I discover this song today, it makes me buy a plane ticket to see you the 20th august 2024 in Montreal, I hope you will play this track !

psychedelic s2s2  took me to another atmosphere

🚂🚂🚂🚂🚂🚂🚂🚂🚂🚂🚂🚂🚂🇧🇷🏆✅🚨

🌬🔥🔥🔥🔥🔥🔥🔥🔥🚀💥

the virus

So many times pandemics have challenged humanity. But I never thought I would experience one. Just the untroubled free life, which many of us knew, no longer existed. The fear it could hit one from my closer environment, was not to be denied. Only a second vaccination helped to calm me down. 
Now the European Championship 2020 is finally over and the TV pictures of fans breaking through the station security to celebrate the victory with their peers are going around the world. 

Question: If all this is possible, a medium-sized techno event that goes on all night should also be possible? Or? What do you think?

the virus

DOWNLOAD LINK FOR FREE !!!

https://hearthis.at/fuehltechno-undminimal/i-love-the-couch-baby-jake-the-rapper-channel-x-oliver-koletzki-remix/download/

I Love The Couch. Baby - Jake The Rapper & Channel X (Oliver Koletzki Remix)

Felix Heermann - FLEX's Stairways To Mars (Original Mix/ Free Download)

Former Ostgut Ton label manager, DJ and producer Nick Höppner releases his debut album ‘Folk’ on Ostgut Ton in March 2015. More info: http://ostgut.de/label/record/132

More info

Nick Höppner - Rising Overheads

Fabrizio Lapiana - 1002B

Spirals EP

Gliding

RIP TheBastian

I thank you for our time together and dedicate this track to you together with Funki. Most of all, I will miss your view of things, the long phone calls, your laughter and the long weekends with you at Sisyphos. 

thebastian (Original Mix)

Nos Alzamos Como El Océano

DVS1 Evolve HUSH01A (DIGITAL AVAILABLE AT LINK)

Juan Atkins & Moritz von Oswald present Borderland
Transport Remixed (Tresor.298)

A. Transport (Carl Craig Remix - 12” Edit)
B. Transport (Carl Craig Remix - DJ Deep & Roman Poncet Rework)
Digital. Transport (Carl Craig Remix)

Closely following the release of the last Borderland single, the focus returns on Transport, the last collaborative album by Juan Atkins and Moritz von Oswald. 

Long time friend and studio partner of Moritz von Oswald, Carl Craig provides a new take on “Transport”. Extending and stripping the original sequence to its bone, the illustrious Planet E president and illustrious Detroit proponent also summons a stepping drum sequence and a swaying array of moving delays. This 12“ edit is cut on the A-side.

The full version of Carl Craig’s remix clocks just above 20 minutes and is available digitally. Both are available to anyone who purchases the record, through the enclosed download card.

On the flip, DJ Deep & Roman Poncet rework Carl Craig’s remix, adding their signature grooves and myriad of tough drums, to full effect.

Tresor.298 will release on November 3rd on 12” vinyl and digital.

Juan Atkins & Moritz von Oswald - Transport (Carl Craig Remix - DJ Deep & Roman Poncet Rework)

Richie Hawtin: The Tunnel (2005) MINUS33

out on BPitch Control
get it here: http://www.beatport.com/track/go-marcel-dettmann-remix/404188

Ellen Allien - Go  (Marcel Dettmann Remix)

Jam & Spoon - Follow Me (Heiko Laux SloDub)

Steve Rachmad: Strings Of Love

Peter Reinhardt - Eulenkind

Marionette

All rights belong to the artist and producer Felix Heermann.

wait for you to come

Download

wait for you to come (Original Mix/ Felix Heermann)

Everything in Felix's life has to do with music.
_____________________
Contact/Requests

If you have a Booking- request, feel free to get in contact. Please mail to info@uliversum-booking.de  !

More Info - http://www.uliversum-booking.de/live/flex

____________________________________
Bio

Having started making music as a youngster, such as playing in a punk band, it was in 1998 that he visited his first techno party. Never before had he experienced something like that. It seemed to him that everything was allowed in this new exciting music - old systems and musical rules did no longer exist. After his night of "aha" moment, Felix sold his bass guitar, bought his first synthesizer (Korg/M1) and started to produce electronic music. 

A lot has changed since then. He has performed LIVE throughout Germany with artists like Der Dritte Raum, D. Diggler, Tobi Neumann, Index ID, SONO, Norman, Frederico Melani, SQL, Neelix, Rico Loop, Sender Berlin, Tobi Dreher, Pan Pot, Peter Latino, Frank Lorber and others. 

Currently, he works on his solo project known as Felix Heermann (LIVE). 

"My music is made for LIVE experience. For me, everything is possible in music. It took me quite some time to get at where I am right now, but the work has always been very gripping, and it smoothed different ways of making music. I hope you enjoy my sound! For more music of Felix just visit the following links: 
http://felixheermann.bandcamp.com
https://www.mixcloud.com/felix-heermann/; https://soundcloud.com/felix-privat;
https://soundcloud.com/waffensupermarkt/flex"

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


Marionette

Mathew Jonson

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