Tresor

techno

Tresor stúcke.

Для Быков ;)

Half of the last addition to the Bleep Green Series.

Buy at Bleep

Red Place [BLPGRN005]

Arlles Stic - The Dark Side ( Original Mix )

You can spot Jimmy Edgar's homegrown imprint from twenty paces -- someone at BR HQ genuinely peered at my screen and said, “bit of Ultramajic, eh?” while I was typing this. The warped club constructions falling off the label’s assembly line take many forms, but often serve as an aural reflection of that typically eye-popping artwork: synthetic, pneumatic, and kinda sleazy.

Chambray’s “Rub” flew the freak flag high all through the summer. Now, as a bonus on his Rub Remixes, we have a remix of deep cut “Untitled” by none other than Len Faki. The longstanding techno don remoulds the track into the kind of functional, weaponised tool that laid our Berlin space to waste back in April.

Chambray 'Untitled (Len Faki Untitled Mix)' - Boiler Room Debuts

If there’s one thing Jonas Kopp has proven over the last decade is that he can turn his hand to just about anything. Since debuting on Pfirter’s revered MindTrip Music back in 2006, the Buenos Aires native has managed to rack up a rich and compelling discography, coursing with ease through electronic music’s various forms. 

From warm Chicago house through to deep, dark and driving techno on labels like Deeply Rooted House, Stroboscopic Artefacts and more, Kopp’s hypnotic and heady sentiment has remained the red thread throughout, which has allowed him to flourish as one of techno’s more liberal dance floor purveyors. 
More recently, for Illian Tape he strayed out of the ring entirely to deliver two billowing, orchestral-sized ambient works; proof that there’s still plenty more to come from someone already so well-versed and dexterous in his craft. 

It’s high time then, that Jonas Kopp should present his first full-length effort. 'Beyond The Hypnosis' weaves Kopp’s discursive repertoire into a single and concise narrative, covering both familiar ground and exploring new and spellbinding territories, along with just a hint of cosmic neo-retroism that makes this a welcomed edition to the Tresor catalogue. 
Despite having just a single release on the label so far, 'X' featuring on DJ Hell’s 2013 Kern Vol.2 compilation, Kopp has been a firm fixture at the club since 2011. Jonas Kopp is the next in line of contemporary luminaries that Tresor proudly welcomes to the fold. 

'Beyond The Hypnosis' is a techno album as ambiguous and unrestrained as its astrological muse. This is Kopp at his most wayfaring with titles like 'Seven' and 'Green Square' showing off more of the producer’s flare for spacey, subaqueous music. There is of course plenty of floor-facing material as well, delivered with less stringent functionality than we’ve seen from him before. The perverted 'Tau Ceti', for example, or the basement-dwelling single 'Red Plented' have been tarnished with the same brush as this album’s more dreamier moments, like 'Ironcry', setting them apart from stand-along experiments to work collectively as a symbiotic and fully-fleshed whole. 

'Beyond The Hypnosis' will be available on CD and 2LP, accompanied by the 'Red Plented EP', featuring two titles exclusive to this 12". 

10. Jonas Kopp - Tau Ceti

To celebrate the end of a startling year, as well as the release of Jonas Kopp's debut album, Tresor Records is glad to present an unreleased and singular ambient work from the dexterous Argentine producer, featuring an appearance by Romina Cohn. 

Download :: Jonas Kopp - The Moon Is Our Light feat. Romina Cohn

Following the release of Jonas Kopp's capturing debut album and the recent Transllusion and Drexciya re-issues, the Berlin powerhouse starts the year with a bang.

Tresor Records is proud to introduce the debut collaboration between all-time reference DJ Deep, and emerging artist Roman Poncet, with two powerful 12"s released back-to-back, exploring both modern and classic interpretations of techno.

DJ Deep, uncovered by Laurent Garnier in the early ‘90s, has always rested on the cusp of modernity, whether in the realm of house or techno, relentlessly delivering visionary selections throughout. As label owner of Deeply Rooted, DJ Deep seeks out likeminded artists, including Poncet, to propel his vision of contemporary sounds.

Roman Poncet, surfaced in 2013 with a growing catalog on labels as Deeply Rooted, Taapion or Figure. The blend of the two producers is simply incendiary and their profound compatibility takes all its sense on these two EPs.

A2. Adventice - Data Retrieval

B. Adventice - Extraction Force

We are happy to present Misoo from italy, who is known for his versatile techno productions. After his huge remix for Marc Troit’s ’1210 Feeling’ he shows up again on Drowne Records with his ’Red Lights’ EP. Coming to light with two original tracks and two remixes by the german techno-stalwart Krenzlin & the austrian techno-mistress Verona Kramer, this release covers many facets of techno. 

The title track 'Red Lights' comes up with a short intro, before a sweet offbeat-accentuated groove predetermines the tracks direction. Piercing one-note synthstabs and warm strings reinforce the tracks melodic character and create an uplifting mood! Well placed snarefires make tension, and bright rides enlighten the tracks structure, while classy cowbells remind on days which have been long gone by, but not forgotten! 

Follow-up ’Transfer’ starts with bulbous kickdrums, a tonal bassline and driving low percs, which lay the foundation for a unique techno track. Sharp hihats chop an offbeat-accentuation and additional tops start layering to tighten ’Transfer’, while powerful crashes and rides strike at the right time! Propelling percussions back-up the groove while electrifying synths break through the soundscape and bristle with energy before submerging again. 

Krenzlin , who is deeply rooted into the infamous Tresor/Berlin, boils it down with his conceptual 909 rework of ’Red Lights’, and takes no prisoners. His rework storms ahead right from the beginning and uses the originals strings and synths to transfer the uplifting mood very well! Tribal percussions clank back and forth while the beloved 909 ride bristles with energy, and confirms Krenzlin’s re-definition as a tune to blow the roof off! 

Last but not least, Krenzlin teamed up with Verona Kramer to put hands on Misoo’s ’Transfer’ too. Their remix deploys powerful groove-accentuations and organic percussions alongside nerve-wrecking rhythms. The electrifying synths, known from the original, shove themselves in the foreground and push the excitement to the max, before the remix detonates again! 

In conclusion the 'Red Lights EP' comes along as a versatile release for the peaktime hours, and represents Drowne Records love for the complexity of underground techno music. It reaches from melodic techno to unforgivingly hard-hitting rhythms, and leaves space for different moods too!

early support: Andres Gil, Axel Karakasis, Boriqua Tribez, Dig-It, Drowne, Drumcomplex, Dykkon, Frank Savio, Greencross, Harvey McKay, Hristian Stojanowski, Joseph Capriati, Kyle Geiger, Lukas Stern, M.I.D.I, Marc Troit, Markantonio, Matasism, Mintech, O.T.R.S., Ovi M, Pascal Feos, Patrick DSP, Rene Reiter, Ricardo Garduno, Rob Hes, Robert S (PT), Sebastian Danz, Sebastian Krenzlin, Steel Grooves, The Welderz, Tom Cerrox, Uron, Verona Kramer, Vinicius Honorio / BTK, Xpansul, Zemtex


DRW030 Misoo - Red Lights (Krenzlin 909 Remix)

After Jonas Kopp’s well-received debut album ‘Beyond the Hypnosis’, released on Tresor Records in November 2014, the Argentinian returns to the label with a powerful and club-oriented EP, ‘HHH’. Over the past 10 years Kopp has explored and found himself confortable in many genres of music ranging from housey beats to hypnotic techno. This particular release finds itself comfortably in the middle of a dark and dusty dance floor.

‘Khaa’ opens the EP with a deep pumping bass as schizophrenic chords intermingle with hi-hats to form a stimulating composition full of energy. Conversely, ‘Nahn’ unfolds in parallel structure, cheeky yet with a smoother
bassline to ease delivery in a more more melodious way.

‘Hank’ unfurls with a thunderous stomping bass which cracks upon each beat sending you into a frenetic march while sinister atmospheres appear overhead. ‘Sinstro’ yields a whole new ambiance, with fraught chords pattering on the surface, while spatial airy moods climax throughout the piece to stimulate the mind.
Finally, the digital bonus track ‘Nekh’ brings the story full circle with a bold opening cut which builds into a cosmic trip. Altogether a feverish EP fit for peak-time elation.

A2. Jonas Kopp - Nhan

B1. Jonas Kopp - Hank

B2. Jonas Kopp - Sinstro

Digital. Jonas Kopp - Nekh

Sola Contagio - Decontaminatio02

Clara Cuvé @ Rote Sonne, Munich (08.06.2019)

DJ, producer and bbbbbb boss Bjarki teams up with fellow Icelandic producer Kuldaboli on the label's new release series, HELLCAT. Listen to the warped, sci-fi sounds of 'Hrái Hötturin' now...

More info: https://dj-m.ag/2Sbouai

HELLCAT VOL.1

Premiere: Bjarki & Kuldaboli 'Hrái Hötturin'

Psyk - Transito

"One of the best techno full-lengths of the year"
- Resident Advisor
"9/10 Album of the month"
- Mixmag

Just a few years into their career, CLOUDS have already been playlisted and supported by some of the most respected heavyweights in electronic music. At 21 and 22, these Scottish prodigies have already developed a sound that has made fans out of Richie Hawtin, The Chemical Brothers, Marcel Dettmann, Michael Mayer, Sven Vath, Chris Liebing, Boys Noize and Martin Gore - a cross-section that reflects the range, quality and inventiveness of their music. All this attention through a rapid-fire succession of four singles on Tiga's Turbo Recordings. But these were mere club bombs: now the kids have grown up.
TURBO presents their debut album – GHOST SYSTEMS RAVE – an immersive 14-track journey into the heart of Techno's Future. This record should put CLOUDS in the ranks of the elite UK techno vanguard. Comparisons to the work of Blawan, Zomby, Actress are justifiable and inevitable. What is critical - and hopefully obvious to the careful listener - is that none of this is derivative. That these connections will be made simply speaks to the level of artistry on display, as opposed to any specific tricks, sounds or motifs. Wherever they try their hand, they find an original way forward. For instance, when they take on HARDCORE on the awesome FUTURE 1 and FUTURE 2, it is their own private resurrection of the spirit nexus heyday of early 90s UK jungle and techno, a historic time that also literally birthed both Liam and Calum. This is the sound of rave's undertow, dredging up toxic grit and grime, as well as beautiful shards and glimmers.
Almost nothing on this record is obvious. The melodies never resolve. The vocals are consistently unintelligible. The drums are at once dirty, punchy, and repetitive, but never too abrasive to put you off. The bass growls. Textures breathe, brush, grate and glisten. Everything sounds as though it exists in an alien world of impossible dimensions, complete with its own physics, logic and secrets. 
This record is more than fully formed. It's perfect. Made in a few weeks of total isolation in a barn in Scotland by two kids with a laptop and total conviction. Welcome to the FUTURE. It's theirs.

Ghost Systems Rave

Clouds - Future 1

Clouds - Uiqwenmokdan

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.