Ricardo Villalobos - Dexter

Dual

Aliens Don't Boogie Remixes Part 1 
Remixes by (Andrey Pushkarev, Waage, Mark & Matt Thibideau, Octal Industries)
Thule Records
Cat. THL027 
Format : Vinyl 12"

The majestic Aliens Don't Boogie was an instant banger when it was released back in 1999 and has been a regular in the bags for some of the largest DJ's in the techno scene for years. Now some of the big names in the Dub techno scene make their homage to this classic and do so with style.
Firstly we have the don of the Russian techno scene Andrey Pushkarev transforming it into a ultra-deep hypnotic voyage. The Icelandic techno youngling Waage brings his hallmark dub influences and creates an after- hours delight from the source material. On the flipside, it starts with a remix from the brothers Mark & Matt Thibideau. The Canadian sensations are on their A-game with this one; creating a delicately structured atmospheric yet groovy take on the original. The release is completed with a deep and trippy remix from the Icelandic dub techno legend Octal Industries.
Thule Records is considered by many to be a pioneer in the field of dub-influenced techno music, and has been a starting point for many of Iceland's most renowned electronic musicians.

Aliens Don't Boogie" (Andrey Pushkarev remix)

ECOUL039 by @dottsantafeo & @bruitblanc_official with beautiful remixes by @moodeep and Brenno DellaVecchia (@brennod)

PREMIERE: Dott. Santafeo & Bruit Blanc - Olivetti

ORN029 - W+P by Marko fürstenberg & Luke Hess

youANDtheMachines - "The Veil" feat. Keter Darker (Duel Reshape)

Mathew Jonson - "Spaceport 23" - Half Baked

Release Name: Mukamura
Artist: Kletis
Catalog Code: [CODX006]
Format: Digital
Release Date: April 26, 2024

Our concepts are usually created around topics such as ritualism, tribal rhythms and nature as a whole. We owe its existence to the collaboration of several arts, technologies and various artists that contribute to the process. 
This platform aims to be a grid that connects and intertwines diverse realities and visions and cohesively achieves to put them together.Therefore what we call a label could also be called an Art Network.


Music: Kletis & LD Hypno
Mastering: Soma @ THE CODE Studios
Artwork: Valentina Canga

Kletis - Mateto

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

Bandcamp pre-order : https://lnk.to/COL002

In the shadows of a soft-shell giant 
a group of seven astronauts. 
entered Space and Free Rotation. 
Guided by mr Holmes
abstract improvisation took place
in the purple heart; surrounded by fluffy sheep, 
and left us all in silence.

For the second release on their recently launched imprint, Circle Of Live is proud to present Live At Freerotation 2018.

The follow-up to Loop For Today is comprised of select cuts from an improvised live performance during this year's Freerotation festival.The artists took over the main stage with an unscripted, freeform live performance from open till close.

Offering a recorded first glimpse into the free-flowing experimental set-up currently touring top European venues, the EP is a collaborative soundscape with contributions from Dorisburg, Johanna Knutsson, Mathew Jonson, Sebastian Mullaert and Steevio.With no prior planning whatsoever aside from an agreed BPM, the recording presented on this unique release offers a snapshot into the imperfections and charm of truly improvised live performance - a refreshing notion in today’s overproduced musical climate. Conceptually, the EP can be understood as more of an open-ended argument in favour of spontaneity and collaboration than a collection of tracks.

Envisioned and created by Sebastian Mullaert, Circle Of Live represents an organic process which aims to detach itself from the habitual routines of dance music, to allow the weird and wonderful elements of collaborative performance to truly come to life. Utilising Sebastian’s unique live set-up which can accommodate any number of participants at once, artists drop in and out and collaborate as much or as little as they like.

COL002 captures the best of Circle Of Live at Freerotation, an odyssey of sound, with rich textures providing a grounding for playful melodic and percussive improvisations. Gently rolling kick and bass patterns drift in and out, carrying the listener along, whilst analogue call and responses showcase the pure synergy of the artistic interplay.

Sebastian Mullaert and Circle Of Live continue to tour Europe with select guest performers and have upcoming shows in Barcelona (Nov 24th @Nitsa), Amsterdam (Dec 14th @Shelter), Berlin (Dec 20th @Funkhaus), Munich (Jan 11th @Blitz), Brussels (Jan 26th @Fuse) and London (Feb 2nd @Village Underground).

Website: www.circleof.live
Bandcamp: www.circleoflive.bandcamp.com
Facebook: www.facebook.com/circleof.live.ofc
Instagram: www.instagram.com/circleof.live/
Twitter: www.twitter.com/Circleof_live

Live At Freerotation 2018

B1 Live At Freerotation 2018

12"/Streaming/Download

Mathew Jonson, Sebastian Mullaert, Johanna Knutsson - B1 - Live At Freerotation 2018

Marko Fürstenberg: "Amethyst" / ORNAMENTS 026

B - Marko Fürstenberg: "Saturday 15th"

Changes, Pt. 1

Changes

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

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