Buy MSK001

Premiere: A1 - Francesco Farfa - Zacido [MSK001]

BUY SOP09

Anchoret - Stuttar (Soela Remix)

Kristin Velvet - Get Down Feat Fred P (Fred P Deepness Reshape)

Stepping outside the Distrokid and Godot Lab realms for the very first time, Sourd debuts on the interesting French label Kasa Obake with a true showcase of his intentions: Becoming a one-hit-wonder performer. Caveat emptor: He is not into fluffy and effortless themes, his hard-to-pigeonhole sonority has complexity as the common thread and manages to feature a good deal of influences into every single parcel. Bothering his neighbourhood in Paris with repetitive patterns, he recently decided to limit his way of producing to a very small amount of gear in order to avoid “leaving any space for useless toppings.”

For his forthcoming outing, Sourd came up with some sort of Analog Minimal House approach and the result is something mission-impossible level to define. Glitchy and idiosyncratic, the EP is coincidently titled with the first line of our will – “If I Die On A Party, Please Party Anyway” – and presents remixes made with love by Laion, Sapphist Eye, and Micro.Tron.

Premiered here, “Dusty” is “definitely designed to be a worldwide hit”, according to the official PR text. Breakbeats paired with complex percussive layers prepare the stage for the takeover of distorted synth riffs and leads. The icing on the cake is delivered by spot-on vocal hooks that add even more groovy and pizzazz to the theme.

You can find (and buy) this and other music pearls on the Bandcamp page of the label: https://kasaobake.bandcamp.com/

Follow @dasarminj and @kasaobake, peeps!

PREMIERE677 // Sourd - Dusty

010925_V1

CORTISOL

Decompression - Mathew Jonson (Konrad Black's Decompresha Remix)

For the 6th release on his label world famous, Alex from Tokyo takes a trip back in time to bring new sounds to our ears. The unreleased original version of Tokyo Black Star’s cult classic track “Blade Dancer” finally sees the light of day! Tokyo Black Star, galactic samurai artist of the 21st century, came to life in the late 1990s, the combined forces of international DJ Alex from Tokyo and Tokyo-based sound engineer Isao Kumano. When Dixon and Âme launched Innervisions in 2005 to shake up the dance music world, they selected Tokyo Black Star’s debut Psyche Dance EP as the inaugural release, adding to it an epic edit of the title track by Dixon himself. 

Along with the original “Blade Dancer,” Tokyo Black Star’s 2020 Blade Dancer EP unveils a 2015 reworking of the track (following analog equipment otaku Kenichi Takagi’s addition to the group). The EP also presents on vinyl for the first time the meditative dream-like ambient track “Kagura,” which appeared on Innervisions’ 2008 ambient CD compilation Muting The Noise 01. Blade Dancer EP features artwork by Berlin’s Ta-Trung and the sublime paintings of NYC-based Japanese painter Tomokazu Matsuyama, Tokyo Black Star’s longtime visual collaborator.

Tokyo Black Star – Blade Dancer EP (world famous)

world famousレーベル第6回目のリリースとして、Alex from Tokyoは時間をさかのぼり新しいサウンドを紹介します。 Tokyo Black Starのカルトクラシック「Blade Dancer」の未公開のオリジナルバージョンがついに日の目を見ます！

21世紀の銀河系サムライアーティストであるTokyo Black Starは、1990年代後半にインタナショナルDJ Alex from Tokyoと東京に拠点を置くサウンドエンジニア熊野功によって結成されました。

2005年にDixonとÂmeがダンスミュージックの世界を揺るがすInnervisionsレーベルを立ち上げ、彼等はTokyo Black Starのデビュー「Psyche Dance EP」を最初のリリースとして選択し、Dixon自身による「Blade Dancer」の壮大なエディットヴァージョンが収録されました。

「Blade Dancer」のオリジナルヴァージョンと共に、今回のTokyo Black Star 「Blade dancer EP」では、2015年にアナログ機器オタクの高木健一が正式にメンバーに加わって
新たにリワークされたnew versionを発表。このEPでは、Innervisionsの2008年のアンビエントCDコンピレーション「Muting The Noise 01」に登場した、瞑想的な夢のようなアンビエントトラック「Kagura」も初めてアナログ盤でリリースされます。

そしてNYCに拠点を置く日本の画家、松山智和（Tokyo Black Starの長年のビジュアルコラボレーター）の崇高な絵画をフューチャしたベルリンのTa-Trungによる素晴らしいアートワークになります。

Okaeri nasai お帰りなさい (welcome back)!

A1. Tokyo Black Star - Blade Dancer (original unreleased version)

LOW BITRATE (128kbps)

The premiere rights for this release have been issued exclusively to Unic by Vade Mecum.

Premiere | A1. Ohm & Octal Industries ~ Sun Dog [VM003]

Follow Vade Mecum:
@vademecumrec
➤ https://www.facebook.com/VadeMecumRec/

Follow Ohm:
@ohm-599575574
➤ www.facebook.com/ohmiceland/

Follow Octal Industries
@octalindustries
➤ www.facebook.com/yetanothertechnomusician/
_____________________________________________

Pre-Order Vinyl ⤵️

https://www.decks.de/track/ohm_octal_industries-see_you_at_dawn_ep/cgl-il

See You At Dawn Ep [VM003]

Stream Full Ep ↪️🎧

Premiere | A1. Ohm & Octal Industries ~ Sun Dog [VM003]

Degu007 A1 Fango N1 (Recubierto mix)

Degu008 Batongo Aguirre (Fango remix)

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 (Konrad Black's Decompresha Remix)

Mathew Jonson

Recent comments

Meminisse

1103 Musik Berlin

Roman Beise

kokernutz

Related tracks