Paul Ritch is no stranger to Drumcode and has returned with an outstanding single featuring three tracks that will dominate DJ sets. The first track ‘Run Baby Run’ entertains us with an arpeggiated chord sequence that is accompanied by percussion-like synth sounds before bursting into a thick-layered sequence of sound. The dark and dubby side of the single see’s Paul’s ‘Astral’ bring a funky sleazed out groovy track that also uses a discerning melody. ‘Mind Insistence’ is a dark 5am groove that will keep the dance floor swaying in the early hours with it’s tripped out feel and syncopated percussion.

DC115 - Paul Ritch - Mind Insistence - Drumcode

Release date (vinyl & digital): 10th of March 

After a string of acclaimed releases on Token and a selection of remixes, Ø [Phase] released his debut album 'Frames Of Reference' on Token last fall. It earned him outstanding reviews at Resident Advisor ("a display of real power and finesse" 4/5), in DJmag ("a calculated masterpiece" 9,5/10), at XLR8R ("sticks out as an alternate route to the heart of machine music's appeal" 8/10), Groove Magazine ("pulsating techno in which every sonic details fits") and more.

Following the first single “On The Edge / Perplexed” & the second single “Dirtro II” (including the stellar ‘New Device Remix’ by Robert Hood), we now present you the last segment of the series with 2 remixes. On the A-side Rødhåd delivers an epic 10 minute interpretation of the first single ‘Perplexed’, while Robert Hood delivers a second, more minimalistic take on “Dirtro II” for the flip.

TRACKLISTING
A. Perplexed (Rødhåd's Extended Mix)
B. Dirtro II (Robert Hood's Redeemed Mix)

www.tokenrecords.com
www.facebook.com/ashleyphase
www.facebook.com/tokenrecords


Remixed

Ø [Phase]- Perplexed (Rødhåd's Extended Mix)

Emmanuel Top - Radio

Ben Klock - October

Learning To Fly will be Jonson's second release on Minus, following 2004's Decompression EP - the release that truly launched him on the international stage and laid out a blueprint for his ever-evolving style, one that manages to consistently explore new territory whilst maintaining the aesthetic that makes his productions distinct from every other artist working today. Learning To Fly is arguably one of the most exciting singular works of Jonson's career, recalling his first Wagon Repair release: 2005's Marionette, a record that continues to inspire cultish devotion six years after its release and thoroughly deserves every adjective for 'hypnotic' and 'anthemic' that's ever been thrown at it. Learning To Fly retains those qualities whilst taking them yet further - a 12 minute sci-fi exploration that achieves that mark of classic electronic music production, working just as thrillingly for personal listening as it does when experienced as part of Jonson's transcendent live performances.

Feedback!

Sebo K: "I love it!  Perfect for the festival season!  Will play it a lot!"
Richie Hawtin: "This track has rocked my world since the moment I first heard it! ! Very proud to be releasing it and playing it! BOMB!"
Loco Dice: "I love the release. Great return and great music."
Will Saul: "Love this single. Will play it to death. Best thing from Mat in ages."
Heartthrob: "An amazing track!"
Ewan Pearson: "Trippily great. A worthy follow-up to 'Decompression'."




Learning To Fly (Clip)

Titled ‘We Grow, You Decline’ the eleven new pieces dare you to readjust your perception of @Kobosil's previous releases and invite you to listen carefully – in a more quiet environment than the usual dancefloor setting. ‘We Grow, You Decline’ marks a swerve from club-contextual tracks towards a more musical, multilayered song format, but it's worth mentioning that the album is not a reinvention of Kobosil's past production efforts. There have always been distinct hints of his fondness for more abstract, non-dancefloor rhythms, discomforting sounds and mindful listening in his young discography.

Kobosil | The Living Ritual

Digital: http://smarturl.it/PaleoPt3EP
Vinyl: 
https://www.decks.de/track/747-paleo/ccj-hu
https://www.juno.co.uk/products/747-paleo/696035-01/
https://clone.nl/item52010.html
https://www.hhv.de/shop/en/item/747-ryan-chan-paleo-598866

@aquaregiarec

Tracklist:
C1: Astero Ceras
C2: Suture Lines

Release Description:

The third edition of Paleo from 747 unfolds with Astero Ceras. Buoyant nektons are on a voyage; the ammonites delicately gyrating with the currents. The connection between the sea and sky is forged by the gentle lunar pull on the planet's oceans. Asterocerai schools are caught gazing up at the stellar reflections on the liquid's surface, in competition with the purple and green hues of the aurora. At these low latitudes, nonsensical alien patterns are painted by the Aurora Centralis and fractured by the fluid's motion.

Suture Lines succeeds Astero Ceras, delving into the realm of the individual. Ammonoids swimming in the pseudo-antigravity of the saline seas; planispiral beings, seemingly similar, but distinguished by their internal ornamentation; the convoluted meandering lobes and saddles of the sutures, a special fingerprint, complexly dividing the chambers. These strange denizens of the deep gently drift towards extinction.

-

About The Paleo Series

The series explores the geological past of our planet through acid. The four-part series comprises three digital EPs and a concluding double EP vinyl release of the whole collection plus two additional vinyl-only editions.

Artist: 747
Title: Paleo Pt. III
Label: Aquaregia Records
Catalogue: AQR0009
Format: 12" Vinyl, digital
Genre: Techno, Acid
Release date: July 2, 2018 (vinyl), July 13, 2018 (digital)

www.aquaregiarecords.com

www.facebook.com/aquaregiarec
www.facebook.com/Team747

@aquaregiarec
@747

I/T: @aquaregiarec
I/T: @rchan747

Paleo Pt 3 EP

Buy Vinyl

747 - Astero Ceras (Original Mix) [Aquaregia]

Caldera

DRGN2

Minus Orange

Minus/Orange 1

PPR010: La Fleur - Ravenwaves EP

The 10th release also celebrating 10 years of Power Plant!

Release date: 24th of April 2020.

Ravenwaves EP

Ravenwaves (Original)

Buy/Stream

One Sound / Myth

One Sound (DJ Hyperactive 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
