Anthony Rother is described as an influential visionary, an electro pioneer and one of electronic music’s most prolific producers. For more than two decades Rother aggregated a vast musical canon that reflects his unique career as a sound researcher exploring the aesthetics far beyond the boundaries of electro, techno and pop music.

Starting his recording career in the late ‘80s, the Offenbach-based producer established himself in Germany’s electronic music scene with his first two releases, "Sex With The Machines" (1997) and "Simulationszeitalter" (2000). In 1998, he founded his label Psi49Net, allowing him to keep his artistic independence and showcase his vision of electro music that cultivated a unique storytelling approach, guided by dystopian future visions on societal changes due to technological progress. The vocoder-driven vocals and the dark dystopian synth sound with machine-like beats have become Rother’s trademarks, even before he found international recognition as a science-fiction avant-gardist with the virtual electro-pop project "Little Computer People" (2001) and his 3rd solo LP "Hacker" (2002).

In 2004, Rother created the Datapunk imprint to evolve an immediate, more song-orientated language that used simple melodies and even autobiographic anecdotes collected on "Popkiller." Perceived as one of his most venturous endeavors, yet his sonic shift had a decisive effect on many artists' careers: The Hacker, Boys Noise and Terence Fixmer published on Datapunk in its early days. While some of the experimental ambient recordings for Pete Namlook’s infamous label Fax +49-69/450464 reflects Rother’s prolific output, he also worked and co-produced with several prominent artists such as from former Kraftwerk member Karl Bartos, Sven Väth and DJ Hell.

After its success, Datapunk turned into an enlarging business which devoured both time and creativity to make music. In 2013, Rother decided to let the project rest and took a break that he used to move his studio while only producing music for his HYBRID sets. Through his self- contemplative retreat, he eventually rediscovered the artistic instincts that brought him back to his roots; both in terms of his renewed independence as well as how he channels creativity as a producer. In late 2017, Rother resurfaced with an EP on Danny Daze’s Omnidisc and contributed the track "Technic Electric" to Fabric 96 mix by DVS1. Last year, Rother returned to his Psi49Net label with a new album "3L3C7RO COMMANDO" that transports a clear message: Anthony Rother not only lives in and through his pure electro music, he still has something to say – here and now. The past represents the future!

In April 2019, Rother will release two 12’’ on DVS1’s Mistress Recordings followed by another EP as well as a conceptual LP for Psi49Net in fall. Moreover, Rother will drop a 12-inch on Radio Slave’s Rekids offshoot Stranger In The Night.

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At midnight, on March 13th 1991, a basement door opened at Leipziger Strasse 126, Berlin. Through this door, many passed, on their way to defining new terrains in electronic music. There they found a dance floor in the vaults of a closed-down department store, with a unique sound bound to dense fog, building night after night a history that was also a vision of the future. 

This history has seen in Jeff Mills’ first sets on three turntables, Underground Resistance's first live appearances in Europe, grandiose Tresor Park parties, to various chapters of the Loveparade with Sven Väth in the 90s and since then countless generation-spanning parties. These moments represent the highlights of infinite personal clubbing experiences. It is the manifestation of the Berlin spirit, emerging from its considerable strife. This history is not without its complications - from temporary closure by the authorities and several raids in the early years to closure and demolition of the old location in 2005. What followed was years of wandering in exile and, finally, resurrection in the new home in Kraftwerk Berlin.

These stories, conversations and shared experiences within our walls forge a resilience that drives towards a shared ideal, the Tresor sound: community, resistance, and the world to come. This was observed in the newly re-unified German youth, who danced and celebrated together from the club’s inception, and into the present day through ongoing community work in Detroit. 

Tresor Records was founded in the same year and began to serve as a platform for exporting the new sounds associated with Tresor all around the world. Emergent musicians from Michigan, such as Juan Atkins, Underground Resistance and Drexciya, were pivotal in shaping these early years. Their visits to Berlin would kick-start dialogue between the youth movement in Europe and these musicians. This story is one of friendship and community-building, inextricably linked with cities like Detroit, Birmingham or Edinburgh, where like-minded friends built something truly special, where revelatory rhythms soundtrack decaying industry in corrupted metropoles. 

Tresor Records has been the fertile soil for dozens upon dozens of creative minds, from the very luminaries of the scene who developed electronic music over the last three decades through to contemporary protagonists who are currently defining the sound of the future -  A more than 300 strong catalogue displays an unmistakable identity - the Tresor spirit.

To those that have danced before, and to those that will dance in the future: the light at the end of the long Tresor tunnel is a signal. A flicker amidst the fog. This is our future. This is our place.

Curated by Marcolino and GNMR
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Cocoon Recordings has been founded in the year 2000 as a part of the Cocoon Music Event GmbH. Sven Väth has initiated Cocoon Recordings in order to complete the Cocoon platform as a supporting tool for young artists in Electronic Music. The label philosophy is as simple as demanding: helping young producers and DJs to release their music without depending on Major Label structures. The releases can mainly be assigned to the genres Techno and House.

Cocoon Recordings as a label and Sven Väth as an artist stand for the use of vinyl as sound carrier, also in the future. Admittedly, the Digital Division of Cocoon Recordings has also been set up in 2008 and the numbers of downloads are indeed enjoyable. However, the label's focus is on vinyl, now and in the future. In order to complete the range of services that Cocoon Recordings offers, the publishing company Cocoon Publishing was founded in 2010.

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