Goldie - Redemption (Mathew Jonson Remix)

Paul St. Hilaire + Rhauder "Skank" (Cobblestone Jazz Remix)

Fred und Luna - Nicht Musikalische Stadt Unter Schritten (Mathew Jonson Remix)

Martinez Brothers "NO POP" (Mathew Jonson Remix)

Taken from The People In Fog's EP 1977 Remix on Sound Of Vast, out March 21.

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Premiere:  The People In Fog - Less Is More (Satoshi Tomiie Remix)

Mathew Jonson - "Spaceport 23" - Half Baked

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Efdemin - Sun

autumns day

VA 'Echo 0.1' - Tremelhof (Vinyl Only)

Hypercolour round off a busy year that has seen recent releases from the likes of Kerrier District, Gary Gritness, Roman Flugel, DMX Krew and Outboxx.  And in their 10th anniversary year, the label close 2016 with the heavyweight pairing of Mathew Jonson & Sebastian Mullaert.

Two summers ago, with no distinctive aims or deadlines, Jonson was invited to come and work with Mullaert and stayed for 5 days in the exceptionally beautiful surroundings of one of Sweden's National Parks. Inspiring a creative process far-removed from the harsh and harried pace of urban life; freedom to jam, play around and most importantly, reconnect with nature and the natural flow of ideas while deep in the forest, allowed their collective visions, directions and feelings to comfortably unwind. 
 
As Mullaert puts it "the freeing up of space and time allows an artist to rediscover him or herself. Frames can't be too rigid, static detail hinders the process to unfold in a beautiful way". Engaging mostly in ambientic-style sessions 'Pollen 4 Life' was made on a day the mood took them in the direction of the dance floor. True to form and still escaping any kind of prescribed formula, the music embodies this fluid, evolving journey and a sense of losing yourself...
 
Both long-time figureheads of electronic music, Mathew Jonson (one third of Cobblestone Jazz) and Sebastian Mullaert (one half of techno duo Minilogue) have been collaborators and an inspiration to each other for over a decade, first with releases on Jonson's label Wagon Repair and most recently as live trio Mathew Jonson vs. Minilogue, which only stopped touring last year. Originally meeting at the fabled Labyrinth festival in Japan 2005, Mullaert explains "our paths have crossed in different ways and now it's time for an EP together; the fruit of Mathew's visit to Röstånga. Pollen 4 Life".

Pollen 4 Life

Mathew Jonson & Sebastian Mullaert - Pollen 4 Life (Dub Mix) (Hypercolour)

An uncompromising return is coming and we, as a label, are extremely proud to host it on our frequencies: the internationally known Russian duo @Scsi-9 is back with “Squares And Circles” an 8 track album enclosed in a double vinyl. The 8th record on our elecTronic catalogue is an abstract, geometric but above all analog journey through Anton & Maxim’s souls; an identifying concrete work of research which displays the “two-dimensional & mathematical” approach of their connected minds. The whole LP is musically pervaded by all the sound investigations they made throughout the production period and tells us of all their inner perfectionism and willing to strive for a sense, a meaning to give to a solid composition such as this one. Coming to the raw music itself, they succeed in a complex process of making simple what’s extremely heterogeneous, embodying the psychological theory of the thought against the speech: it’s easier to talk than to think. Well, they talk perfectly through their music which is really difficult to separate into tracks, being such a climax of organic emotions, flowing from the opening “No Rush” with its tight rhythmics and spacey atmospheres to the more low-key and harmonious approach of “You & Me”; rolling on to the firmest and energetic constancy of side B starting with “Get Some Lfo” and slowing down again with the meekest, warm, far-out sensations of “Stairs and Stars”: this track is one of SCSI-9’s watermarks on the album and it’s a drive through an ascendant field of harmonies, peaking at its zenith and oscillating back to a state of peace, letting the last beat taking over. Uncrating the 2nd vinyl we access to the substantial envelope of “Pha In The Hau” and “Systematic”, a track that instantly takes us to an unknown region between the moon, Chicago and Ivory Coast, dancing along to some sort of Zaouli tribe percussions. D side brings the perspective to the edge of SCSI-9’s universe giving us an even closer look to the landscape they’ve created with this treasure album. “303 Views” is the last wind storm on the Lake Michigan, touching all the musical influences that come from that specific area of planet Earth while the last blow “Onigiri” is a soft lysergic guided tour on their very own trigonometric asteroid, with no fear of falling off it. “Squares And Circles” is here and is a determined, hard-lined and intransigent statement of what Anton and Maxim want to communicate us with their vibrations, no matter if you don’t get the whole point, just plunge into the these waters.

Squares And Circles LP

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Scsi-9 - Squares And Circles (LP preview)

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


Fred und Luna - Nicht Musikalische Stadt Unter Schritten (Mathew Jonson Remix)

Mathew Jonson

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