Techno

Mathew Jonson

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Techn0

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With Donato Dozzy, Miss Melera, Schacke and more

Marcus Henriksson Radio

With Oscar Mulero, HearThuG, Luigi Tozzi and more

Hessle Audio will release 'Pearson Sound' on Monday 9th March 2015

On iTunes:  http://it.kud.li/hescd002
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Album: Pearson Sound [ALBUM]
Track: 5 of 9
Title: Swill
Artist: Pearson Sound
Label: Hessle Audio
Cat#: HESCD002
Formats: CD/Digital/LP
Digital Release: 9th March 2015
Physical Release: 9th March 2015

Hessle Audio are excited to announce the release of the self-titled debut album by Pearson Sound, aka label co-head David Kennedy. Characteristically minimalist in approach, its nine tracks use a handful of elements to craft mesmerising, self-contained worlds, alive with motion and near-subliminal detail: from vast and inky landscapes, to electrifying rhythm tracks, where layers of percussion and bass tumble over one another like rocks in a landslide. Recorded between 2013-4, Pearson Sound documents a distinct phase of Kennedy's studio explorations. "I had a signal chain set up that I was really happy with, and I started sending my machines through the same processes" he says. Expanding upon the techniques underpinning his recent REM and Starburst 12"s, its tracks emerged swiftly through improvised jam sessions; some were captured in a minimum of takes, while others later took shape through extensive sculpting and post-processing. "A lot of it was made by feeding the the same sounds between two different pieces of equipment and they'd end up feeding back between each other and snowballing. On some tracks it's about harnessing that and taking it to the brink before it disintegrates, and some of them are about just letting it go full-blown out of control." The result is a record of striking contrasts: bold, stark and visceral, yet also subtle, harmonically complex and deceptively playful. While Pearson Sound's livewire percussive energy remains inextricably rooted in the club, this exploratory studio process has created Kennedy's most wide-ranging yet coherent body of work to date: a suite of thrillingly impulsive, expressive and open-ended music, untethered from restrictions of form.

Pearson Sound - Swill

http://www.discogs.com/MRav-LIES-XMAS-02/release/6299663

M.Rav - Depravation

Extrawelt / Dominik Eulberg - A Little Further (Not On A Map)

Order Now

Local Artist - FEELINGS (Digital Dub)

Out now on Bandcamp
https://pearsonsound.bandcamp.com/album/xlb

12" vinyl with new track 'Tsunan Sun' coming late July!

Pearson Sound - XLB

DKMNTL-UFO2 // Randomer - Running Dry
a1.	Randomer - Running Dry
a2.	Randomer - My Ears Hurt
b1.	Randomer - Rendell Pips
b2.	Randomer - Music For Two Kalimbas

Vinyl: http://shop.dekmantel.com/release/5131/running-dry
Digital: https://randomerdekmantel.bandcamp.com/album/running-dry

Next up for the brand new DKMNTL UFO series is Rohan Walder aka Randomer, who has been causing a stir with his uncompromising, bass heavy cuts. The Londoner graces our new platform with his signature sound that blurs the lines between big boned techno, sizzling side-step house and Afro-inspired drum programing. Delivering a four-tracker that’s a highly energetic and confident outburst of a unique electronic music soul, Randomer properly handles the abstract sound esthetics of DKMNTL UFO.

DKMNTL-UFO2 // Randomer - Running Dry

From the twilight zone of Rhythm Section International comes a new label for 2017: INTERNATIONAL BLACK.
International Black is the sound when the lights go off.
Recorded entirely on analogue hardware via reel to reel tape, this inaugural release features two hypnotic and timeless tracks from two of South London’s finest exponents of real house music.
The record is made with the dancefloor in mind; channelling that moment in the club where things get dark, hypnotic, a bit weird and a lot more interesting.

OUT 3RD MARCH. PRE-ORDER HERE: lnk.to/INTLBLK001

INTLBLK001

Ron Obvious - Man Ray

Physical | Digital=> http://bit.ly/DeepchordAuratones
Deepchord | Auratones 
[SOMALP117] 

A foray into deep, organic, cinematic dance music. Subterranean bass, intercepted alien transmissions, and stripped down dance-beats meld with sheets of sounds that roll over the listener like waves lapping up on the shore. Shimmering, watery, brain hemisphere synchronization tones caress and melt stress away. Dance floor friendly tracks that work equally well in one’s private listening space. Immersive music with a distinctive aquatic quality. Inspired by Detroit & Berlin’s dance genres, but tempered by more ambience / atmosphere than one would expect from those genres. Music without harshness or rough edges. Fuzzy, out-of-focus, soft-sounds that slip in and out of the listener's consciousness. Uniquely melds current dance rhythms with lushness and spirituality. Synesthetic sounds that trigger sensory experiences in cognitive pathways other than hearing… smells of perfumes, thoughts of colours, and altered perception of time and space. Psychoacoustic, cerebral, electronic listening music for those wanting a different experience than the current harsher, darker dance trends are offering. Responsibly made gentle music designed from the ground-up to have a positive effect on the nervous system and leave the listener invigorated and recharged. Chi-building sonic balm. Timeless, exotic dance tracks for a new school of electronic music enthusiasts who are searching for beautiful sounds, crafted with a higher purpose in mind.

Auratones

Moving Lights

Deepchord - Moving Lights (SomaLP117)

‘It Makes You Forget (Itgehane)’ Out Now -
Stream / Download: https://peggygou.lnk.to/once

Taken from ‘Once’ released 2nd March 2018 via Ninja Tune.

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It Makes You Forget (Itgehane)

Peggy Gou - 'It Makes You Forget (Itgehane)'

Efdemin: Stately, Yes.

Buy On Beatport

[SUARA312] 2pole - Alone feat. Ursula Rucker (Original Mix) Snippet

Purchase here: https://www.beatport.com/release/your-mind/2309440

Influential DJ, producer and label owner Adam Beyer takes to his own Drumcode imprint to deliver his latest peak-time floor-filler in the collaboration with Bart Skils titled 'Your Mind'.

If you’ve caught a set from Adam Beyer recently, chances are you remember this track causing mayhem. ‘Your Mind’ is a banging new collaboration with Dutch talent Bart Skils, and it absolutely caught the attention of his Timewarp, Awakenings and Ultra set audiences with its haunting chorus chant. 

'Your Mind' is released via Drumcode on June 18.

More exclusive music

Adam Beyer & Bart Skils 'Your Mind' [Drumcode]

I am very honoured to have Carl Cox and Roberto Capuano putting their hands on Alex Mine's track 'Lost'. And of course Alex did a great 2018 edit as well. (Monika Kruse)

beatport/spotify/vinyl

Alex Mine - Lost (Carl Cox Remix)

GMT (Guy Gerber, Phil Moffa, Seth Troxler), Mike Shannon, Deadbeat, Natalia Escobar Remixes.

Decompression - Mathew Jonson (Deadbeat Remix)

Decompression - Mathew Jonson (Mike Shannon_s Re-compression Mix)

Decompression - Mathew Jonson (GMT Remix)

It doesn’t get much bigger than this: Adam Beyer links up with Green Velvet and Drumcode’s outstanding rising star Layton Giordani for a debut collaboration.

Some musical partnerships feel fated. Both fans of one another’s work, for years Adam Beyer and Green Velvet had discussed writing music together. In turn, Beyer’s protégé Layton Giordani had admired the Chicagoan’s work for as long as he could remember. When the 25-year-old found himself playing alongside the green mohawked legend at Belfast’s Shine, the spark and subsequent friendship was immediate. With the links now set in place, it was only a matter of time before the trio’s creative chemistry would manifest musically.

‘Space Date’ was conceived organically and birthed quickly. Propelled by Green Velvet’s trademark vocal hypnotism, the triumvirate combine to craft a pumping intergalactic slice of techno laced in melody that’s highlighted sets by Beyer at Awakenings, Ushuaia and also EDC Vegas when Green Velvet dropped it to a raucous response. The track is complimented by ‘Rome Future’, the product of a year-long series of productions between Beyer and Giordani. Deftly combining crisp drum work, catchy vocal effects and a powerful bassline melody that gives the track an almighty kick, it will be familiar to many who’ve followed their sets over recent months.

Adam Beyer, Layton Giordani & Green Velvet - Space Date - Drumcode - DC193

It doesn’t get much bigger than this: Adam Beyer links up with Green Velvet and Drumcode’s outstanding rising star Layton Giordani for a debut collaboration.

Some musical partnerships feel fated. Both fans of one another’s work, for years Adam Beyer and Green Velvet had discussed writing music together. In turn, Beyer’s protégé Layton Giordani had admired the Chicagoan’s work for as long as he could remember. When the 25-year-old found himself playing alongside the green mohawked legend at Belfast’s Shine, the spark and subsequent friendship was immediate. With the links now set in place, it was only a matter of time before the trio’s creative chemistry would manifest musically. 

‘Space Date’ was conceived organically and birthed quickly. Propelled by Green Velvet’s trademark vocal hypnotism, the triumvirate combine to craft a pumping intergalactic slice of techno laced in melody that’s highlighted sets by Beyer at Awakenings, Ushuaia and also EDC Vegas when Green Velvet dropped it to a raucous response. The track is complimented by ‘Rome Future’, the product of a year-long series of productions between Beyer and Giordani. Deftly combining crisp drum work, catchy vocal effects and a powerful bassline melody that gives the track an almighty kick, it will be familiar to many who’ve followed their sets over recent months.

Adam Beyer & Layton Giordani - Rome Future - Drumcode - DC193

Ryan and I made this at my studio in Berlin. He made a final edit of it at his which is what's released here.  Thanks homie!

Templehof - Visionquest - #067

Made this one in my Berlin studio with Ryan Crosson, Isis Kuaygarond and Caesare Melville.  Ryan and I started it off and then we were joined by Isis and Caesare how helped us finish the arrangement and mix it live. Ryan's bassline is dope!

Robots Of Dawn - Visionquest - #067

Mathew Jonson Presents The Decompression Remixes Vol. 2

Decompression (Deadbeat Remix)

Decompression (GMT Remix)

Mathew Jonson Presents The Decompression Remixes

Decompression (Ambient Pressure Mix)

Ma.to - The Princess is The Boss

Toronto native Greg Gow signals his arrival on Truesoul with a versatile three-track work.

Greg Gow has been crafting soulful techno, imbued with influences from Detroit and Toronto for almost two decades. He’s 2009 classic ‘The Bridge’ played a pivotal role in relaunching Derrick May’s legendary Transmat imprint, while releases on Kevin Saunderson’s KMS, Dubfire’s SCI + TEC and tracks on his own Restructured Recordings have stamped him as a vital artist for tastemakers.

His debut traverses a triple of cuts, each embodying a timeless driving vibe fitting Gow’s functional dancefloor ethos, making them a perfect fit for Adam Beyer’s Truesoul. ‘Memory Flash’ is a bouncy ‘90s throwback full of spirit, as Gow begins by showing his housier side to punchy, euphoric effect. Title track ‘People Mover’ lifts the intensity of the work, as a synth groove builds the atmosphere throughout. ‘Hidden Pictures’ is a deep, thoughtful techno weapon, driven by minor key stabs and a spoken word sample from Robert Hood about minimalism that kicks with Motor City spirit.

Tracklist: 

1. Greg Gow – Memory Flash (Original Mix)
2. Greg Gow – People Mover (Express Mix)
3. Greg Gow – Hidden Pictures (Original Mix)

Greg Gow — Hidden Pictures — Truesoul — TRUE12113

Alone With The Gods Edit

@peggygou - Moment EP 
https://gudurecords.bandcamp.com

Moment EP

Starry Night

Peggy Gou - Starry Night

https://WeAreTheBrave.lnk.to/ThisIsIt

We Are The Brave stormed onto the scene in 2016, and has since released some truly epic dancefloor bangers from both the established and fresh faced talents the industry has to offer. Alan featuring some of his biggest tracks on the label, as well as inviting Reset Robot, Gary Beck, Skream, Darius Syrossian, and Sasha to be a part of their ever-growing family. 2019 is set to be the biggest year yet, with Alan Fitzpatrick’s Day just around the corner and more planned label showcases than ever before.

‘Poison’ was a vocal smash hit last year from Croydons finest – Skream. He’s teamed up with a UK duo who are already regulars on his imprint, as well as Dense & Pika’s Kneaded Pains – Melody’s Enemy.

‘This Is It’ the lead track, has a story. On a flight to play a festival in Germany, the guys decided on a concept to record Ollie, get a recording that showed a slice of who he really is, what he's all about. “We did wonder if he'd go for it actually, and we sprung it on him unawares on the day he came to our studio - but true to form, he was up for it in an instant!” adds Melody’s Enemy.

A full-on futuristic acid hook, with a driving energetic bassline sitting alongside Ollie’s spoken words which weave in and out between the synth and groove. This is MEGA!

Given the title, ‘5am’ is a bit more of a straight up banger, with its low end kicks and tight punctuation, pads glide through the track along the main rave inspired synth. “Ollie sent us a hook and parts from something he'd been working on. And we went to town on it. The motive here was maximum dance damage’.



https://www.facebook.com/MelodysEnemy
https://soundcloud.com/melodysenemy
https://www.facebook.com/wearethebraveofficial/
https://twitter.com/weare_thebrave
https://www.instagram.com/wearethebraveofficial/
https://soundcloud.com/wearethebraveofficial

Melody's Enemy vs Skream - This Is It

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Chaos Cloud

Premiere: Sosak - Back To The Testing [BEK Audio]

Spain talent Andres Campo has been on the rise with releases on Second State, Odd Recordings and his own newly launched imprint with Eats Everything called EI8HT. Now, he has reworked Dense & Pika's 2015 release 'Delta System' alongside four talented techno talents for the remix package out on Kneaded Pains. The EP is out on May 3.

Premiere: Dense & Pika 'Delta System' (Andres Campo Remix)

Stream/Download

GNAA - XXXX feat. Dj Assault

Donato Dozzy Anna Caragnano - Parola (Rework) [SPAZIO017]

Return Of The Zombie Bikers

Taken from the 15th edition of XLR8R+, curated by Circle of Live and featuring cuts from Sebastian Mullaert, Mathew Jonson, Amp Fiddler, and Vril.

Get the package: http://bit.ly/XLR8Rplus_015

https://www.circleof.live

@mathew-jonson

Get the Package

XLR8R+015: Mathew Jonson - When I Think About Detroit Snippet)

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
