Tiger Stripes - Twilight Feat. Vanita

Sincere, energetic and dancing electronic music to make your body and spirit dance, by Lulu & Tomé.

Bouga Belcunse Breakdown Remix

Cover by ©FRANZ ZÜNKLER [franz@afterhoursounds.com]

┋Kevin Over presents Afterhour Sounds Podcast Nr.70┋

Wir freuen uns wirklich sehr darüber, dass wir mit dem sympathischen ‘Kevin Over’ einen ganz besonderen musikalischen Leckerbissen gewinnen konnten und so viel sei
verraten, er hat uns mit seinem exklusiven Mix einen absoluten Ohrenschmaus beschert. 

Seine Musik ist ein bunter Mix aus warmen Klängen der 90’s mit knackigen House- &amp;. Techno-Beats, mal Deep, mal Disco.
Sein Debüt feierte er 2012 mit einem Remix für DJ Le Roi "Hood Funk EP", welche auf dem renommierten Label “NOIR MUSIC” veröffentlicht wurde und gleich für mehrere Wochen in den Beatport TOP100 vertreten war. Insgesamt kann er nun auf einige erfolgreiche EP Veröffentlichungen u.a. auf NOIR MUSIC, GET PHYSICAL und SNATCH! RECORDS zurückblicken.

Wir möchten uns ganz herzlich bei Kevin Over bedanken und wünschen euch nun viel Spaß mit unserer #070.

┋InfoBox Kevin Over┋ 
booking contact | mail [at] nadia@kreativkopf-booking.de
@kevin-over
www.facebook.com/kevinovermusic

┋InfoBox Afterhour Sounds┋
@afterhour-sounds
www.facebook.com/afterhoursounds.official

<a href="https://theartistunion.com/tracks/5577eb?soundcloud_ref=description" rel="nofollow" target="_blank">Download for free on The Artist Union</a>

download

Kevin Over presents Afterhour Sounds Podcast Nr.70

Derrick May needs little introduction. A Detroit pioneer and dance music god, he will team up with Tristano on his new album 'Surface Tension' and we've got a track to premiere from the LP.

'In Da Minor' is a mind-bending, ethereal cut that combines the pair's exquisite sound to make a track fit for the floor. Listen to the track below and get lost in their vision.

'Surface Tension' will be released on November 25 via Transmat

More exclusive music

Premiere: Francesco Tristano feat. Derrick May 'In Da Minor'

The jitter from the machine bounced around the room. It sent electric waves spinning between the cracked walls and cast a warmth throughout the dirty, dank basement. The people in the room did not care, they simply enjoyed the relentless sound of my bleep as it echoed eerily down the tunnel. The brick wall rocked abruptly as it shuddered under the weight of the noise. Water dripped from the ceiling up above and there was little air left amidst the space. Yet they continued to dance...

Efde is set to release a new EP on Voyage Direct, it will be the 26th edition to appear on the record label. The release follows on from his previous EP's which have appeared on Nordik Netrecords and Soweso. This time he digs deep as he explores the dramatic edges of techno whilst adding a lush musical edge.

My Bleep

PREMIERE: Efde - My Bleep [Voyage Direct]

Iron Curtis steps up on Ripperton’s Tamed Musiq for his sophomore LP. ‘Werc Werc Werc’ is a typically deep, moody cut of absorbing house minimalism…

Read more: https://bit.ly/2KElAp6

Upstream Color

Premiere: Iron Curtis ‘Werc Werc Werc’

Marcel Fengler - Thwack - Mote Evolver

For their third release of 2019, Planet E welcome @greg-gow for his long-overdue debut EP, ‘Paradigm Shift’, due for release April 26th.

Following releases on Transmat and KMS, the three-track EP sees the Canadian continue to expound his unique sound, an effortless blend of soulful Detroit techno and the sounds of his Toronto roots. 

"It's a great honour to have these 3 tracks come out on Carl's legendary Planet E. My inspiration came from his series of events called Detroit Love which have attended & played several times, most recently at last year's Movement afterparty. Paradigm Shift is my vision of Detroit Techno from a Canadian perspective." - Greg Gow

Tracklist:
A1/01 Transcendence
A2/02 Paradigm Shift
B1/03 Lantana

03 Greg Gow - Lantana (preview)

Mathew Jonson ‎-- Dayz
Label: Crosstown Rebels ‎-- CRM085, Crosstown Rebels ‎-- CROSSTOWNREBELS 085
Format: Vinyl, 12", 45 RPM 
Country: UK
Released: 25 Oct 2011
Tracklist:
A. Dayz 
B. Cold Blooded

Cold Blooded

Oh, well hello there - thanks for visiting! 

Enjoy this tune, "Our Time Has Come" - be sure to let us know what you think!

The Mole "Caregiver" due June 24th on Maybe Tomorrow. This track will be on there. 

Contact: london@maybe-tomorrow.ca
Bookings: AdK-Agentur der Künstler / nicole@adk-berlin.com


Our Time Has Come - The Mole

My live set @ la machine du moulin rouge / 75021 / May 2013



ZADIG LIVE@LA MACHINE-75021 May 2013

Blawan at AwakeningsFestival 2013 (Spaarnwoude, Houtrak)

SoundCloud: @soundcloud.com/awakenings
Facebook: www.facebook.com/awakenings
Website: www.awakenings.com/

Blawan at Awakenings Festival 2013

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


Cold Blooded

Mathew Jonson

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