Ooooo good music! Good feeling. Im so happy listening this song. Good frequencies!!! Thanks for do this for us and humanity!

Jamming up and down; left to right and all the way around..  master class old school house digging down and below.bow to the artists and producers ❤️❤️🤸🏽‍♀️🤸🏽‍♀️💃🏽💃🏽💃🏽💃🏽💕🥳

Techno

23 Seconds

India In Me

Angel Remixes

Angel (Jerome Sydenham Vocal Dub)

Steve Barnes - Cosmic Sandwich (dominik eulberg remix)

Modern underground musical behemoth No.19 Music now turns to its expert roster of house and techno talents for a Spring Sampler that is bursting at the seams with ready made, floor filling dynamite. All the crew old and new feature including Guti, Nitin, Hector, Clayton Steele, Maher Daniel, Eric Volta, Art Department’s Kenny Glasgow and many more.
In recent times the label run by Canadian DJ and producer and one half of Art Department, Jonny White, has become one of the most charted, played and influential in the global house scene. Whether releasing definitive albums and compilations from Art Department, hot EPs from mainstays like Louie Fresco and Eric Volta or high profile remixes from the likes of Kerri Chandler, Frankie Knuckles or Fred P this label really is at the sharp end of the scene.
As has been the label’s habit in recent years, No.19 look to the coming WMC Miami event with another sterling collection of original tracks. Label co-boss Nitin kicks things off with the brilliantly emotive and melodically lush house grooves of ‘I See’. Crosstown Rebels regular and piano whizz Guti then gets all bumpy with his dusty, hip- hop influenced beats on the jazzed up ‘Ruski’. Then comes a another core member of the No.19 family, Canadian and All Day I Dream regular Maher Daniel. His track is a prickly, spaced-out tech roller with tons of atmosphere that is sure to captivating hearts and minds on dance floors everywhere.
Close label friend and synth genius Eric Volta then pairs off with Brohn for ‘Lines of Entropy’, a sensuously slow burning and cinematic cut that places all its focus on dazzling melodic lines and slick beats. The legend that is Kenny Glasgow then gets up to some jacking, wobbly and off kilter house business on ‘Be Strong’, which has plenty of percussive energy and serene pad work. Mexico’s top producer, who released his debut LP on No.19 last year, Louie Fresco once again shows his skills on the heady, hypnotic techno workout that is ‘Anonymity’. Desolat’s connoisseur craftsman Hector then seduces listens with his deep, warm and engaging house track ‘High Times’ and rising talent Jonathan Lee offers some perfectly syncopated house kicks and nervy synth patterns on ‘Loyal Suns.’
Silky & Dadon’s ‘Move’ is a rubbery & techy house affair that really comes alive with Cari Golden’s whispered but emphatic vocal delivery, Moreon & Baffa offer expertly thumping and dubbed out house that is on the verge of being techno with ‘Mare De Due’ and finally Clayton Steele’s ‘Action’ is a perfectly spaced out and spacious number with sci-fi influences, occult 80s vocals and tons of great effects.
Once again this fantastic new Spring Sampler shows that No.19 Music continues to evolve, unearth new names and remain way ahead of the curve. Filled with inventive sounds miles away from the norm, this release is a mouthwatering prospect for both DJs and dancers alike.

Track List
1. Nitin - I See
2. Guti - Ruski
3. Maher Daniel - Into The Stars
4. Eric Volta & Brohn - Lines of Entropy 5. Kenny Glasgow - Be Strong
6. Louie Fresco - Anonymity
7. Hector - High Times
8. Jonathan Lee - Loyal Suns
9. Silky, Dadon, Cari Golden - Move 
10. Moreon & Baffa - Mare De Due
11. Clayton Steele - Action
12. Jade - Long Shot

Eric Volta & BROHN - Lines Of Entropy

Go here to purchase and stream 'Remixes From The Other Side' -crosstownrebels.lnk.to/RemixesOtherSideNe

2015 saw Damian Lazarus create his most ambitious project to date in The Ancient Moons, producing a full length album ‘Message From The Other Side’ with a wide assortment of vocalists and collaborators from around the world. They went on to support Roisin Murphy on tour, gain acclaim from the likes of Dazed & Confused and Lazarus became the final coverstar of the year in the UK”s Mixmag magazine.

Now the tracks from ‘The Other Side’ have been reinterpreted by an assortment of stars, from techno stalwarts Juan Atkins & Kimyon Huggins, to German experimental talent Kölsch, and Acid Pauli’s sprawling fusion of weirdness. The original material is ploughed in new and surprising directions by Black Butter’s own Gorgon City and Mehmet Asian, resident at Berlin’s infamous Wilde Renate club.

Talent from Lazarus’ label Crosstown Rebels, including Francesca Lombardo, DrumTalk and Israeli trio Red Axes also produce their own visions for the music, all of which retain the mysticism of the original with added dancefloor appeal. The final four tracks revisit some of the biggest moments from the Moons to date, as the album revisits interpretations from Jamie Jones, Dixon, Serge Devant and &Me.

Co-produced by James Ford (Simian Mobile Disco, Arctic Monkeys, Florence & The Machine), The Ancient Moons was always a unique project, which has now been stretched to include the flavours of some of the most exciting artists shaping the musical landscape right now.

Recorded in Mexico, LA and London, ‘The Other Side’ features instrumentalists from Mozambique, Guinea, Pakistan, Egypt, America and even Mexico’s own Yucatan Symphony Orchestra.

TRACKLISTING

01 Adventures Of The Ancient Moons - Juan Atkins and Kimyon Huggins Remix
02 Lovers' Eyes (Mohe Pi Ki Najariya) - Mehmet Aslan Remix
03 Message From The Other Side - Red Axes Remix
04 Trouble At The Séance - Kölsch Remix
05 We Will Return - Francesca Lombardo Remix
06 Sacred Dance Of The Demon - Gorgon City Remix
07 Eyes Won’t Let Me Hide - DrumTalk Remix
08 Tangled Web - Acid Pauli Remix
09 Lovers' Eyes (Mohe Pi Ki Najariya) - Dixon Re-edit
10 Vermillion - Jamie Jones Remix
11 We Will Return - Serge Devant Remix
12 Vermillion - &Me Remix

Remixes From The Other Side

Damian Lazarus & The Ancient Moons - Vermillion (Jamie Jones Pupkit Remix)

Ruede Hagelstein - Apophenia will be released on April 6th on CD, 2LP & digital. You can pre-order the album here:

CD: http://water-gate.de/label/WGA001-CD.html
2LP: http://water-gate.de/label/WGA001-LP.html
iTunes: https://itunes.apple.com/de/album/apophenia-bonus-track-version/id970552522

Ruede Hagelstein and Watergate go hand in hand. Not only is Ruede one of the longest running residents at the club, but he's also the man behind some of the label's most acclaimed music and the curator responsible for lucky number 13 in the illustrious Watergate mix series. With this, it seemed obvious to put Ruede up to his next task: an album. It is with great anticipation and excitement that we bring you the first LP for both, Ruede and Watergate Records, Apophenia. 

Apophenia is the experience of seeing patterns or connections in random or meaningless data, and for Ruede, this is the perfect interpretation to describe his writing process, in which ideas appear from the empty, chaotic darkness. A random chord progression or percussion arrangement opens the door to the imagination where structures appear and begin to take shape. Unlike most of his previous work, Apophenia is not strictly attached to the dance floor, but created to fit just as seamless while listening at home as it is in the club. For over a year, Ruede collected ideas and visualized his plan. It was important not to mimic his earlier work, but to focus on a certain sound. While staying minimalistic yet extremely organic and melodic he has created a timeless long player.

While the LP spans a range of emotions, it is always grounded in Ruede's unparalleled, singular sound. Pair that with some notable features from artists like PillowTalk, Hollis P. Monroe & Overnite, Justin Evans and C.A.R. and you have a plethora of dazzling music. With tracks like "Moon Rabbit", "Life Is A Beach" and "Found A Place" Ruede displays the sound of a night at the club while "Already Undone feat. Pillowtalk" and "Pareidolia" take rides through the deeper, emotional spaces. In the end, "Apophenia" is the perfect display of not just Ruede's artistry, but Watergate's musical vision, which together, create an illustrious and undeniable entity.



Ruede Hagelstein - Already Undone feat. PillowTalk

Adam Beyer is back on Drumcode with an impressive array of tracks that will get the senses tingling and shows us what Drumcode is all about. These 4 tracks are deep and almost melancholic in their approach to techno, using effects to really help enforce an ambience only Beyer can achieve within his productions. The under lying throbbing of the drums drives this EP into the forefront of the heads down Drumcode sound and have been heard in many of Beyer’s phenomenal sets throughout the year.

Adam Beyer - What You Need - Drumcode - DC141

Digital Release Date: 01/06/2015

Babylon Crooks are a duo consisting of two young up-and-coming Italian-based producers, Paolo Davide Bianchi (Pablow) and Filippo Mulazzani (Mula). Their talent and raw sound is perfectly encapsulated in their debut EP. The duo’s range of influences from house and techno to electronica can be clearly heard through both tracks, with energetic arpeggio and crisp percussion creating two truly special pieces of music.

Mastered by Conor Dalton at Calyx Mastering, Berlin .Artwork by Anna Jones

Released by Bade Records (Catalogue No. BADE005) Distributed by MN2S

Bade Records: www.facebook.com/baderecords

Babylon Crooks: https://soundcloud.com/babylon-crooks

Buy on Beatport

Impetum (Original Mix) (Snippet - 128kbps)

More info: http://www.xlr8r.com/news/2015/05/premiere-hear-a-track-from-donato-dozzys-new-ep-for-claque-musique/

Full stream of "Cassandra," Donato Dozzy's latest EP for Claque Musique.
@donato-dozzy
@claque-musique

Donato Dozzy - Cassandra

"Backtracking (Schatrax Remix)" by Trevino (@marcusintalex) and @schatrax will be released on February 18th on The Nothing Special. Info: bit.ly/TreScha

Info

Trevino - Backtracking (Schatrax Remix)

It is with great honor that HELL YEAH Recordings begins 2012 with an exclusive release by dancefloor electronica duo MARGOT.

They really needs little introduction:

- MARGOT are part of the extremely talented Border Community family.

- one of our main influnces, Ivan Smagghe, tagged MARGOT as "one of the 10 contemporary electronic things worth checking out"

- MARGOT recently did one of our fave remixes of the year: Daphni(Caribou) - Ahora.

- - -

Liuff Settanta and 4 Aggressive Young Boys are two weird dancefloor assault Margot style... they should sound familiar if you followed James Holden DJ sets in the last few months.

Once again, "His abusive kindness" Andrea Amaducci is at the painting controls to make this Hell Yeah vinyl (250 numbered copies) another all around piece of art... Hell Yeah! 



Margot - Liuff Settanta

What we have here is one of the original Chicago house vocalists doing a cover version of a post-punk Manchester band set to a tip-top acid house banger.
Paris Brightledge (vocalist on Sterling Void - It's Alright) covers Immortality by The Fall.
303, 202, 808 recorded live.
180g vinyl only, no downloads, no promos, no CDs.

Immortality

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

Dayz

Acid Test

Test 1

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


Dayz

Mathew Jonson

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