Tracklisting:
A: On The Way
B: On The Way (Dubfire Remix)
Info:
Long time MINUS artist Jon Gaiser is back with his fourth studio album on Richie Hawtin’s influential techno label, simply entitled ‘III’.
The first signals from the album are sent with March single ‘On The Way.’ It is a funky track with wriggling synths executed in undeniable Gaiser fashion. Textured hi hats and loopy bass all work on sucking you into the colorful and trippy groove. Add into the package a typical big remix from SCI+TEC boss and techno megastar Dubfire and you have one of the most essential releases of 2017. More

Barcode: 815349012382 Released: 12.1.2015
TRACKLIST
A1: Strangers A2: Oozewave B1: Say What? B2: Droplets C1: Want Some C2: Reflekts D1: Dirty Tricks E1: Spillage F1: Driftwork F2: Way Out
Info:
A key member of the Minus family for almost a decade, Jon Gaiser is to release False Light, his third artist album on Richie Hawtin's label in autumn 2014. The ten-track affair shows the American born, Berlin based techno innovator to have continued to evolve since his last full length and again is a very complete and contemporary techno tale. Since 2005, Gaiser has been at the heart of the minimal techno movement. His hugely atmospheric EPs and LPs have always explored the darker, more stripped back and abstract edges of the dancefloor and have often done so in conjunction with immersive and complimentary live visuals. Says Gaiser of his working methods: "I've always been a big fan of analog gear, both old and new. I'm also a big fan of new digital technologies that create sounds that have never been heard before. I prefer to have the best of both analog and digital worlds working together, to make the most creatively flexible production environment as possible." As well as working as VOID, Gaiser is also a revered live performer who creates immersive on-the-fly soundscapes using Ableton MIDI controllers and Maschine, and regularly performs at some of the world's best festivals and club nights, including Hawtin's own ENTER. nights at Space Ibiza. A trained percussionist and sometime punk rock drummer, around the age of 15 Gaiser discovered the underground techno scene in Detroit and "was completely intrigued by the energy of the music" and so began collecting drum machines, synthesizers and FX units to build a studio in his teens. Before long he impressed techno innovator Richie Hawtin, was signed to Minus and soon began releasing on the seminal label. Playing in Europe so often meant the natural thing for him to do was to move to Berlin, and it is from there that his sound has flourished. The new album was written with a specific approach in mind, as Jon explains: "My main idea while working on this album was to go into the studio and have as much fun as possible. I wanted to create something where each track complemented each other, where all of the tracks relate to each other in a way so that the whole album tells a story. But ultimately, I wanted it to be a fun story." And that sure is the case, because everything here comes with a playful percussive line, a wiggling synth lead of the sort of baseline that cannot be ignored. Opening up with 'Strangers', a squelchy groove is established immediately with ghoulish voices bringing lots of dark energy to the thumping drums. From there a high tempo is kept up with the likes of 'Oozewave' and its spritely, squealing synths, 'Say What' and its rubbery drums and always percolating baseline and the superbly synthetic and rolling 'Droplets', which sounds like classic Gaiser. The second half of the album unfolds through kinetic, funk led affairs like 'Reflekts' with its pained and lingering synths, the tightly coiled and apocalyptic sounding 'Driftwork' and then shuts down with the lush ambient textures and liquid synths of 'Way Out'. Tied together by a keen sense of rhythm and playful sense of off kilter melodic charm, False Light is Gaiser's most complete artistic statement yet. An extensive tour is planned to support the album, featuring a brand new visual show, created by accomplished Turkish artist and director Ahmet Said Kaplan.




More

Barcode: 815349012375 Released: 20 October 2014
Info:
A key member of the Minus family for almost a decade, Jon Gaiser is to release his lead single "Krakdup" preceding his full length release "False Light" in November. Since 2005, Gaiser has been at the heart of the minimal techno movement. His hugely atmospheric EPs and LPs have always explored the darker, more stripped back and abstract edges of the dancefloor and have often done so in conjunction with immersive and complimentary live visuals. Says Gaiser of his working methods: "I've always been a big fan of analog gear, both old and new. I'm also a big fan of new digital technologies that create sounds that have never been heard before. I prefer to have the best of both analog and digital worlds working together, to make the most creatively flexible production environment as possible." As well as working as VOID, Gaiser is also a revered live performer who creates immersive on-the-fly soundscapes using Ableton MIDI controllers and Maschine, and regularly performs at some of the world's best festivals and club nights, including Hawtin's own ENTER. nights at Space Ibiza. A trained percussionist and sometime punk rock drummer, around the age of 15 Gaiser discovered the underground techno scene in Detroit and "was completely intrigued by the energy of the music" and so began collecting drum machines, synthesizers and FX units to build a studio in his teens. Before long he impressed techno innovator Richie Hawtin, was signed to Minus and soon began releasing on the seminal label. Playing in Europe so often meant the natural thing for him to do was to move to Berlin, and it is from there that his sound has flourished. An extensive tour is planned to support the album, featuring a brand new visual show, created by accomplished Turkish artist and director Ahmet Said Kaplan.
Album Teaser: https://www.youtube.com/edit?o=U&video_id=10mg1q0Kr68
TRACKLIST
A1: Krakdup
A2: Where Are We
More

Continuing a busy run of recent releases on Minus is one of the label’s core contributors, namely Jon Gaiser. Since late 2005, the Detroit-born, Berlin-based producer has been intrinsically linked to the rise and rise of the label owing to key releases like his Eye Contact EP, genre defining 2008 full length, Blank Fade, and last year's huge EP, Unstable Witness. When not busy translating new experiences and sensations into abstract techno sounds, the man occupies himself by endlessly touring the globe - playing clubs and festivals in Europe, Japan and the States: it is for that reason that he is one of the most celebrated Minus associates of them all… The first of two new offerings is ‘Some Slip.’ Hitting the ground running, it’s at once a firm, drum-led track that wastes no time in clearing a path down which you gleefully march. The track really comes to life when a hidden bassline begins to rise and fall freely a third of the way through. As it weaves its way through endlessly dripping, popping, aqueous FX, the whole thing feels as tall as it does wide and as heady as it does deep… wig-out, late-night stuff for sure. Busier and more complex is ‘Elastrik’ where de-tuned synth sounds shoot off in all directions as the clicking bass rotations below endlessly churn up the dancefloor. It’s crisp stuff that establishes rhythm early on and focuses on percussive and synthesised detail for the rest of its course. Hurried alien sounds interject as if they have a life of their own and drag the track’s focus point from side to side, front to back, ensuring you get lost in its darkened midst without reserve. There’s a duality to Gaiser’s work which means it’s both bold and instinctive but subtle and intricate, and this two-tracker is another fine example of just how exciting that interplay can be. More

In a genre where artists often struggle for identity, Jon Gaiser is one of those rare producers whose sound is instantly recognisable. The solo projects, collaborations and remixes he’s created over the course of his output on Minus, all contain a very specific signature to the point where his tracks come alive, communicating in a language that speaks with the strangest, most intoxicating of tongues. His highly anticipated debut album, Blank Fade, is no exception, and it sees him pushing the envelope even further resulting in the most comprehensive and impressive body of work he has accomplished so far. Alongside this he has taken full advantage of the vinyl, digital and CD formats on offer to not only produce a collection of stunning individual tracks but also to mix them together in a way that typically reflects his live performance. The body of the tracks remain the same but Gaiser works the seamless transitions to the max by extending the intros and outros to reproduce those magical live moments when a third place momentarily slips into view. In doing so he has created an experience where the whole piece becomes greater than the sum of the parts. Blank Fade represents a mixture of tried and tested ideas generated on the road (such as the show-stopping first single Trunkated) and new material written during Minus’ 10 weeks of silence. The main premise for the album is to start in one place and end up in another without realising and seeing how Gaiser’s music works like a soundtrack to some hidden nocturnal habitat, full of weird and wonderful creatures that stalk the darkness, it’s not long before
we’re lost in the forest of his imagination. Eerie and atmospheric, Volve sets the scene perfectly, drifting amid a wash of distant echoes and ghostly EFX before a solitary kick drum punctures the darkness. Face Down continues the theme, gradually picking up the pace as the beats begin alternating around a tight, metronomic snare. A pulsing sub bass loop carries the groove while abstract vocal cutups
penetrate deep into the subconscious. With a perfectly executed mix, Ground effortlessly switches to a 4/4 kick pattern as Gaiser slowly turns the screw, continuing the unearthly vocal theme against a sparse backdrop of crackling electricity and metallic drones. Suddenly we’re in classic territory as Ciliate With lets fly with a trademark bass riff that’s soon joined by one of those memorable bleeping call and response riffs that could only ever be the work of Gaiser. Whether Or Not maintains the tension with an equally urgent bass line and a brutal snare that powers head first into a swarm of warping synth lines, before Substance B turns in a percussive frenzy that’s as devastating as it is intuitive and will create absolute mayhem on the dance floor. The CD overlap into Comma, Fade is as good as they get, ushering in a more subliminal groove driven by a funked up bass/organ riff and cantering percussion, while Leave It dims the lights once again with pitched down vocals and distant, drifting sirens that
add a hint of menace to the mix. This all sets things up perfectly for Trunkated - a real powerhouse of a track, that’s as complete as anything you’re likely to hear this year. Every element is honed to perfection from the molten bass to the irresistible percussion parts, from the mischievous, dancing bleeps to the twisted synth motif that seems to rip through the delicate fabric of reality. Descending
Order then goes into freefall, releasing the pressure value as distant melodies gently eat into your serotonin supply and you lose yourself in the breakdown. One After continues the theme utilising a sliding, bass driven variation of the preceding melody as the beats finally begin to thin out, allowing the slow, ambient drift of Outline to smooth out the fragmented memories of what has gone before and draw things neatly to a close. More

There’s always a great sense of expectancy when a new Gaiser release is in the offing and with its debut album status, Blank Fade captures the imagination even more than usual. Trunkated and Face Down are the first two tracks to be lifted from the LP and the contrasting styles and shifting moods they represent, offer a pretty conclusive overview of what’s to come. As a producer, one of the most essential aspects of touring is being able to road test new tracks and ideas in an authentic environment where the symbiotic relationship between artist and crowd can often elevate a piece of music to unexpected new heights. Over the last 12 months if one track has filled this criteria during Gaiser’s live sets then it’s Trunkated, the euphoric reaction it always induces making it the obvious choice for the A side. It’s a real powerhouse that’s as complete as anything you’re likely to hear this year. Every element is honed to perfection from the driving kick and molten bass to the irresistible percussion parts, from the mischievous, dancing bleeps to the twisted synth motif that seems to rip through the delicate fabric of reality. Sleek and deadly, it’s primed for peak time abuse and will tear the roof off whenever and wherever it’s played.


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Tracklisting:
A1: Illos (7:09)
A2: Edge (7:11)
B1: Return (6:38)
B2: Frostbite (7:12)
Info:
Joran van Pol is back on Minus with Edge, a fantastic four track EP that is his first on the label since 2013. In the years since, the Amsterdam based artist
has set up his own FADE label and has continued to evolve his cinematic techno sound.
Previously, van Pol has also released on labels like Rejected, SCI+TEC and Ideal Audio, and has the support of all the big techno players who often reach for his tunes in their sets. As a DJ he is just as in demand, with headline slots everywhere from Space Ibiza to Time Warp all behind him. Having recently set up a new studio, he is still coming on strong with fresh inspiration and ever more essential grooves. ‘Illos’ opens things with seven spooky minutes of icy techno. Rolling rubbery drums pump away below, and the details up top make for an evocative soundscape with distant industrial sounds, groaning bass and razor sharp hi hats all filling your mind with imagery. Next comes title track ‘Edge’, another brilliant sonic landscape with tense chords repeating over ticking percussion. It’s a track that builds tension throughout, and keeps you looking over your shoulder into the eerie blackness.
The perfectly high pressure ‘Return’ is one that locks you in and never lets up, with warped synths snaking above traintrack like drums and hits. A dark, rumbling bassline and the sounds of pistons releasing air all add to the intensity of this brainmelting bit of futuristic techno.
Last but not least, ‘Frostbite’ is then the most spacious and spooky offering of the lot. It has freaky alien sound designs scattered around the track with supple kicks driving the whole thing forwards. It’s an absorbing cut that hurries along and takes you for a thrilling ride.
These are four more inventive techno tracks from one of the contemporary scene’s brightest stars. More

3LP Album
Move D, Jonah Sharp, Juju & Jordash build the new supergroup The Mulholland Free Clinic. Their self-titled debut LP release is the recording of their second ever improvised, allhardware live set which emphasizes the ongoing paradigm shift in live electronic music.

Tracklist
A Vital Signs
B Boneset
C Gone Camping
D Ebb & Flow
E The Dawgs Are Alright
F1 Dr. Leary
F2 Pillow Therapy

Even though they've only played together on three occasions since 2013, The Mulholland Free Clinic has already been praised as one of the ultimate collaborations when it comes to underground and improvised electronic live music. Move D, Jonah Sharp, and Juju & Jordash build this so-called super-supergroup by combining their individual and mutual projects rEAGENZ and Magic Mountain High. Using an armada of analog hardware, The Mulholland Free Clinic's self-titled debut album is the product of a live set recorded at Berlin's emerging party series AWAY at ://about blank in August 2016. Consequently, the connected vinyl label Away Music is set to release its first long player following four 12-inches with appearances by Joe Claussell, Mr. Ties, Move D, Discrete Circuit, and its very own AWAY Soundsystem.

Their three-hour long, totally improvised jam session was edited down to a little over More

Tracklisting:
A: On The Way
B: On The Way (Dubfire Remix)
Info:
Long time MINUS artist Jon Gaiser is back with his fourth studio album on Richie Hawtin’s influential techno label, simply entitled ‘III’.
The first signals from the album are sent with March single ‘On The Way.’ It is a funky track with wriggling synths executed in undeniable Gaiser fashion. Textured hi hats and loopy bass all work on sucking you into the colorful and trippy groove. Add into the package a typical big remix from SCI+TEC boss and techno megastar Dubfire and you have one of the most essential releases of 2017. More

Special remarks : 12" with printed sleeve, 180g Vinyl
Tracklist:
A1 Coar Julian Jeweil Remix / A2 Has To Do Justin James' 519 Flip
B1 Sheep Monoloc Remix / B2 Girl One Cosmic Boys Remix
Shortinfo:
Originally released on Richie Hawtin's Minus label a decade ago, Restore stands alone as Houle's very first long-player and helped to establish his penchant for the quirkier side of techno and his superlative production skills. Spread across three 12"s & 11 tracks it encapsulated the dark, minimal, groove-driven sound purveyed by Hawtin and the rest of the Minus crew, while retaining a strong sense of Houle's unique character and identity. Now it's the perfect time to breath new life into an album that has stood the test of time, still utterly infectious and absorbing - a collection of music that captures an era of stripped back, yet captivating sounds. 10 years since its release, the album is getting the remix treatment and Marc has called in some of the very best in techno talent to give Restore a fresh makeover. The selection of artists who've contributed to the 'Restored' project includes heavyweights such as Joris Voorn, M.A.N.D.Y. and Popof together with additional reworks from stars of the new generation such as Danny Daze, Julian Jeweil and Harvard Bass, all giving his tracks a new lease of life. In addition, Houle himself has also stepped up to offer a new contemporary take on his own music, collaborating with vocalist Genevieve Marentette on 'Demor'. "Restore was the beginning of it all for me. It was influenced by the sounds of Detroit and the endless parties I went to there in the 90s. It was my first album and to me it had the perfect balance of darkness, groove and electronic sounds. 10 years later, I am excited to present Restored with some modern interpretations on old tracks by some friends and colleagues who have kept the party going throughout the world."- Marc Houle
More

Special remarks : 12" with printed sleeve, 180g Vinyl
Tracklist
A1 Borrowed Gear Joris Voorn Remix / A2 Talk To Me Baby Danny Daze Doom Dub
B1 Clock Width Havard Bass Remix / B2 Late For Work Popof Remix
Shortinfo:
Originally released on Richie Hawtin's Minus label a decade ago, Restore stands alone as Houle's very first long-player and helped to establish his penchant for the quirkier side of techno and his superlative production skills. Spread across three 12"s & 11 tracks it encapsulated the dark, minimal, groove-driven sound purveyed by Hawtin and the rest of the Minus crew, while retaining a strong sense of Houle's unique character and identity. Now it's the perfect time to breath new life into an album that has stood the test of time, still utterly infectious and absorbing - a collection of music that captures an era of stripped back, yet captivating sounds. 10 years since its release, the album is getting the remix treatment and Marc has called in some of the very best in techno talent to give Restore a fresh makeover. The selection of artists who've contributed to the 'Restored' project includes heavyweights such as Joris Voorn, M.A.N.D.Y. and Popof together with additional reworks from stars of the new generation such as Danny Daze, Julian Jeweil and Harvard Bass, all giving his tracks a new lease of life. In addition, Houle himself has also stepped up to offer a new contemporary take on his own music, collaborating with vocalist Genevieve Marentette on 'Demor'. "Restore was the beginning of it all for me. It was influenced by the sounds of Detroit and the endless parties I went to there in the 90s. It was my first album and to me it had the perfect balance of darkness, groove and electronic sounds. 10 years later, I am excited to present Restored with some modern interpretations on old tracks by some friends and colleagues who have kept the party going throughout the world."- Marc Houle

More

Special remarks : 12" with printed sleeve, 180g Vinyl
Tracklist
A1 Business M.A.N.D.Y. Remix / A2 Demor Marc Houle and Genevieve Marentette Edit B1 Pepper Monkey Safari Remix
Shortinfo:
Originally released on Richie Hawtin's Minus label a decade ago, Restore stands alone as Houle's very first long-player and helped to establish his penchant for the quirkier side of techno and his superlative production skills. Spread across three 12"s & 11 tracks it encapsulated the dark, minimal, groove-driven sound purveyed by Hawtin and the rest of the Minus crew, while retaining a strong sense of Houle's unique character and identity. Now it's the perfect time to breath new life into an album that has stood the test of time, still utterly infectious and absorbing - a collection of music that captures an era of stripped back, yet captivating sounds. 10 years since its release, the album is getting the remix treatment and Marc has called in some of the very best in techno talent to give Restore a fresh makeover. The selection of artists who've contributed to the 'Restored' project includes heavyweights such as Joris Voorn, M.A.N.D.Y. and Popof together with additional reworks from stars of the new generation such as Danny Daze, Julian Jeweil and Harvard Bass, all giving his tracks a new lease of life. In addition, Houle himself has also stepped up to offer a new contemporary take on his own music, collaborating with vocalist Genevieve Marentette on 'Demor'. "Restore was the beginning of it all for me. It was influenced by the sounds of Detroit and the endless parties I went to there in the 90s. It was my first album and to me it had the perfect balance of darkness, groove and electronic sounds. 10 years later, I am excited to present Restored with some modern interpretations on old tracks by some friends and colleagues who have kept the party going throughout the world."- Marc Houle


More

Barcode: 815349012382 Released: 12.1.2015
TRACKLIST
A1: Strangers A2: Oozewave B1: Say What? B2: Droplets C1: Want Some C2: Reflekts D1: Dirty Tricks E1: Spillage F1: Driftwork F2: Way Out
Info:
A key member of the Minus family for almost a decade, Jon Gaiser is to release False Light, his third artist album on Richie Hawtin's label in autumn 2014. The ten-track affair shows the American born, Berlin based techno innovator to have continued to evolve since his last full length and again is a very complete and contemporary techno tale. Since 2005, Gaiser has been at the heart of the minimal techno movement. His hugely atmospheric EPs and LPs have always explored the darker, more stripped back and abstract edges of the dancefloor and have often done so in conjunction with immersive and complimentary live visuals. Says Gaiser of his working methods: "I've always been a big fan of analog gear, both old and new. I'm also a big fan of new digital technologies that create sounds that have never been heard before. I prefer to have the best of both analog and digital worlds working together, to make the most creatively flexible production environment as possible." As well as working as VOID, Gaiser is also a revered live performer who creates immersive on-the-fly soundscapes using Ableton MIDI controllers and Maschine, and regularly performs at some of the world's best festivals and club nights, including Hawtin's own ENTER. nights at Space Ibiza. A trained percussionist and sometime punk rock drummer, around the age of 15 Gaiser discovered the underground techno scene in Detroit and "was completely intrigued by the energy of the music" and so began collecting drum machines, synthesizers and FX units to build a studio in his teens. Before long he impressed techno innovator Richie Hawtin, was signed to Minus and soon began releasing on the seminal label. Playing in Europe so often meant the natural thing for him to do was to move to Berlin, and it is from there that his sound has flourished. The new album was written with a specific approach in mind, as Jon explains: "My main idea while working on this album was to go into the studio and have as much fun as possible. I wanted to create something where each track complemented each other, where all of the tracks relate to each other in a way so that the whole album tells a story. But ultimately, I wanted it to be a fun story." And that sure is the case, because everything here comes with a playful percussive line, a wiggling synth lead of the sort of baseline that cannot be ignored. Opening up with 'Strangers', a squelchy groove is established immediately with ghoulish voices bringing lots of dark energy to the thumping drums. From there a high tempo is kept up with the likes of 'Oozewave' and its spritely, squealing synths, 'Say What' and its rubbery drums and always percolating baseline and the superbly synthetic and rolling 'Droplets', which sounds like classic Gaiser. The second half of the album unfolds through kinetic, funk led affairs like 'Reflekts' with its pained and lingering synths, the tightly coiled and apocalyptic sounding 'Driftwork' and then shuts down with the lush ambient textures and liquid synths of 'Way Out'. Tied together by a keen sense of rhythm and playful sense of off kilter melodic charm, False Light is Gaiser's most complete artistic statement yet. An extensive tour is planned to support the album, featuring a brand new visual show, created by accomplished Turkish artist and director Ahmet Said Kaplan.




More

Barcode: 815349012399 Release Date Physical: 20.10.2014
TRACK LISTING:
A1. Let's Dream A2. Only You B1. No Games B2.Gatescape C1.Pluss Basss C2.Longituden D1.Away From Home D2.Ying Yang
Info:
After a three-year production hiatus, Barcelona's techno kingpin Paco Osuna returns with not only a new release for Richie Hawtin's Minus label, but also his debut LP, entitled Long Play-eight precision tracks, purpose-built for the dance floor in his inimitable style.Long Play is a meeting point of Paco Osuna's past and his future. The product of nearly 20 years behind the decks from early residencies at Amnesia in the late '90s, to an integral role in Hawtin's current ENTER. events at Space and a push forward for techno, house, minimal, and tech-house, Long Play's sleek and exuberant tracks are thread together by Osuna's always-addictive basslines. "The bassline is my obsession," he says-the key ingredient to making picture-perfect techno and playing incredible, unflaggingly energetic DJ sets. After taking a lengthy break from production to focus on his busy performance schedule, Osuna worked on Long Play in fits and starts. But the album really came to life after the recent birth of his son. "I had this really crazy idea to record him crying or making noises, and put it in a track. Thank god I didn't do that," he says with a laugh. "I knew I needed to do something serious." What resulted was this suite of dance-floor tracks that succinctly represent what Osuna's fans have come to expect from his legendary DJ sets. "Soft, hard, funky... I'm very open-minded, and I like to play everything," he explains. Gentle congas and a swerving bassline make "Let's Dream" the "perfect track for an afterhours," Osuna contends. It's followed by a divebombing bass synth that punctuates the hearty tech-house thump of "Only You." "Nop Games" brings to mind Osuna's slick minimalist moments, and "Gate Scape" fills the gaps in between with a quickened pace with upbeat drums. He continues in that vein, with the insistent tick of "Pluss Bass" working for more frenzied moments. "Because it's super-crazy and people go crazy when I play it," he notes. Elsewhere, Osuna takes a restrained detour on "Longituden" for a low-slung dance-floor workout, and on the darker "Away From Home," he points inward for a more cerebral transitional track. Lastly, "Ying Yang" starts off sleek and laidback, but crescendos with a burst of sensuality-the perfect way to tie these eight pieces together. Assembling these genre-spanning tracks at his home studio in Barcelona was an arduous process, which involved late-night sessions scheduled around his newborn, occasionally producing on headphones, and even moving houses, but from the bustle emerged a newfound focus. "I just wanted to do something that I can say to my son in the future, 'I made this album right when you were born, and you were my inspiration,'" he says. His duties as a new father aside, Osuna continues to balance running his Mindshake label, maintaining his post at ENTER., and producing his own longstanding Club4 events in Barcelona, all of which played an important role in the genesis of Long Play. "Playing music for other people, seeing their reactions, hearing weird sounds and wondering how the producer got them when I go back home, I try to remember how I felt when I heard those sounds, and bring those emotions to my music," he says. With a lifelong dedication to making the highest quality techno, and a passion for making people move, for Osuna, Long Play is as much a look inward as a look outward deep progressions, hard percussion, funky moods, and blissful moments of transition all coalescing into a pure expression of his modern techno sound.
More

Barcode: 815349012375 Released: 20 October 2014
Info:
A key member of the Minus family for almost a decade, Jon Gaiser is to release his lead single "Krakdup" preceding his full length release "False Light" in November. Since 2005, Gaiser has been at the heart of the minimal techno movement. His hugely atmospheric EPs and LPs have always explored the darker, more stripped back and abstract edges of the dancefloor and have often done so in conjunction with immersive and complimentary live visuals. Says Gaiser of his working methods: "I've always been a big fan of analog gear, both old and new. I'm also a big fan of new digital technologies that create sounds that have never been heard before. I prefer to have the best of both analog and digital worlds working together, to make the most creatively flexible production environment as possible." As well as working as VOID, Gaiser is also a revered live performer who creates immersive on-the-fly soundscapes using Ableton MIDI controllers and Maschine, and regularly performs at some of the world's best festivals and club nights, including Hawtin's own ENTER. nights at Space Ibiza. A trained percussionist and sometime punk rock drummer, around the age of 15 Gaiser discovered the underground techno scene in Detroit and "was completely intrigued by the energy of the music" and so began collecting drum machines, synthesizers and FX units to build a studio in his teens. Before long he impressed techno innovator Richie Hawtin, was signed to Minus and soon began releasing on the seminal label. Playing in Europe so often meant the natural thing for him to do was to move to Berlin, and it is from there that his sound has flourished. An extensive tour is planned to support the album, featuring a brand new visual show, created by accomplished Turkish artist and director Ahmet Said Kaplan.
Album Teaser: https://www.youtube.com/edit?o=U&video_id=10mg1q0Kr68
TRACKLIST
A1: Krakdup
A2: Where Are We
More

Barcode: 815349012368 Release Date Physical:15.12.2014
TRACK LISTING: A: Genome (Main Mix) B: Genome (Sebastian Mullaert Remake)
Inspired in equal measure by analog synthesizer technology and the lush Swedish countryside, Genome marks the first collaboration between veteran techno producers Patrick Siech and Minilogue's Sebastian Mullaert, with part one of the three-EP series appearing on Richie Hawtin's Minus label. Recorded live to tape last spring, the four tracks that comprise Genome 1 make for a transformative dancefloor experience that morphs and swoops its way through soulful, sweaty analog techno with flourishes of 303-style acid. Mullaert and Siech met in their hometown of Malmö, Sweden, back in 2000, when Mullaert was premiering his Minilogue project live with partner Marcus Henriksson. Siech opened that show with his very first public DJ set. The pair kept in touch over the years in the small but tightknit scene, and when it came time for Mullaert to set up his new studio in the small forest village of Röstånga, an hour outside of the city, he enlisted Siech's help, which led to a week of intense experimentation and lengthy analog-synth jams. "That was the real door opener for us," says Mullaert. "We didn't have any concept or vision in mind for it, other than having fun together." Central to the Genome series is Siech's modular synth, which he reassembled in Mullaert's studio for the recording. "I credit all my tracks partly to the ghost that lives in this machine," says Siech. "I can't imagine making music without it. There are so many variables in it that create strange voltage fluctuations, so you can never be 100% sure what it will throw at you from the speakers." From that low-pressure recording environment emerged a number of epically mesmerizing live tracks, one take of which forms the basis for Genome 1's 10-minute-long "Main Mix," its burbling, arpeggiated synth lead almost breathing on its own, constantly shifting in and out of sync as the track's propulsive drums gently come into focus. "When you're jamming live, you are actually there to really feel a track as it's supposed to be heard," says Siech. "If it's a good track and you manage to hypnotize yourself during the recording process, it will normally end up long because that's just what feels right. And you don't want to wake people from their dream state too soon if you don't have to." Both producers have a penchant for crafting long, drawn-out dancefloor compositions. "Honestly, a 10-minute track is pretty short for me," Mullaert says with a laugh. The deep, meditative aspects of dance music are key to his slowly evolving soundscapes. "As a DJ, I love those long journeys where the dancer loses the concept of different tracks, and they all melt together into one." Inspired by the live take that became Genome 1's "Main Mix," Mullaert went back into the studio and crafted three more versions to complement the lead track. The "Sebastian Mullaert Dub" molds the original's meandering structure and refocuses it for a deeper, darker dancefloor. His "Remake" maintains the tension while introducing new melodic elements half-way through, and his "Reshape" (under his Wa Wu We guise) is a subdued, spatial dub-techno suite that's punctuated by rich analog sonics. "Dance music has a very spiritual element to me," Mullaert explains. "I dance because I it helps me to get in touch with my inner truth; it basically helps me to relax in being me, and appreciate and be thankful for what I am." Moving his home and studio to the countryside also helped facilitate that introspection. "The national park begins just a few hundred meters from my studio," he says. "Walks in the forest and meditation is part of my daily life, and also an important part of getting in touch with my creativity." In that respect, the name "Genome" takes on a double meaning: "The genome is the building brick and sequence of life," informs Siech. "It's about the creative process of making a record in the ancient forest surrounding Sebastian's studio, and also the organic randomness of the analog equipment we've used throughout the process," he says, considering the natural worlds both outside and inside the studio. "Lucky accidents happen all the time that make your track turn into something better than what you might've expected. It's the machines having a life of their own."
Expect two more Genome EPs in the future, along with a full-on analog live show, Sebastian Mullaert & Patrick Siech Present GENOME LIVE, in 2015.
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UPC: 815349011910 Release : 01.07.2013
Special Remarss: 1st pressing of 500 copies in limited embossed sleeve & 180g Vinyl
Tracklist: A1. Trou B1. Belly B2. Dicof
Short info:
NSOUND returns with invisible hooks that entice us to believe that the melodies we hear are actually there. A continuation of exploration into his stark sonic landscape that bring up the question or where is he going?


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UPC: 815349011927 Release : 08.07.2013
Special Remarks: 1st pressing of 500 copies in limited embossed sleeve & 180g Vinyl
Tracklist: A1. Jetbal B1. Way To Make B2. Aeolina_A
Short info:
Tripmastaz explores beyond the definitions of min and MAX and loops our minds attention back onto throbbing bass & shuffled percussion that remind us how close House & Techno really are.

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UPC: 815349011934 Release : 15.07.2013
Special Remarks: 1st pressing of 500 copies in limited embossed sleeve & 180g Vinyl
Tracklist: A1. Onyx B1. Source B2. Intertwined
Collaboration pushes us through conflict and pulls us back together balancing somewhere in between.

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UPC: 815349011903 Release: 24.06.2013
Special Remarks: 1st pressing of 500 copies in limited embossed sleeve & 180g Vinyl
Tracklist: A1. W.M.B.R.(War Metal Bum Rock) B1. Skif
The now legendary "Acid Village" demo sees the light of day pushes into the mysteries and darkness of night, looping crackless & melodies pop through an atmospheres of samples & strings, stetched out, deformed and leaving us asking who the creators are?
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UPC: 815349011880 Release: 10.06.2013
Special Remarks: 1st pressing of 500 copies in limited embossed sleeve & 180g Vinyl
Tracklist: A1. Stpid B1. Zola B2. Brln
A regular in my DJ sets as demos, Nsound pushes us all to hear what is seemingly not there. Only the brave have the confidence to create music that is so basic in it's core but so deep in its intention, pushing each of us to imagine where the sound stops and the silence begins.
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UPC: 815349011873 Release : 10.6.2013
Special Remarks: 1st pressing of 500 copies in limited embossed sleeve & 180g Vinyl
Tracklist: A1. Conscious B1. Detach B2. Conscious (Soundscape Tool)
An exploration of the space between min and MAX, Joran speeds at an hypnotic pace exploring the outer reaches of space and dimensions, returning through a wormhole of frequencies & echoes and optimism of new worlds.

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UPC: 815349011996 Release : 17.6.2013
Special Remarks: 180g vinyl, 7mm spine sleeve, mat-black silver embossed 300g sleeve, disco-innensleeves
Tracklist: A1. Mathew Jonson - Metropolis A2. Valentino Kanzyani - Bobby On Drums B1. Jonni Darkko - Close B2. Hobo - Incise C1. Gaiser - Trashbend C2. Julian Jeweil - Yoko D1. Joran Van Pol - Faded D2. Tripmastaz - Tyree E1. 4Yo4U - Daily Faces E2. Justin James - Song So True F1. Nsound - Loe F2. Pots Of Gold - Rainbows
"Bridging the gap between the old & the NEW, the minimal & the MAXIMAL, minMAX represents a widening of scope as we explore the area between the sounds of classic MINUS & PLUS 8. As others subdivide and categorize we bring things back together, opening things up more freely and allow a closer connection to the music that I love and the sounds & textures that many of my DJ sets journey through." Richie Hawtin.
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UPC: 815349011859 Release : 08.04.2013
Special Remarks: 1st pressing of 500 copies in limited embossed sleeve & 180g Vinyl
Tracklist 12": 1. Another Earth 2. Discochord 3. Lost City
Tale of Us are Carmine Conte & Matteo Milleri. Born in North America, raised in Italy, at home in Berlin. And this is their first release for Minus. Both musical and minimal, Tale of Us strip things back to their most basic ingredients. Circular phrases hinting at the melancholic slowly spiralling downwards.
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2024 Repress


- NO SALES TO JAPAN -
Regular Offcial Authorised Vinyl Version, Original Soundtrack, 350g Sleeve, Black Inner, Sticker, 12" 140g Vinyl
- The first ever OFFICIAL vinyl release of the soundtrack for Mamoru Oshii's legendary science fiction anime film GHOST IN THE SHELL (1995).
- LP cut from the original master reels at Emil Berliner Studios, official Ghost in the Shell artwork

Tracklisting LP :
A1 ?I - Making Of Cyborg
A2 Ghosthack
A3 Puppetmaster
A4 Virtual Crime
A5 ?II - Ghost City
B1 Access
B2 Nightstalker
B3 Floating Museum
B4 Ghostdive
B5 ?III - Reincarnation

We Release Whatever The Fuck We Want Records is thrilled and honored to announce the first ever official vinyl pressing of the soundtrack for Mamoru Oshii's critically acclaimed and all around legendary science fiction anime film GHOST IN THE SHELL (1995), adapted from Masamune Shirow's groundbreaking manga series of the same name.

Cut from the original master reels at Emil Berliner Studios (formerly the in-house recording department of renowned classical record label Deutsche Grammophon), the album comes as a LP accompanied by a bonus one-sided 7" housed in official Ghost in the Shell artwork sleeve with silver gilt printing and a Japanese obi, and contains extensive 24-page liner notes.

The haunting score is composed by Kenji Kawai, one of Japan's most celebrated soundtrack composers, alongside Joe Hisaishi and Ry?ichi Sakamoto, whose work includes Hideo Nakata's Ring (1998) and Ring 2 (1999), Death Note (2006), Hong Kong films Seven Swords by Tsui Hark (2005) and Ip Man by Wilson Yip (2008), and countless others. Kawai's compositions see ancient harmonies and percussions uncannily mesh with synthesized sounds of the modern world to convey a sumptuous balance between folklore tradition and futuristic outlook. For its iconic main theme "Making of Cyborg", Kawai had a choir chant a wedding song in ancient Japanese following Bulgarian folk harmonies, setting the standard for a timeless and unparalleled soundtrack that admirably echoes the film's musings on the nature of humanity in a technologically advanced world.

Ghost in the Shell is widely considered one of the best anime films of all time and its influence has been felt in the work of numerous movie directors, including James Cameron (Avatar), the Wachowskis (The Matrix), and Steven Spielberg (AI: Artificial Intelligence).
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LP

Special remarks: 180g

Tracklist:

A1) Foam 05:44 min
A2) Apex 05:30 min
A3) Honda 03:34 min
A4) Rectifier 04:59 min
B1) Spirit Runs 03:27 min
B2) 1999 04:43 min
B3) Chrome 04:06 min
B4) 22bhp down 04:47 min

Info:
Munich-based quintet Fazer return to Squama with their fourth studio album, ‘Yamaha’, a record that melds indie jazz and psychedelic rock with humour and depth.
The band recorded the album in their own studio for the first time, taking time time to experiment with sound and overdubs, while retaining the vigour of a live performance.
Suspenseful two-voiced themes and tickling solo interplay by Matthias Lindermayr on trumpet and Paul Brändle on guitar is still at the core of Fazer’s music, as well as the meticulous work of their two drummers Simon Popp and Sebastian Wolfgruber, whose grooves are more rooted in the rock vernacular compared to previous records. The restrained playing of bassist and producer Martin Brugger remains a grounding force that rounds out the sound of the group.

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Genre: Ambient, Experimental, Electronic, Environmental, Sound Design

LP: Limited Edition of 500, Heavy 350gsm Sleeve, Obi



Tracklisting LP
A1. Part I
A2. Part II
A3. Part III
B1. Part IV


Info

WRWTFWW Records is happy to further its collaboration with Japanese electronic/ambient group Interior by releasing their never-heard-before soundtrack for environmental artist NILS-UDO’s 1987 Laserdisc Sculpture of Time (Apocalypse). The intriguing sound design/kankyo ongaku/new age album is available as a limited edition LP housed in a heavyweight 350gsm sleeve and comes with a obi strip. It is also available in digital format.

In 1987, Intermission published a Japan-only Laserdisc showcasing one hour of works created by renowned German environmental artist NILS-UDO. To accompany the visuals, they commissioned electronic music group Interior, fresh off their Haroumi Hosono-produced self-titled debut (also available on WRWTFWW Records) and their Windham Hill Records-released sophomore album Design. For the first time ever, the soundtrack is now available in full HD glory, demonstrating Daisuke Hinata, Eiki Nonaka, Mitsuru Sawamura, and Tsukasa Betto’s precise, subtle, and spellbinding approach to ambient sound design.

Calming nature sounds, ritualistic synths, meditative atmospheres, and eruptive forays into darker territories mesh superbly in a 4-part soundscape that flirts with oeuvres such Midori Takada’s Through The Looking Glass and Hiroshi Yoshimura’s Green, making Sculpture of Time one of one of the best kept secrets of kankyo ongaku – a must have for mystery hunters and levitating music lovers.

Sculpture of Time (Apocalypse) follows WRWTWW’s reissue of Interior’s debut album and precedes the upcoming release of Tarzanland, band member Daisuke Hinata’s pitch perfect solo from 1989.


Points of interests

For fans of ambient, environmental, experimental, meditative, sound design, synthesizers, art, mysterious albums, never released music, Midori Takada, Hiroshi Yoshimura, rituals, burning wood, Laserdiscs, wondering where the world is going.

First ever release of the soundtrack created by Japanese kankyo ongaku unit Interior for environmental artist NILS-UDO on limited edition LP.


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Territories: Worldwide no restrictions

Format Notes: 2023 reissue, 140g vinyl

Track List:

A1. Manhattan Skyline 4:27
A2. Mysteries Of The World 5:27
A3. Tell Me Why 3:57
A4. Metamorphosis 5:16
--
B1. Fortune Teller 6:08
B2. Old San Juan 4:27
B3. Thank You Miss Scott 4:14
B4. In The Shadow 3:37

Release Notes:

Mysteries Of The World is the stunning final studio album from legendary Philly supergroup MFSB. Expertly co-written and produced with the mighty Dexter Wansel, it features the untouchable, sparkling masterpiece "Mysteries Of The World". The whole album is truly exquisite; a stylish, classy collection of pure Philly soul and orchestral jazz-funk.

MFSB, an acronym for Mother, Father, Sister, Brother, was formed by producers Gamble & Huff of Philadelphia International Records. The band's roots can be traced back to the house band at the legendary Sigma Sound Studios, where they played on numerous hit records by artists like The O'Jays, Harold Melvin & The Blue Notes and The Stylistics. Mysteries Of The World comprises slick jazz-funk grooves, mostly penned by Wansel, who produced a fair chunk of the album in a similar style to his space-funk records. MFSB's smooth sound is retained but it receives a fresh, elegant and jazzy upgrade. While this album is as mellow as the rest of the latter-period MFSB recordings, it never forgets the group's soul music underpinnings.

Swaggering, well-timed horn blasts, sweeping strings and a percolating, hard thumping slap-bassline combine to devastating effect on amazing opener "Manhattan Skyline". It's a sexy mid-tempo instrumental which sets us up nicely for what follows. Essays could be written analysing the perfection of title track. Arguably the finest jazz-funk instrumental ever made, it's absolutely magnificent. Featuring musicianship of the highest calibre, the band play with their trademark tight discipline, cooking up a syncopating rhythm with an array of exploratory keyboard riffs wrapped around a punchy bassline sent from heaven. It sounds like house music, it's that ahead of its time. The string intro is sumptuous, hypnotic and divine and that's all before the beat hits. The track fuses classical, jazz and funk into a musical journey that you never want to end. Absolutely flawless, it's a dramatic disco dancefloor killer.

Says Dexter Wansel himself: "You know, of all the songs I wrote/produced/arranged for MFSB, this is for me the most different. I think it's an experiment in rhythmic, soft sonic synth and live string and harp combinations. I composed it in an effort to blend a funky groove, along with synthesis, and orchestral sounds. There are 3 synthesizers: Oberheim 4 voice, Polymoog, and of course Arp 2600v. And, as I remember, I recorded the track with the rhythm section, string, harp and flute players first. Then I added synthesis."

The profound elegance remains in abundance on the slinky, harp-laced "Tell Me Why"; Carla Benson's beautiful voice truly shines on this sophisticated cut. The side closes out in dramatic style with the string-drenched "Metamorphosis". It's a staccato, Blaxploitation groove workout featuring wah-wah guitar, creeping basslines, rich horn solos and soulful vocals drifting in and out of the mix. The bouncy, irrepressible "Fortune Teller" opens the B side in the bass-heavy orchestral funk style before the beautiful "Old San Juan" glides in, a Balearic-adjacent track with intricate arrangements, building its mellow soul groove around an atypical flamenco guitar hook. Melancholy, guitar-led instrumental "Thank You Miss Scott" is a real highlight, with gorgeous flute, string and percussive elements whilst closer "In the Shadow" works an otherworldly synth line into its bossa nova groove.

An essential record for fans of Philly soul and groovy jazz-funk, Mysteries Of The World was mastered for vinyl by Simon Francis and cut by Cicely Ralston for Alchemy at AIR Studios. The stunning artwork, the work of renowned illustrator Robert Giusti, was restored at Be With HQ to round out this beautiful reissue.


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2024 Repress

Tracklist:

01. Looking Up To You (05:18)
02. Diamond Real (Tee Scott Instrumental Mix) (07:05)

Two seminal 12" mixes of a pair of Michael Wycoff heavy hitters from 1982. One a two-step favourite and one a Loft classic, these sought-after versions have never been paired on the same record. More

Territory: Germany, Austria, Switzerland only

Format: LP, obi-strip
Genre: Post-Rock, Alternative

Tracklist

A1 The Flesh of Lost Summers
A2 A Happy Death
A3 The Light in the End

B1 Partings
B2 A Collapse of Horses
B3 The Mountains are a Dream that calls to me


Forgetting You Is Like Breathing Water, the self-titled debut from the duo of trumpeter Will Evans and guitarist, synthesist, producer and multi-instrumentalist Theo Trump, arrives like a vault revelation. It feels like a decades-old yet newly unearthed masterwork of gorgeous ambient improvisation, the sort of thing scholars live to research and shepherd into deluxe reissue.

The patient, crystalline chords that swell and resonate like a series of confessions; the textured brass murmurs that suggest a ’60s or ’70s Fire Music master at their most poignant. Provocative found-sound experiments threading arcane religious recordings through dystopian soundscapes. Ear-shattering free-noise tumult. Where and when did this music come from? Who are these voices?

As it turns out, Forgetting You Is Like Breathing Water springs from an engrossing human story, though it isn’t necessarily the one you’d expect. This work of stunning maturity is in fact an entrance by two little-known explorers in their early 20s, who grew up together in Virginia, in the shadow of the Blue Ridge Mountains. It documents one of those perfect, sparkling moments in post-adolescence when big decisions and responsibilities are right around the corner, but for a spell, two young artists are able to create among the comforts and nostalgia of their shared past.

It also represents a reunion of sorts, as Evans and Trump connected as toddlers, became inseparable as boys, then pursued independent lives and creative paths as young adults. “Theo is my oldest friend,” Evans says, “and I feel like that’s what this band is — us meeting right in the middle of our interests.”

Now, having conjured this magic, they’ve detached once again: Evans, whose other works include the indie/avant-jazz unit Angelica X, is currently based in New York City. Trump recently moved to England, where he’d participated in his family’s theatre company, to go to school and further his solo ambient project. “This album didn’t start out as something super ambitious,” Evans explains. “It was more just an excuse to spend time together again and make music.”

***

In conversation, Evans and Trump are a delight, especially for cynics who might think that Gen-Z is only capable of doomscrolling. They come across as kindly young intellectuals who grew up using the internet as it was intended, for exposure to ideas and art across genres and generations. Trump points to indie-folk and the oracular post-rock of late Talk Talk, Bark Psychosis and Gastr del Sol. Pressed for his guitar heroes, he cites Bill Orcutt, Mary Halvorson and Marc Ribot, and mentions his devotion to alt-country. Heyday electro-industrial stuff like Skinny Puppy and Nine Inch Nails also meant a lot to him.

Evans is equally intrepid, though his background has a greater jazz focus. Ambrose Akinmusire, among today’s most thoughtfully commanding trumpeters, is a favorite. As for the soulful murmur he offers throughout Forgetting You, Pharoah Sanders’ wistful and lyrical contributions to Floating Points’ work is a touchstone.

The two grew up down the street from each other in the northern Piedmont town of Batesville, Virginia. Their families were friends, holidays were celebrated together and they became the most loyal of pals. As children they had a pretend band.

Then life unfolded, they attended different schools and their paths diverged. Evans discovered John Coltrane and became a jazz obsessive, as Trump found punk and hardcore and later began making ambient music. As a dedicated jazz trumpeter, Evans studied formally and widely; Trump was an autodidact, teaching himself guitar and absorbing synthesis and production techniques. The late teens and very early 20s brought moves away from home and back to home, as well as plenty of listening and learning. The Covid pandemic meant an opportunity to reconnect on long walks. Through it all, together and apart, they remained reverent of each other.

By early 2023, they found themselves living again among the Blue Ridge Mountains. In the evening, after giving trumpet lessons in Charlottesville, Evans would make the eerily beautiful trek “over the mountain” to Trump’s home in Staunton, Virginia. They’d talk and eat and begin to improvise, deep into the night. Evans played trumpet and sometimes drums. (Given the wee-hours recording schedule, the neighbors didn’t appreciate the latter.) Trump plugged a rickety, junk-store Telecaster-style guitar into a cheap solid-state amp and explored open tunings; he also layered on lap steel, electric bass, synths and electronics.

They locked in and relished each other’s gifts. In Trump, those include patience and intentionality and sonic decision-making; for Evans, a distinctive trumpet sound that both musicians think of as a singer’s voice. “Will’s playing is so thoughtful and well placed,” Trump says. “My goal from a producer’s mindset is that the trumpet will occupy the space that vocals would take.”

Often, they got lost in the best way. “The thing I look for most when I’m playing is that feeling of disappearing into what you’re doing,” Evans says. “Usually when that happens, the music is good.”



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