old but gold 👌💣🥳💪🏼💃💃

MOOOOOODY!! absolutely LOVE this one! heard it on the 'Nothing Much' compilation and it fucking slapssss

masterclass 😎🫦🪩💥🙅🏻‍♀️

Beatport

Jennifer Cardini &  Shonky - Lies (original mix) [Mobilee #019]

Cobblestone Jazz - India In Me

Matt John -"The Rising Scope"

This five-track EP showcases the Weimar group’s sophisticated, underground approach to house and techno with tracks from The Ghostbusters, Edward, Leafar Legov, Adi, and Map.ache's hypnotic single IZA.

ANYWAY

GOES

Leafar Legov - GOES

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

Buy Vinyl & Digital: bit.ly/uv033bc

Release Date:
Bandcamp: 26.10.2015 (Vinyl & digital)
All other stores: Vinyl 06.11.2015 & Digital 09.11.2015

After opening up his heart with his wonderful solo debut album last spring, it was about time that Joel Alter’s “Heart” gets a proper remix treatment. None other than fellow Swedish countryman Jesper Dahlbäck adds some spice to the intimate affair that is “22 Hours” under his “The Persuader” moniker. His take is a spooky yet compelling peak time bomb. Dorisburg transforms “Everlasting” into a funky and Acid-driven ride that is hard to resist. On top, you’ll get the Original mix of “Mecca” spread over a whole 12” side and a Discoid version as a digital bonus.
The wonderful artwork was created by Joakim Heidvall.

Buy Vinyl & Digital

Joel Alter - Everlasting (Dorisburg Remix)

Save the planet Earth

Ricardo Villalobos

DJ Koze's legendary and outstanding hit.


DJ Koze - I Want To Sleep (IRR002)

Mathew Jonson ‎– Decompression EP
Label: M_nus ‎– MINUS24, M_nus ‎– minus24
Format: Vinyl, 12", 33 ⅓ RPM, EP 
Country: Canada
Released: 26 Jul 2004

Tracklist:
A. Decompression	
B. Ultraviolet Dream

Decompression

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

Mirko Loko - Detroit Love Vol. 4 [Planet E]
Listen/buy: https://lnk.to/DetroitLoveVol4

Following contributions from Carl Craig, Stacey Pullen and Wajeed, Swiss DJ and producer Mirko Loko steps forward to curate & mix the latest volume of Planet E’s compilation series celebrating the international legacy of the Motor City's electronic music heritage, Detroit Love Vol. 4. Active since the late nineties when he first began DJing in the clubs of Lausanne, Switzerland, Mirko Loko has always felt a deep connection to the music of Detroit. Having been personally invited by Carl Craig to play at the Detroit Electronic Music Festival in 2001, that connection has stayed consistent and electric ever since. Mirko Loko is also known as a Cadenza mainstay and a curator of Verbier's Polaris Festival, but the music of the Motor City has been the guiding force of his creative career.

Released on digital and vinyl formats, Mirko's selection offers a taste of Detroit that intermingles emerging talent and the deepest cuts from established heroes. Mirko has loaded the mix with exclusive productions & remixes including new collaborations with Derrick May and Ursula Rucker; an updated version of his classic recording with Stacey Pullen, ‘Tronic Illusion’; an exclusive remix of Japan's Takuya Yamashita; and a new track under his Bel Air Ltd alias. Each of these will be available on the vinyl edition, alongside the tracks from Phase Force, Lady B and a heretofore unreleased Carl Craig edit of DJ Deep & Romain Poncet's Sergie Rezza project.

“The influence of Detroit on music all over the world is immeasurable. Like so many others, my relationship with music was inspired and forever marked by the talent and genius of Detroit & midwest USA's musical pioneers, and we all owe the city and its cultural legacy a huge debt. This mix is my small way of saying thank you to the city.” - Mirko Loko, 2020

Mix tracklist (CD/digital):
01. Fred P - Vision In Osaka
02. Mirko Loko ft. Ursula Rucker - It’s Like (Detroit Love Mix)
03. Feater - Time Million ft. Vilja Larjosto (Villalobos Vocal Mix) 
04. Chaos In The CBD - Comfort Zone
05. Sergie Rezza - Monté (Carl Craig Edit)
06. Still - Haile Selassie is The Micro Chip
07. Takuya Yamashita - Aos Si (Mirko Loko’s HOS Remix) 
08. Eduardo De La Calle - My Own Transition
09. Scott Ferguson - Dump Days
10. Wincent Kunth ‎– Relove
11. Phase Phorce - Faces Of Life
12. Adryan - The Jazzer (Russ Gabriel Remix) 
13. Mirko Loko ft. Derrick May - Mentors Heritage (Detroit Love Mix)
14. Gilb’R - Pressure Laurent (Garnier Mix)
15. Bel-Air Ltd - The Loft
16. DJ Duke - Music Cinema
17. Tevo Howard - Madness 
18. The Prince Of Dance Music, L.B. Bad - The True Story Of House Music (I'm So Alone)
19. Jared Wilson - It's The Message
20. The Godson - City Bar “Reopen” Live Dancing 
21. Mirko Loko & Stacey Pullen - Tronic Illusion (Detroit Love Mix)
22. Lady B - Cruising Around Motor City

Vinyl tracklist (unmixed):
A1. Mirko Loko ft. Derrick May - Mentors Heritage
A2. Mirko Loko ft. Ursula Rucker - It’s Like
B1. Mirko Loko & Stacey Pullen - Tronic Illusion (Detroit Love Mix)
B2. Bel-Air Ltd - The Loft
C1. Sergie Rezza - Monté (Carl Craig Edit)
C2. Takuya Yamashita - Aos Si (Mirko Loko’s HOS Remix)
D1. Phase Phorce - Faces Of Life
D2. Lady B - Cruising Around Motor City

Detroit Love Vol. 4 will be released on CD & digital formats on 04 September 2020, and 2x12" vinyl on 18 September 2020.

Detroit Love Vol. 4

Full Mix

Mirko Loko ft. Derrick May - Mentors Heritage [Detroit Love Vol. 4 OUT NOW!]

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


Decompression

Mathew Jonson

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