Novaj 新し Sensations & feelings


Listen on Youtube
https://youtu.be/CRxELN5xP_o

Get it
https://neverbenormal.bandcamp.com/album/bliss-code-nbn017

Postiver
https://linktr.ee/positiver303

Never Be Normal
https://linktr.ee/neverbenormal

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Support us with a donation 🤝♥
https://paypal.me/NovajRecords
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💿 Novaj 新し Records 💿
Facebook: https://www.facebook.com/Novajrecords/
Bandcamp: https://novaj.bandcamp.com/
Beatport: https://www.beatport.com/label/novaj-records/75830
Traxsource: https://www.traxsource.com/label/44374/novaj-records
Spotify: https://spoti.fi/3nYyOBe

/// Youtube Channels ///

- Novaj 新し 
Youtube: https://bit.ly/3fHactJ
Soundcloud: https://bit.ly/3fHZQKg

- Novaj 新し Dubvision 
https://bit.ly/367EItA

Novaj 新し Soul
https://bit.ly/3pW9xtf

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Wanna be featured? 
- Send a message by mail: 
novajrecordings@gmail.com

Listen on Youtube

PREMIERE: Positiver - Real Touch

A track used by Maceo Plex in the intro at Tomorrowland 2015. Had a hard time finding it and eventually paid it at Beatport because it only had a short version. 

1.4 Tha Dam (Original Mix)- Mr. G

01 - The Secrets Of Meditation (shi - Take Anti - Fromage Club Mix)

B1: La Fleur - Flowerhead (Dana Ruh remix)

La Fleur - Flowerhead (Dana Ruh remix) is taken from PPR007: 
Flowerhead Reprise

Release date 2nd of December 2016 on Power Plant Records.

www.power-plant.se
www.facebook.com/powerplantrecords
www.twitter.com/powerplantrec
www.instagram.com/power_pla

Flowerhead Reprise

Flowerhead (Dana Ruh Remix)

Artist: Dachshund
Title: Steady LP
Label: Clapper
Release: 2017-10-10

PURCHASE:
http://bit.ly/2y0o5NQ

MORE MI4L PREMIERES:
soundcloud.com/musicis4lovers/sets/exclusive-premieres

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Steady LP

PURCHASE

Dachshund - Mass Effect (Original Mix) [Clapper] [MI4L.com]

Out now on vinyl & digital release - 

The inimitable Seth Troxler is next up on his own influential label with something of a milestone release: His ‘Finally Physical EP’ is a precursor to a compilation album, ‘This Is Then’, due in May this year.

“I am about to embark on a new musical phase of my career and I wanted to make a retrospective of what's already happened whilst pointing to what's next. I'm so proud of the seminal tracks I’ve released to date, but I am very much looking forward to the new musical projects that will spawn act two in this play we call life.” due in May this year.

‘This Is Then’ will be a typically unique celebration of Seth’s 10 years as a major force in the Europe underground scene. It will draw a line in the sand on the first part of the Michigan born artist’s recording career before he embarks on the next chapter. This preceding EP features four productions that were never properly released and they serve as a taster to the forthcoming compilation, with two originals and two remixes, one of which comes under Seth’s lesser used alias, Thrill Cosby.

This is a deeply personal project for Seth and comes at an exciting juncture in his musical journey, as he says himself “I am about to embark on a new musical phase of my career and I wanted to make a retrospective of what's already happened whilst pointing to what's next. I'm so proud of the seminal tracks I’ve released to date, but I am very much looking forward to the new musical projects that will spawn act two in this play we call life."

Up first is the brilliant ‘Blackclap’, which was used by Audion on his fabric mix in 2006. It’s a twisted techno bumper with hiccuping synths and skewed pads bleeding out from a tightly programmed drum line. Warm chord smears bring a sense of soul to the druggy groove and ensure this one will work as well in an intimate club as it would on a larger stage. The deliciously dark ‘Aggression’ is a freaky late-night cut with minimal drums and alien lifeforms scurrying all over. It’s trippy and otherworldy, with a rubbery groove carrying you deeper down the rabbit hole through a wonderfully weird spectrum of sound.

On the flip is a Thrill Cosby remix of Heartthrob’s ‘Signs’ which Seth included on his Boogybytes mix from 2010. A pressure cooker of white noise, whispers, synth drones and tension building sequences it eventually breaks into a supple and slippery groove that makes you want to pop your body. Last but not least is the skeletal techno funk of Stefan Tretau’s ‘Chittagong’ (Seth Troxler Jack Moves Remix). It’s synthetic and abstract, with watery droplets and coarse claps wrapping round the restless drum line.

Inventive and original throughout, these four blistering tracks prove Seth Troxler has always had his own unique studio sound and serve as a great teaser for the upcoming compilation.

This Is Then

Stefan Tretau - Chittagong (Seth Troxler Remix)

Mathew Jonson Presents The Decompression Remixes Vol. 2

Decompression (GMT Remix)

Reset Robot - Bumble [Intacto]

MAGNETIC-KING

Cut from the Studio x Drumcode rave at the Weststadthalle (Essen, Germany). Thanks for the vibes guys.

Weststadthalle / Room 2 / 28.12.19

minimal deep

summer Rave

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
