Presales Week -1401

Coming up on Claap we welcome a new name on the label. BODJ is an upcoming producer from Athens (GR). A fresh face in the scene, BODJ has already had a couple of releases under his belt and caused some serious heat with his "Blisters EP" back in 2010!! "Every Day" is an easy and very classy house cut. Quite emotive with flowing rhythm patterns, it is an ode to every day lovin! On the remix duties, These Days afficionado and man of the moment Argy takes the track into a sweatier territory with his NYC dub mix. While, the love mix explores a more romantic side of the original track. Label head GummiHz rounds up the package with a bubbly night fever mix. A filtered disco house take, reminiscent of french house in the late 90s. Top tip!!

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There are several ways to try to sum up the history of MOTOR. Chronologically listing all of the releases, significant events, enthusiastic critics and superlative comments, awards won and goals achieved in a comparatively short period of time would be one of them. It would certainly be a quite impressive list, but it would not fully pay justice to the phenomenon of MOTOR, as this phenomenon is clearly more than just the sum of its parts. Sometimes less is more, and that is why this brief history more than anything focuses on some of the milestones in the rise of MOTOR, as well as some seemingly random anecdotes, which at the end of the day impressively stand for the very essence of this extraordinary act. But first of all, the good news: MOTOR is about to release another album, which opens a new chapter in the history of the band. After completing three massively successful and critically acclaimed techno albums, Bryan Black and Oly Grasset, who together form the duo MOTOR, have shifted gears and recorded a song-based vocal album by the name of "Man Made Machine". The album was conceived during their World tour with Depeche Mode in 2009 when Dave Gahan fell ill and the band found themselves in a hotel in Berlin with time on their hands. It features the vocalists Martin L. Gore (Depeche Mode), Gary Numan, Billie Ray Martin (S' Express, Electribe 101) and Motown's rising new star Reni Lane. Just recently, when MOTOR secretly played the first single from the upcoming album (also titled "Man Made Machine") on a BBC radio broadcast, it got over 10.000 views within hours of being ripped and broadcasted on youtube. The reactions from Depeche Mode and MOTOR fans are absolutely ecstatic. One online comment, which has often been quoted and agreed to, is that "Man Made Machine" sounds like the modern version of the Depeche Mode track "Personal Jesus" - a royal honour for the guys from MOTOR. Sometimes music critics are still having difficult times grasping or quantifying just exactly how significant MOTOR´s contribution to modern music actually was and is, but there is hope that the upcoming album "Man Made Machine" will add to a deeper understanding of the importance of this unique act. It is no coincidence that the album features some of the key figures in the evolution of electronic music. MOTOR have played as the main support act on sold out tours for Gary Numan, Nitzer Ebb and Depeche Mode and have been considered one of their best received support acts. They have performed on the main stages of all the top festivals with acts like Daft Punk, Kraftwerk, Soulwax, Justice, etc. They are known for having one of the most explosive and entertaining live shows in dance music.
As an almost logical consequence of their uncompromising attitude and trend-setting style, the fashion world has also taken notice of this powerful act. Raf Simons uses MOTOR music on his website and in his catwalk shows and Rick Owens used the MOTOR track "Ice" for the presentation of his 2012 Menswear collection. It is interesting that a fashion designer who´s look has been described as "glamour-meets-grunge" and who says about his own work that "It's about an elegance tinged with a bit of the barbaric, …" chose the music of MOTOR as soundtrack for his latest fashion show. Other than that, MOTOR's music has been featured on various HBO and Showtime TV programs, in films and in several Playstation and Nintendo video games. Their impressive list of remixes includes "Precious" by Depeche Mode. In Mixmag 2006, Depeche Mode actually listed this one as their favourite DM remix of all time.
This should in itself be enough to create some pleasant anticipation of the upcoming album and tour from these unconventional techno pioneers. Just one more remarkable aspect regarding the long-player "Man Made Machine" is the fact that it is going to be released on a new sub-division of Chris Liebing´s CLR (Create Learn Realize) label, one of the leading German techno imprints. The branch is called CLRX and is out to explore new sonic universes of a musically more complex, song-structured nature. The founding of CLRX shall help people to distinguish easily between the classic CLR sound and the slightly different one of this new venture. Bryan Black just released his first, tremendously successful and critically acclaimed solo EP (Black Asteroid - Engine 1) on CLR. After working together so successfully on this project, the label and artist started talking about also working together on the release of the new MOTOR album and finally came to the conclusion to go for it. Chris Liebing had always been inspired by the "out of the ordinary" techno approach of MOTOR and shares many of the same influences. He and the label team are highly thrilled about this collaboration. So please watch out for "Man Made Machine", the fourth album of MOTOR, to be released on CLR X of March the 30th of 2012. The accompanying video for the first single "Man Made Machine" is a spectacle in itself and is the perfect introduction to the dark and mysterious world featured on the breath-taking new LP, "Man Made Machine".
Tracklisting:
1. Messed Up
2. Hyper Lust (feat. Billie Ray Martin)
3. Man Made Machine (feat. Martin L. Gore)
4. Control
5. Pleasure In Heaven (feat. Gary Numan)
6. Automne
7. Autographic
8. The Knife (feat. Douglas McCarthy)
9. Hello
10. In The Dark
11. Between The Night


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"Three Ways To Move" is a collection of delicate dub and chord driven tracks by Pablo Bolivar, Barcelona based one half of Pulshar - the band who released remarkable album "Inside" on Desolat in 2010 - and Avantroots Productions. Feel free to find your way to move in the world of smooth pulsating bass lines, tender frequencies, echoes and sweet melodies.


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Having been wowed by tINI's Dissonant debut, label chief Marc Antona returns with his first new work since the November release of his fantastic long-player, "Rules Of Madness." A brand new double-header from the Frenchman is lead by "In Flagrante." Joining forces with Aber Costa, the pair present yet another joyful example of Marc's innate ability to harness the most exotic of grooves whilst showering us with a dizzying array of sounds and samples. It's Nordic conversation is wrapped in beautiful organic percussion, as handclaps and rubbery basslines ripple throughout before ghostly chains ring out the closing beats. "Ipso Facto" on the flip is a pure example of stripped back house. Beats, hats and an elasticated filtered riff open the show before the snare rolls usher in from the depths a throbbing wave of bass.



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The friendship with Jason Lanox and HENK goes way back into the early days when we started holding parties on an old shipyard in Amsterdam. From the first moment HENK was captured by the productions of Jason Lanox. HENK followed him closely and saw him grow as a person, producer and performer. The first album ''Burning Every Bridge That I Cross To Find Some Beautiful Place To Get Lost'' was the reason to finally realize the long kept ambition to start HENK recordings.
Against all new digital trends, HENK decided to honour this impressive productional superiority with a classic vinyl press. The last couples of months we have worked with a great team of artists, technicians and friends to fine-tune this double 12 inch masterpiece which will be in the shops from 15th of march 2012.
This concept album represents a turbulent period in Jason's life, which he describes as one endless night full of stories, people and experiences. With this record he gives you a personal invitation to his musical dairy. Wipe the dust off your record players and get caught up with his amazing cinematic tracks, which have a perfect balance between an intense deep listening experience and on the other side a melodic techno drive which we all know from his energetic live performance.


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For more than 10 years, Philip Bader has been mixing it up in the Berlin electronic muisic scene as a producer, DJ and label founder – no wonder then that his first studio album, “Wishful Thinking“, to be released on Berlin label Highgrade Records, is such an eagerly awaited piece of work. Philip, a native of the capital city, has taken a year to complete this debut long player that seemlessly juggles a wide range of musical styles. The record already casts a long and influential shadow, not only upon lovers of electronic dance music, but also over Bader’s musical colleagues, whose fingers now twitch violently with the prospect of this huge album debut. No wonder also then, that the track “Move On Me“ (feat. Spoony Talker) is now coupled with some very impressive remix treatment. So enters Fabrizio Maurizi, one of the most important voices in modern Italian Techno, who lends this wonderfully hammering track his own unique signature. Maurizi has just as little regard for rigid genre conventions as Bader himself, and the resulting remix is no less outstanding. Also no less impressive is Quenum’s contribution: The multi-talented artist who earned his musical spurs in London in the 80’s has now spread the sound of his eclectic tracks and DJ sets from Geneva all around the world. Highgrade CEO Todd Bodine also hasn’t missed an opportunity to lend a hand, and imbue Bader’s track with his typically fine tuned, hypnotic beat – a pinnacle of electronic music.

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It's been almost six years since Liberto released his debut album "Lullaby" for Klik Records. His warm deep and tech house sound received at once the best comments of the Greek and the international music press alongside the interest of some of the most important names in the electronic music scene. As a result to this, the next years were at most productive for Liberto with releases, remixes and collaborations with labels such as Trapez, Plastic City, Material, Playmobil, Syndikaat and the co foundation of the record label "Material" with Michael Safras. 2009 was the year of his new project under the name Lee Burton and recordings for labels such as Orpheas, Material and Plastic City in addition to several features and appearances in festivals and clubs.
In January 2012 Lee Burton returns with his second album project, Busy Days For Fools. Being really ingenious Lee Burton manages to escape from the sound of Lullaby creating a unique output that combines the sound of the "German" electronica with the Greek temperament and the South American laid back feeling. "Busy Days For Fools" is the stoner side of electronica.
Lee Burton did everything himself regarding the production of his new album. He spent a whole year in his personal studio using new techniques of production and recordings such as various kinds of microphones ranging from the classic condenser microphone to the microphone of a cell phone even a VHS camera one. Electronic sounds were created with vintage analogue equipment but also with live recordings of noises using various objects as well as music instruments. That was in need of providing the warmest, natural and analogue possible result, to create his own sound. ?With his influences coming from the electronic scene but also from lo-fi productions rock, blues, folk and jazz, Lee Burton's whole idea for this album came though his feelings created by his everyday life, the people around him, their moods and way they think. Going back to 2006 when he recorded his debut album under the alias Liberto he says: "As a human being I feel like it's been a long period with brand new experiences leading to a new different view of life, but as an artist I keep on living, feeling and looking for the real life influences that made me create something from the very beginning".
In other words this is the essence of "?usy Days For Fools". It's the talent of an artist who transforms the images of his mind into sounds. A concept album project written for no other purpose than the will of the artist to invite us to his own music world.
Tracklisting:
1. ONE
2. BREATH
3. YOU VE GOT ME
4. CRASH
5. RECOVER
6. ANALISE THIS
7. THE FOOL'S OPEN UP
8. BOYMAN
9. DIE THERAPIE
10. JIMMY'S LAUGHING
11. ELEVEN

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It's been almost six years since Liberto released his debut album "Lullaby" for Klik Records. His warm deep and tech house sound received at once the best comments of the Greek and the international music press alongside the interest of some of the most important names in the electronic music scene. As a result to this, the next years were at most productive for Liberto with releases, remixes and collaborations with labels such as Trapez, Plastic City, Material, Playmobil, Syndikaat and the co foundation of the record label "Material" with Michael Safras. 2009 was the year of his new project under the name Lee Burton and recordings for labels such as Orpheas, Material and Plastic City in addition to several features and appearances in festivals and clubs.
In January 2012 Lee Burton returns with his second album project, Busy Days For Fools. Being really ingenious Lee Burton manages to escape from the sound of Lullaby creating a unique output that combines the sound of the "German" electronica with the Greek temperament and the South American laid back feeling. "Busy Days For Fools" is the stoner side of electronica.
Lee Burton did everything himself regarding the production of his new album. He spent a whole year in his personal studio using new techniques of production and recordings such as various kinds of microphones ranging from the classic condenser microphone to the microphone of a cell phone even a VHS camera one. Electronic sounds were created with vintage analogue equipment but also with live recordings of noises using various objects as well as music instruments. That was in need of providing the warmest, natural and analogue possible result, to create his own sound.
With his influences coming from the electronic scene but also from lo-fi productions rock, blues, folk and jazz, Lee Burton's whole idea for this album came though his feelings created by his everyday life, the people around him, their moods and way they think. Going back to 2006 when he recorded his debut album under the alias Liberto he says: "As a human being I feel like it's been a long period with brand new experiences leading to a new different view of life, but as an artist I keep on living, feeling and looking for the real life influences that made me create something from the very beginning". In other words this is the essence of "?usy Days For Fools". It's the talent of an artist who transforms the images of his mind into sounds. A concept album project written for no other purpose than the will of the artist to invite us to his own music world.
Tracklisting Vinyl:
1.You' ve got me
2. Die Therapie
3. Breath
4. Jimmy's Laughing
5. Boyman
6. Crash



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Matador is a Dublin based DJ, live performer and producer who has been releasing his own twisted but organic take on techno for the last four years. Late last year came the huge Kingswing EP on Minus and now this Spooks EP sees him step-up once again for a 5 track outing which balances his usual melody with a real techno drive. The title track opens proceedings with predatory, roughshod bass tone running underneath blippy melodies, snappy house influenced percussion and a dark male vocal where "Kenekt" is all out sci-fi weirdness. Spiralling space ships, undulating basslines and plenty of well-defined percussion all add up to a snaking track that really works its way under your skin. On the flip, B1 "BamBam" is the most heads down and streamlined techno offering of them all before "Klay" is the EP closer which manages to bend and drip little melodic droplets down the face of slinky hi-hats and deep, rolling basslines. As well as all this, buyers of a digital persuasion also get "124 ToneTool" - a four and a half minute ambient exercise that explores beat-less eerie sounds, modulated blips and sci-fi atmospheres.
All in all, then, a meaty package baring all the classic hallmarks of the Minus sound whilst at the same time offering a unique Matador perspective.


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Düsseldorf born Niggemann has enjoyed a constant climbing success in recent years thanks to his precise tech house productions on 8bit, Tsuba and Supernature. Now based in Berlin, he arrives on Poker Flat with this, the first single to be lifted from his imminently arriving album debut. We don‘t want to tell you too much about
the album right now, but if these two tracks are anything to go by, be sure you‘re in for a treat!
'Don‘t Wait‘ (Extended Mix) layers Niggemann's trademark tight, percussive beats as it builds towards a surprising vocal arrival and a killer, positively hung bassline. Equally perfect for late night sessions as it will be for the coming spring summer season, basking in the sun, its a versatile and uplifting cut in the true Poker Flat tradition. On the B side a dubbed out synth voyage unfolds with 'Curious‘. Working snappy drums and airy, wistful FX, Niggemann skillfully tells his moody story with passionate charm. Swirling synth pads lift before a mid-point break gradually introduces a second theme, cementing the young producer‘s able hand at writing melodies and creating strong, rushing feelings.
Tracklist:
A: Don’t Wait (Extended Mix)
B: Curious

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Coloured vinyl!
Roots tracks...from the beginning of Manmade Science.

"Thanks for purchasing a real copy!"



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Coming not so far from the Alps, Opuswerk is a new talented artist in love with hardware equipment and already got some strong producing skills.The charismatic tall guy is a main actor in the renewal of the techno scene in Geneva, throwing parties every week-end he's got a residency at Milk club and will also open up for Carl Craig at Electron Festival…yep Opuswerk knows how to move a crowd.
The A-side features Futurewerk, the first of a collaboration with London Based techno outfit Fundamental Interaction, is a raw dubby influenced track where chords and rhythm clearly aim for the dance-floor at 3am, or later depending on your countries going out habits. On the B-Side, TH13-13 is a flashback to the mid-90's, a squirting bassline with bleeps and blops, it plays subtly with a syncopated rhythm section and discrete chords…Pure Hardware jam !
Comes in 180 grams of black wax, carefully mastered at D&M,Berlin. Full printed sleeve designed by Frederic Laborde.


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After Ed Davenport and Oliver Deutschmann where hosting Polytone´s 005 Release "The Kristian Slayter EP", they once again impressively prove that they are among the most exciting producers of our time with their new work "The Conspiracy".There is no holding still with that pumping bass and the ever changing melodys over the powerful background.With dark and fascinating intensity, Davenport & Deutschmann create a timeless masterpiece. Belgian techno-producer Peter van Hoesen even adds up to the hypnotic mood in his rework. He creates an outstanding floorfiller with excellent dramatics and a brilliant sound.Two spectacular tracks from Polytone, fresher than ever!

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Music can be far removed from reality, a distant memory, in the greatest sense of that removal. When you're listening to music and suddenly you find your mind and body released, so you dive very deep into the sounds and abandon your everyday thoughts and cares, that's enough to make you realise you have an extraordinary piece of music in your hands. With the upcoming album from Voices from the Lake (aka Donato Dozzy and Neel) this is the feeling to be realised from this engaging piece of music. The two artists have a fantastic feeling for deep and sensuous rhythms, something they have explored so thoroughly with this ambient techno project that they have quite exceeded expectations. Voices from the Lake was first performed at the reknowned Labyrinth festival in Japan this year and is now presented in the album format. The complete album shows how emotional and multi-dimensional electronic music can be on Nova days. It's more than just a strong statement from two accomplished artists, it's an emotional journey designed for you to lose your grip with reality in a most positive way.
Tracklist:
01. Iyo.
02. Vega.
03. Manuvex.
04. Circe.
05. S.T. (VFTL Rework).
06. Meikyu
07. In Giova.
08. Twins in Virgo.
09. Twins in Virgo (reprise)
10. Mika
11. Hgs


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Opposites attract: that's perhaps the first thing that comes to mind when listening to Niklas Worgt and Eva Padberg's new album, Sweet Nothings. The pair, better known as Dapayk & Padberg, join the Stil vor Talent family for their third full-length effort, a natural decision after the success of Dapayk's recent The Little Things You Do and Let Go EPs. Similar to their previous LP oeuvre, as well as Dapayk's solo work, one is simply astonished by the diversity, intertextuality, coherence and playfulness of the end result, something that must be attributed to the experienced duo's wide-ranging set of influences. Work on the LP commenced two years ago and stretched across several continents. From the beach on Bali, via Miami, Los Angeles, Berlin and a ski chalet in the Austrian Alps, stunning and remote locations were to be the spectacular backdrop for Dapayk & Padberg's creative process. Thus, one encounters soft and harsh sound textures, dark and light images, sonic euphoria and sadness as well as lyrics of love and loss throughout the tour de force that is Sweet Nothings.
Things kick off with the trippy 'Too Lazy', a brooding afterhours number, which is equal parts paranoid and mesmerising as a wonky bass vibrates under dubbed out pads, eerie synths and vocal whispers. A bold move by Dapayk & Padberg as artists of lesser confidence might have opted for a lighter opener. Next, 'Play' immediately delivers the antidote however, reversing the evening's proceedings back to the peak time. A housey beat pushes through muffled crowd noises and is backed up by a vocal repeatedly urging us to 'play it out / play it loud'. The real strike of genius is the quirky piano here, which wouldn't be out of place on Berlin's most notorious dancefloor. On title track 'Sweet Nothings', Dapayk & Padberg's sound takes another turn, presenting us with a deep but forceful groover, whose distorted high-hats and trancey synth stabs create a vibe both euphoric and weirdly subdued. The lyrics, moreover, emphasise the duality at the core of the album as Padberg ponders 'you're good for me - you're bad for me'.
Moving on, 'Fluffy Clouds' does quite the opposite to what its title suggests - rather than being a soft little piece, we are treated to big-room techno fodder à la Berghain. A skeletal framework of heavy kicks, dark pads, white noise and dense metallics works relentlessly underneath a cold spoken word, proclaiming 'not human, not animal - just a body in motion'. Machine funk par excellence. Next up, 'Endless Game' leaves the four by four rhythm behind in favour of a broken beat structure. A shuddering bass and affectless vocal reminds of The Knife's wonderfully weird moments, which is always a good thing. 'The Sun Came Up' rounds off the mechanical triplet with a pumping beat and robotic vocals, while a progressive synth lead helps along the track's love lyrics, turning this into a truly stunning moment at the album's heart.
With the sharp glockenspiel and old-school hip-hop beat of 'Razorskit', Dapayk & Padberg crafted a short interlude to cleanse the palate, before the gear is shifted once more on 'Berlin Summer Nights'. Anthem alert: classic rave sounds of epic proportions glide through an arrangement of bouncy beats, crisp percussive work and hopeful vocals until a powerful breakdown delivers the hands-in-the-air moment. Continuing seamlessly, the vocals on 'Take These Scissors' again nod to Karin Dreijer Andersson, which is further underpinned by the playful and airy arrangement of weird sounds that bare an Asian twist.
Showing another of the duo's many facets, 'Backyard' enchants thanks to mystical lyrics sung beautifully over a deep quasi-dubstep structure. Marking Sweet Nothings final wind down, the atmospheric song shines through intricately crafted fragility and is the perfect contrast to the previous two tracks. 'Continental Drift' is similarly confident as Padberg's sexy vocals compliment a slow, fat beat and progressive pads. Finishing off the LP, 'Driveby Beauty' offers a final surprise by speeding things up once more: ambient soundscapes float over organic beats, while classic vocal house motifs are left to work their magic effortlessly. All that is left once the last notes play out, is an intense longing for more, as one realises how deeply emotive and versatile a journey Dapayk & Padberg have blessed us with.


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