Name: Decompression - Mathew Jonson (Mike Shannon_s Re-compression Mix) by Mathew Jonson
Duration: 6 min 21 s
Description: GMT (Guy Gerber, Phil Moffa, Seth Troxler), Mike Shannon, Deadbeat, Natalia Escobar Remixes.

For the FREE DOWNLOAD number 11 we present Barabara Alvarez and TO.MI HASH, enjoy!

@barbaraalvarez
@tomihash

Barbara Alvarez & TO.MI HASH - Visitors (Original Mix) [FREE DOWNLOAD]

We are so excited and honoured to be reaching the 20th release on Half Baked Records and who better to make her debut on the label than our old friend and incredible artist, Margaret Dygas. It was really hard work choosing from some very special music from Margaret for this one but we have gone for three tracks that truly resonated with us on a deeper level. Serious music to take your mind to another place!

B1. Margaret Dygas - CC Is 33 (CLIP)

Stephen Brown is an institution when it comes to cutting-edge Detroit Techno made in Europe and therefore needs no introduction! Having recorded for legendary labels like Transmat, Djax-Up-Beats, Music Man, Subject Detroit and in recent times for rather new and promising imprints like Heliocentric Music, Skudge and Indigo Aera he has always been on top of the game since almost two decades and knows how to convince with his trademark hi-tech soul. His new release called Illuminace EP marks the return of Mojuba sublabel a.r.t.less and brings two killer tunes from the vaults of the Realtime label boss, while the a-side with SD1 aims clearly at the dancefloors of our beloved underground clubs, the b-side with Free & Easy comes along with a great portion of compelling emotions and funk!


Stephen Brown - Free And Easy - A.R.T.LESS 2191 B (Preview)

Produced & Recorded with @herodot at Sunrise Hub, Bucharest, Winter 2020. 
Released on Understory Records, Spring 2022:
https://understory-rec.bandcamp.com/album/understory-spring-2022-compilation

Herodot & Clovis - Pardalis

Midnight Scientists

Paper Tigers

https://www.wetransfer.com/downloads/4fa5d22a36765d60ffa9dacf8672f37e20150205121833/2355d2

Last month New York house hero Levon Vincent revealed the first details of his debut album.

Said to arrive “very soon”, it was previewed with a track called ‘Anti-Corporate Music’ given away from free by Vincent via Facebook.

Now he’s taken the anti-corporate idea even further, offering the whole thing for free download via WeTransfer. If you want to own the four LP version of the self-titled LP and give Vincent a bit of financial renumeration, he says it hits the shops on his own Novel Sound label tomorrow.

“This is music for the ugly ducklings of the world,” Vincent said of the album via a post on Facebook. “Music for swans. If you are you’re a member of the rat race, climbing around a dumpster with the other rats vying for power, you may of course listen, but know – this is not music for you. This is action against you.”

The tracklist can be viewed below, and contains some particularly memorable titles – ‘Junkies on Hermann Strasse’ and ‘For Mona, My Beloved Cat Rest in Peace’ are a few of our favourites.

Tracklist:

A1 The Beginning
A2 Phantom Power
B Junkies on Hermann Strasse
C Launch Ramp to tha Sky
D1 For Mona, My Beloved Cat_ Rest in Peace
D2 Her Light Goes Through Everything
E1 Black Arm w/Wolf
E2 Confetti
F Anti-Corporate Music
G Small Whole-Numbered Ratios
H Woman is an Angel

Levon Vincent - Launch Ramp To Tha Sky

A2 from Vice/Principle EP

http://smarturl.it/vice-principle

Melamed

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

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

Satoshi Tomiie presents the debut release from his experimental live project, A_A.
“A_A is a project Inspired by Electric Jazz, Experimental Noise / Avant-garde and the stripped down elements from the music I’ve been loving and creating from the beginning – Electronic and House Music. Current project members are myself and Nao Gunji and the name stands for ABSTRACT_ARCHITECTURE, this represents its craft, sound and texture.”
Recorded completely live A_A follows the techniques of 20th century experimental composers through the use of modular synthesizers. The current line up of Eurorack modules is full of references to the 20th century avant-garde – from Pierre Schaffer’s Musique Concrète to John Cage’s Radio Music. There are modules that mimic Pauline Oliveros’ Tape Delay Music, Cage’s I-ching, or highly computational methods such as Granular synthesis.

Buy @ Yoyaku

B1. Dub (snip)

Buy Vinyl: https://bit.ly/358ZU0k

Follow on SoundCloud:

https://soundcloud.com/ilarioliburni
https://soundcloud.com/melchiorproductionsltd
https://soundcloud.com/invaderecords

Become a member of Suprematic Sounds pool to receive exclusive unreleased high quality tracks every month + bonus access to 100+ tracks catalogue for all subscribers: http://gum.co/suprematic

Follow Suprematic Sounds:

✖ Bandcamp ▸ https://bit.ly/2tYSGhi
✖ Membership ▸ https://bit.ly/2E9IKCH
✖ SoundCloud ▸ https://bit.ly/2I1OW0g
✖ YouTube ▸ https://bit.ly/2ID9FMv
✖ Spotify ▸ https://bit.ly/2VfnUbO
✖ Facebook ▸ https://bit.ly/2Th3BNY
✖ Instagram ▸ https://bit.ly/2MqfZc7

Buy Vinyl

PREMIERE: Ilario Liburni — I Feel Everything (Melchior Productions Rio De Janeiro Mix)

Espècie Invasora

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 (Mike Shannon_s Re-compression Mix)

Mathew Jonson

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