Presales Week -1487

Time to prove that the Mojuba sublabel wandering was initially founded to be a platform for all different kinds of good music. The new 12" is the
pre-album-release for Sven Weisemann's modern classic and cinematic forthcoming LP project entitled XINE. It will feature 3 exclusive tracks
which will only be available on vinyl and can be seen as the thematic introduction to the whole concept. Regarding sound a new dimension of the
Weisemann-sounduniverse can be discovered, it sounds like the naturally next step after his excursions on Essays Music. Be prepared for deep pianos, lush strings and breathtaking soundscape which are still connectable with his music that we all love!


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Finally confirmed for release date on the 22nd of june... Here's the greatly expected album from EDBANGER's wizard KRAZY BALDHEAD. In 2009, KRAZY BALDHEAD gives us his first album, «THE B-SUITE», four movements and 49minutes of music. We find TES again on a track, and Outlines on the single «Sweet Night».More than ever, KRAZY BALDHEAD proves that Ed Banger records isn’t only the label of a sound, butwell and truly the label of an era ; is it an electro album ? a hip hop album ? up to you to estimate.
Tracklisting:
1st Movement Part 1
1st Movement Part 2
1st Movement Part 3
1st Movement Part 4
2nd Movement Part 1
2nd Movement Part 2 (Aka "Time")
2nd Movement Part 3
2nd Movement Part 4
3rd Movement Part 1 (Aka "Katana Powa")
3rd Movement Part 2
3rd Movement Part 3 (Aka "Sweet Night")
4th Movement Part 1
4th Movement Part 2 (Aka "Saturnication")
4th Movement Part 3
4th Movement Part 4
4th Movement Part 5 (Aka "The End")

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Finally confirmed for release date on the 22nd of june... Here's the greatly expected album from EDBANGER's wizard KRAZY BALDHEAD. In 2009, KRAZY BALDHEAD gives us his first album, «THE B-SUITE», four movements and 49minutes of music. We find TES again on a track, and Outlines on the single «Sweet Night».More than ever, KRAZY BALDHEAD proves that Ed Banger records isn’t only the label of a sound, butwell and truly the label of an era ; is it an electro album ? a hip hop album ? up to you to estimate.

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It's always a special event when Cadenza releases an artist album, given their relative rarity. In fact, not counting copious doublepacks, the Cadenza Contemporary 01 mix CD, and Ricardo Villalobos' counterintuitively titled Achso EP, there has only been one so far: Los Updates' First If You Please. Making things even more special, Mirko Loko's Seventynine is both his debut solo album and his first appearance on Cadenza, all adding up to a triply celebratory moment. Not that Mirko is a newcomer: as part of Lazy Fat People, he lapped up accolades for releases on Border Community, Wagon Repair and Carl Craig's Planet E, among others. And no one can forget last year's Family EP, a collaborative effort by Mirko and Luciano, released on Loco Dice and Martin Buttrich's Desolat. Now, with Seventynine, Mirko takes us even deeper into his musical imagination, introducing listeners to a side of him they may not have heard before. At its heart, the album celebrates the communal ideal of dance music with spirited, percussive tracks offering a clear distillation of what could only be described as the Cadenza sound. But Mirko also diverges from the dance floor, ducking into shadowy corners in search of more private emotions. Rather than scattering energy, that tension between moods helps bind the album into a potent, coherent whole. "Sidonia" opens, immediately announcing that this won't be merely business as usual. With its groaning sub-bass and flickering percussive flashes, the track echoes the dubby, drifting melancholy of classic Warp records-always, in truth, a key influence for Cadenza. Bells and voices lend an atmosphere of shimmering energy that's carried over into "Around the Angel," which sails jubilantly forward, propelled by intricate polyrhythms and uplifting female vocals.
"Love Harmonic" returns its attention to a classic, melodic sound inspired equally by Detroit and Sheffield, as lean drum-machine patterns entwine with loping congas, and lush strings color everything delicate shades of yellow and rose. "On Fire" marks a 180-degree turn, pursuing a scorched-earth policy as blasts of white noise fire off slow, rhythmic bursts. Sirens and electronic squeals only add to the tension, culminating in nearly nine minutes of techno intensity. After that, "Astral Vacuum" offers necessary respite via a short, beatless passage of strings and abstract sound, before Mirko takes us once again into the breach with "Bluebook," a lean, focused groove battered by metallic drums and shot through with voices and bleeps ripped from radio transmissions. (So this, you may think, is how it feels to ride a satellite.) "Shadow" is deep and melancholic, with a booming 808 kick underpinning ragged, gleaming chords and frayed strings; its hard, mineral edge provides the perfect setup for the cottony flux of "Takhtok." The children's chant will doubtless draw comparisons to Ricardo Villalobos' "Enfants," but here childlike innocence turns ambiguous, even sinister, as the repetitions rise over a primal beat; scraps of Bulgarian folk song give the track a weirdly timeless quality, strange and familiar all at once. With "Le Monologue d'Orfeu," Mirko returns to one of his endlessly unspooling, headlong grooves. Spinning like a water wheel, limpid tones wash gently over everything, and a long spoken passage in hushed Portuguese falls over the music like a dream's veil. It's just one of the album's many examples of Mirko's talent for simplicity, for stripping back to reveal the essence of a particular feeling. "Altrove" is another cinematic interlude, two minutes of molten strings and electronic birdcall you wish could go on forever. But there's one more dance to be had: "You Know Where," which rises from a wooden, skippy rhythm into a string-laden celebration of techno at its most melodic. Having twice performed at DEMF, "You Know Where" might well refer to the Motor City; in any case, its deep, sung/grunted bassline serves as the warm, pulsing heart for this massive, man/machine mover. It's a glorious finish to an album that never takes its eyes off the horizon, sending it up, over and beyond. Seventynine is ultimately all about the journey, as it travels between Lausanne, Detroit and outlying points on electronic music's map. Mirko's travelogue bridges the gap between a classic Motor City influence and Cadenza's own nomadic aesthetic, firing up dance floors and fueling the imagination.
Tracklisting CD
1. Sidonia
2. Around The Angel
3. Love Harmonic
4. On Fire
5. Astral Vaccum
6. Bluebook
7. Shadow
8. Takhtok
9. Le Monologue d'Orfeu
10. Altrove
11. You Know Where


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Hold onto your hats! Making their debut appearance on Cadenza, Cesar Merveille & Pablo Cahn-Speyer touch down like a cyclone, with two percussion-heavy cuts that pay homage to the glories of vintage mambo. Cesar has quickly made a name for himself with releases on Circus Company, Serialism, Safari Electronique and others, with his "Chocopop Jazz"—released under the name Cesar Maravillas—making a huge splash in 2008. This is Pablo's first release, but the London-based pair is already well known for residencies at T-Bar, where their colorful, upbeat sets provide a soundtrack perfectly calibrated for the feel-good hedonism of some of London's most celebrated parties. "Tribute," already known to clubbers as a highlight of Luciano's recent sets, is a killer fusion of old and new, splicing vintage samples from golden-age salsa into a stomping groove that's as chunky as a pair of high-heeled wedges. It all starts out as a stripped-down, highstepping drum track, punctuated by sexy, primal whoops. But that ain't the half of it. In come spooky flutes, fluttering sax and the rush of crowd noise, with an irresistibly funky jazz break building tension. Before long, the bandleader's calling out the dance, chanting and
singing. Horns are blaring, piano pumping, congas rolling. It's a veritable hurricane of African, Caribbean and European musical traditions, and anything that isn't tied down will soon be soaring above the dancefloor. "La Yuca" is a far more subdued affair, laying down a nimble, gliding groove with just the slightest hint of disco to it. Layers of additional percussion—syncopated toms, splash cymbals, chirping congas—give the track a powerful sense of swing; a lone, repeated chord sets the atmosphere, expanding like a giant soap bubble. Assuming center stage is a haunting male vocal sung in Spanish—weathered, gritty, and emotionally ambiguous in that particularly Latin-American way. It's not a "happy" or "sad" song, it's storm cloud and silver lining all tangled up in one, and it's gorgeous.
FULL SUPPORT BY LUCIANO, ÖNUR OZER and many others !!!

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Cadenza returns to its Chilean roots with a new EP from rising talents Felipe Venegas and Francisco Allendes. This is their first record for the label, but they've been stirring up trouble for a while now. Felipe Venegas racked up a handful of digital releases before his vinyl debut last summer with the Pa Bailar y Pa Gozar EP on Immigrant. Francisco Allendes has been releasing music under his own name since 2003, but in recent years he's been best known for the duo Monomachine, with Iñigo Oruezabal, responsible for records on Catwash, Paradigma and his own Andes Music label. Together, they combine their influences—sturdy tech-house, classical minimalism, Chilean folk music and scads of Afro-Latin percussion—into three tracks that put a fresh twist on the classic Cadenza sound.
"Llovizna" is a marvel to behold, wrapping itself in velvety, ribbon-like arpeggios that recall the soft, rounded melodies of Loco Dice's "Paradiso" and Luciano and Thomas Melchior's "Father." But as pretty as it is, this is no shrinking violet. A fierce, muscular rhythm section gives the track its unusual power. It's all about the study in contrasts, with bells and shakers falling in a fine, regular mist, interrupted by thundering drum fills. A long passage of Spanish-language folksong forms the song's hushed, expectant centerpiece; finally, the percussion grows in intensity, a sparkling fusion of acoustic timbres and electronic frequencies, setting the scene for the track's expansive finale—a tour de force of lush, tender synthesizers following a meandering and mesmerizing path to some secret destination.
"Parrot Plot" jumps into the thick of things with tight, springy percussion, flickering vocal shots and a taut trampoline of a bassline. It's a drum track, a tool, if you will, but Venegas and Allendes' unusual rhythmic flair pulls more than its own weight. Once again, the rhythm is an electrifying mixture of acoustic percussion, analog slap and hiss, and psychoacoustic effects, with beats exploding like a hive of neon bees. A brief sample of old-school Latin jazz opens up a wormhole to a distant time and place, but the bulk of the action takes place on the plane of the here and now, skittering across a hall of mirrors towards infinity.


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I, the ninth letter in the Latin alphabet, is statistically the third most used sign in the German language. Even more interesting is the echo of the I in the English language, as there is no other linguistic possibility to define the first person singular that simple and concisely. Therefore, I means also me, the sound-wise definition of the subversive aesthetics of Cocoon Recordings, of inspired electronic dance music of modern spirit and of the dignified follw-up of one of the most successful series of compilations within the context of House and Techno, whereas this edition's focus on House is significantly. That's why I begins with a personal debut: the Berlin-based producer and outstanding DJ Tobi Neumann, an important part of the Cocoon family already for years, has recently been more active in the background, as producer and remixer for 2Raumwohnung or Chicks on Speed, for instance. With the first release under the name eMT, Tobi and his partner Matthew Styles are enchanting the dancefloor with a warm and organic sound, peeling the summer out of its garment and "Extra Lunch" seems like a reflection on a clear water surface, thanks to small vocal snippets and permanent strings. A great start, especially because the Dutchman Laurens Lanting aka Lauhaus stays exactly on this track with his percussive and Detroit-dubby-style "Back To Ipanema". And being already in Holland: Jeroen Verheij aka Secret Cinema is already a constant on Music Man Records since the beginning of the Nineties and may be also known to some under the name Meng Syndicate. His contribution "Kurzweil" may be the most ingenious track that has been made in the field of highly harmonic House with piano and strings over the last few years. Hands-in-the-air guarantee included! After this emotional furioso, Detroit's M_nus ambassador Gaiser takes the path of deepness in reduction with his hypnotic Triphouse in "Am I". And this is not the only surprise on I: Matthew Edwards' aka Radio Slave's highly anticipated first track for Cocoon is a glorious Wild Pitch revival with constant layers of sound, a pumping bass kick and an organ, that would even make DJ Pierre proud of. And after his tribal endorphine hymn "Subtellite" from last year, Timo Maas lets you totally lose yourself for eleven minutes in his spacy alarm siren disco funk. Of course, also the tracks by Chymera, Johnny D, Green & Todd or Kabuto & Koji would require a few words. Have you ever been more surprised by a totally un-kitschy saxophone, such as in "Night", the techno-jazz piece made by Canadian Guillaume & The Coutu Dumont? And shouldn't have the xylophone much more often the last word, just like in the melancholy "Dead Room" finale by Hamburg-based Kollektiv Turmstraße? The answers (not only) to this questions can be found in more than 104 (!!!) minutes of amazement, dancing and getting lost within yourself.

1. EMT - Extra Lunch
2. Lauhaus - Back To Ipanema
3. Secret Cinema - Kurzweil
4. Gaiser - Am I
5. Tim Green & Emerson Todd - Exercise
6. Radio Slave - Na Und!
7. Timo Maas - Jetstream
8. Chymera - Fierenix
9. Johnny D - Brasil
10. Guillaume & The Coutu Dumont - Night
11. Kabuto & Koji - Drunken Slumber
12. Kollektiv Turmstrasse - Dead Room




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Get Physical co-founder DJ T. returns with his second album, The Inner Jukebox, a singular and accomplished set that reflects its maker's ongoing interest in rigorously re-inventing classic sounds for modern ears and dancefloors.
After four years of 12" releases and collaborative experiments, DJ T.'s full-length follow-up to 2005's Boogie Playground is upon us. While Boogie Playground was an exploration of T.'s 70s and 80s influences, a melting-pot of styles that touched upon electro, disco, italo and funk, The Inner Jukebox draws inspiration from the 90s and is a more focussed adventure - it's T.'s vision of house music as it should be. So much "house" around right now is really just glorified minimal techno, vibe-killing in its meticulousness; by contrast, the tracks which comprise The Inner Jukebox are bold, vivid, expressive. They're cerebral and carefully crafted, yes, but more importantly they have a bounce and a sexiness to them. T. has always sought to make proper, no-nonsense dance music with real groove at its heart - and The Inner Jukebox finds him fully realizing that ambition.
Produced with Thomas Schumacher, who used to helm Elektrochemie and now produces acclaimed solo material for Get Physical, The Inner Jukebox is an assuredly mature work, but is notable also for its youthful exuberance and confidence. This is no concept album - it's about quality dance music that will sound great in the club, the car, the home, wherever. The album opens with its title track, a deep, atmospheric piece replete with dubby chords and shuffling, brushed snares; even without a kickdrum, the tension is built up beautifully with sampled, wordless voice-fragments - a recurring feature throughout the album.
Drawing upon the vast record collection and sound-archive which he has built up over the years, T. samples human voices and cuts them up so that they no longer convey words but rather act as percussive, syllabic stabs. This technique is employed to dramatic effect on 'Dis', a track that's been getting incredible reactions when road-tested in the club, thanks in no small part to the relentless, conga-like percussion which brings a Latin swing to proceedings; the later track 'Bateria' is explicitly samba-influenced. On all The Inner Jukebox's songs you can really hear the time and care that T. and Schumacher have put into their drum programming - the weight and heft of those beats is spot-on, their arrangement spacious, their grain detailed but not unduly fussed over.
The two producers come from different musical backgrounds. Though his origins are in techno and Detroit sound, in recent years Schumacher has fallen in love with house, its whole grammar and aesthetic. With T. as his guide, that love has deepened; it finds its full expression on The Inner Jukebox. The duo found they had a real chemistry in creating the album, a mutual understanding of what they want from music; and together they've developed their own finely-tuned and versatile production language. As always with T.'s work there is a classicism on show, a deep respect for the history of dance music and what has gone before. The Inner Jukebox celebrates in particular the simple elegance and vivacity of 90s house and techno, but never resorts to mere homage. See the phasing 'Mr Piano Hands' and the fantastically upbeat anthem-in-waiting 'Shine On', a triumphant melding of ultra-modern modulation and decidedly retro rave vamps.
As with its predecessor Boogie Playground, samples abound on The Inner Jukebox, giving it a subtle electro and hip-hop flavour that's all too rare in house these days. 'Lit From Within', a swirl of disembodied vocals and phased horns, is pure drama; 'Weirdo' enthrals with its glitched funk patterns and 'Gorilla Hug' - all jacking drums and heavy, double-tracked bassline - is every bit as powerful as its title suggests. Crucially, whatever stylistic avenues the album pursues, the distinct fingerprint of DJ T. can always be felt.
The Inner Jukebox's robust, sensuous harks back to a time before house music splintered into a million different micro-scenes and genres; its tune aren't made just for "peaktime" or "after-hours" or "warm-up", they're made for any time. There's such a clarity of vision to them, every element sounds deliberate - and yet for all its attention to detail, The Inner Jukebox still gives the listener room to breathe; rejecting clinical feel of so much recent club music for a sound more soulful, more intuitive, more three-dimensional. So put another dime in the jukebox baby…
Track List CD:
1 The Inner Jukebox
2 Dis
3 Gorilla Hug
4 Bateria
5 Mr. Piano Hands
6 Lit from Within
7 Rituality
8 Switch
9 Shine On
10 Weirdo
11 To The Drum


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The mind melt keeps melting. Pretty soon we will just be puddles of freaky essential oils, reduced down to our effervescent essence, like jasmine, or dry Kool-Aid. Of course we are talking about Onur Özer’s album Kasmir, the gift that keeps on giving. Once again renowned artists have come out in full force reworking selected tracks off Onur’s album for Vakant’s remix-only VR. First up is Mr. Rajko Müller, better known as Isolée, who having spent some time growing up in Algeria, continues with the African remixer theme (Tunisian born Loco Dice remixed “Eclipse” on part 1. You know us, as if we even need an excuse to work in Africa somehow.) Isolée takes Onur’s otherwise chilling “Innervoice” and reinterprets it into a thick warm blanket of reassuring bounce. Flipping the record inverts dimensions of time and space. Abyssfully deep legend Baby Ford takes the
already ethereal “Aida” and turns it into the soundtrack for finding the God particle. It’s scary, yes, but ultimately it could explain everything.

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