Marvin & Guy was born in 2011 from the children of two different musical generations with a shared knowledge of how to make people dance. Influenced by legendary DJs such as Ron Hardy, Larry Levan or Tee Scott, their sound is firmly rooted in disco but keeps evolving with each release.
In their debut EP for Hivern, they keep expanding their palette with three tracks that push the boundaries between the disco culture and a techno spirit. "Egoísta" is a highly hypnotic joint driven by a warm analogue bassline and a spacey pad that has become a staple in John Talabot's sets during the lasts months. “Canción (Para Tí)" manages to blend an italo arpeggio, a 303 bassline and pumping disco beat with a certain latin spirit to create a crushing dancefloor belter. "The Man who Lost the Hat" is an obscure trip builded around psychedelic synths, a rolling bassline and topped with spooky vocal samples.
The 12” comes wrapped in a sleeve featuring pictures of México-based photographer Pia Riverola and design by Arnau Pi.

Egoísta

The crew would gather once more to party under the sunlight of the mystic beyond. They would leap, prance and move their feet as they raised their cups high towards the skies above. "Haru Matsuri" they would chant to the lord on high up there. They were saved and now was the time for dance. Strike up the guitars, bang the drums, play it loud and groove with the summertime sound of the future planet, the future sky, the new world belonged to them. 
Olde Gods are a duo made up of Guillamino and JMII: two widely reputable producers in their own right who have released music across labels including Hivern Discs, Third Ear, Bankrobber and 100% Silk. The pair released their debut as a duo back in 2014 on Minor Planets and have now announced a follow up. 'Haru Matsuri' is their latest offering featuring a remix from Brooklyn's Octa Octa. A great package all round.

PREMIERE: Olde Gods - Haru Matsuri (Octo Octa Remix)[Minor Planets]

Javi Redondo – 'Heroin'

Artist : @fortromeau
Label : @dgtl-festival
More premieres : bit.ly/2eTWTpU

DGTL 002

Premiere : Fort Romeau - Untitled II

So here we are with Riotvan's second installment of the "Familiar Faces", showcasing what's happening with the label these days (a lot), making label-residents shake hands and welcome affiliated folks to the syndicate. Although this is a 'various artists'-format, the here gathered stylistic approaches and track-turned mindsets make a strikingly coherent body of work. Just another evidence of how Riotvan has evolved into a renowned think tank of likeminded artists and indicator of state of the art sonic bliss. 

Kicking off we find Perel immersing in yet another synth-driven stream, seeking continuation to her latest, widely praised full length-cycle, but this time bypassing Venus or rather "Super Venus" while floating off to other otherworldly dimensions.

Next in line are Black Spuma, i.e. Lauer and Fabrizio Mammarella, demonstrating via "Drumbaeck" what a match in Neo-Disco-heaven they are. A highly energetic beat, laying the grounding for a cheerful synth-hook and harmonies you won't get out of your head anytime soon.

Same goes for "Tropical Redux", the follow up by none other than Panthera Krause. A particularly elated affair, carried out by a funked up bassline and a catchy string-theme, sticking its neck out in Disco-realms, while maintaining a primetime-adjusted groove.

At this point it's about time for a premiere. Say hi to New Hook, an all-female power-force with their debut release. "FXART" comes as a well-versed exercise in reviving frigid 80ies leanings with a contemporary urgency and attitude. And that's just a glimpse on what's to come from Linda, Ilka and Juliane.

Chinaski, definitely no stranger to the Riotvan family, is taking on the 80ies vibe and hands in "Zeichen der Zeit", an unhasting ride through various galaxies, combining nostalgic synth-aesthetics with spaced out futurism.

Closing things off, it's label-mainstay Jennifer Touch cutting deep with "Bleed", an almost existentially emotive composition, exploring spiritual abysses lyrically, re-modelling emotional chaos within the overtones of the arrangement and even trimming things down to physical functionality within the track's progression.

"Familiar Faces Nº2" will be out end of October 5th on Vinyl and digital formats, both being distributed by Muting The Noise. Artwork courtesy of Karen from Studio M21N.

www.riotvan.de

Familiar Faces Nº2

Bleed

PRE-ORDER

Jennifer Touch - Bleed (Snippet)

Buy: 
https://lifeanddeath.lnk.to/MeditationTunnel

The Rapture’s Luke Jenner ventures firmly into the dance floor, this time in full force, on Glittering Jewel, the Brooklyn-based producer’s debut EP under his Meditation Tunnel guise. 

Following his initial outing, La La La, on Life and Death’s vinyl-only sub-label, Blitz Series, Glittering Jewel sees Jenner step up with three outsider cuts, dripping in personality.

Cloaked subtly into the backdrop, Jenner’s unmistakable croon features throughout the disk - a highlight across the board. While dilapidated drum machines, crunched beyond recognition, propel the record into techno territory, Glittering Jewel retains the artist’s bespoke youthful sense of blue-eyed naiveté.

Red Axes come through with an unclassifiable, stripped-down reinterpretation of Fire Fly, the perfect pair to deconstruct and re-contextualize the original material. 

Carefully pressed on high-quality, transparent vinyl, LAD039 stands as a testament to the label’s shifting auditory ethos.

Artwork by Michela Picchi

@howigotover
@lukejenner

Pre-order

Meditation Tunnel - Silent Son (Original Mix)

More Info: http://www.undergroundtelaviv.com/?p=6035

Follow  Naeiiv: @naeiiv
Follow Sol Eterno: @soleterno69

There’s a particular euphoria within the sound of things gracefully falling into place - and
when nature, intuition and senses coalesce and translate into coincidental layers of organic
and synthetic musical structures - good songs are made. It may have taken Bavarian artist
Dan Grassler eight years of producing ethereal tracks with ambient disposition and jaunty
tendencies to divest and recloak as his Naeiiv moniker, but after retracing his musical drive
and reimagining his artistic vision over the past two years, Grassler unravels his narrative
this spring through a three-track EP on the up and coming, Berlin-based Sol Eterno. And
though the project came about just because it sounds and feels right, well, it sounds and
feels right. The young label led by Braunbeck and Hazel, has brought a handful of new
talented acts into the light (pardon the pun) and SOL007 keeps that momentum going.

In ‘A Trip to Morainia, He-man’s friend Teela points out that with an open mind, good ideas may come from unexpected places.

Naeiiv’s own journey to Morainia was an anxious but necessary risk. By letting himself be naive
again, and surrendering the upperhand of proficiency, the DJ/producer maps out his own
direction and cuts a unique signature sound along the way. Naeiiv crossed the bridge out of
Eternia by way of ‘A Trip to Morainia’ - a melodramatic tapestry of graceful sound structures
aroused by curiosity and tightened by inconsistencies and the acceptance and embrace of
the unknown. Elegant snare, astute fusion of organic and synth sounds pummel the
determined and inquisitive EP forward and increasingly relevant to human motion - likely on
the dancefloor! 

Release Date: April 26, 2019.



Enjoy the exclusive premiere of 'Trip to Morainia'.

More Info

Premiere: Naeiiv - Trip to Morainia [Sol Eterno]

L E A

It’s taken @yotamavni a little while to get to his debut album; almost a decade, really, since his debut 12”, “That’s What The World Needs”, on California’s Seasons Limited imprint. During that time, the Tel-Aviv based producer has refined his productions, tightening the groove and paring everything back to bare essentials; the power in an Avni cut is its combination of piston-pulse propulsion and a deep, but gently applied, musicality. This combination gives his techno productions added heft on the dance floor, but also a lyrical sensibility that places him squarely in a tradition of techno legends who somehow manage to make the four-to-the-floor a space of poetic intensity, of rigorous joy.

Avni’s been on Kompakt’s radar for a while, first appearing on the label last year, with his Speicher contribution, “Mañana Mañana”. (“Track For Agoria”, from that EP, also appeared on Total 19.) The connection immediately made sense – dance music that managed to feel both lush and streamlined across the same great gasp of late-night energy. But with Yotam Avni Was Here, he’s taken a huge leap. After a brief intro, Avni sets his stall with “Beyond The Dance”, which features slow-moving vocal melisma over sculptural, melting tonalities, a tintinnabulating, harpsichord-like two-note phrase pacing out the track. Then “It Was What It Was” comes into view, its strip-light textures suddenly placed into sharp relief by a muted trumpet figure that hangs in the air, melancholy and pensive.

It’s no surprise, at this point, to discover that Avni’s inspirations for Was Here took in the histories of both techno and jazz. “I wanted to try something more around Detroit Techno meets ECM,” he reflects, when explaining the motivating forces behind the album. “Carl Craig’s Just Another Day EP and Kenny Larkin’s Keys, Strings, Tambourines came out during my high school years and had huge impact on me.” Avni’s also appeared on Transmat compilations, and remixed artists like the Midwest’s Titonton Duvanté, and Orlando Voorn – the latter particularly important for the way he connected the Detroit and Amsterdam techno scenes – his career path is marked by ongoing connections, direct and indirect, to Detroit’s storied history.

“I always wanted to go back to those hi-tek soul roots on a full album,” he continues, and he’s definitely exploring that terrain here, with the sky-strafing brass on “Free Darius Now”, morse-code keys on “Vortex” and glitchy, microhouse tickles of “Know Hope” all contributing to an oblique narrative that seems to arc across Was Here – one fleshed out by guest musicians, who include dop and Gerog Levin on vocals, and trumpets by Greg Paulus (of Beirut and No Regular Play). The cover art makes the jazz connection explicit, riffing on the text-based, minimal design of The Modern Jazz Quartet’s 1955 album for Prestige, Concorde. But the way Avni has gathered around him both inspiring musicians and intriguing reference points makes me think of his broader career as well, the collectivism behind his AVADON nights in Tel-Aviv, his many and wide-ranging releases on labels like Innervisions, Hotflush and Stroboscopic Artefacts, and the openness of his productions, which seem to be all about the multiple, the possibilities of cross-pollination, of fusing this with that, of adding and subtracting, all under the pulsating thumbprint of techno.

Good things, after all, are worth waiting for.

Flossy Flossy

Mathieu

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