Atom™ & Tobias bookend their Pomelo trilogy in style with "Enne", final instalment of their three-part series that started with "Cuando" and "Zahlenraum" last year. The EPs three tracks span the breadth and depth of Atom™ & Tobias's hardware techno sessions. From the slow-burning and punishingly addictive title track, to the jacking, rattling TR-909 grooves of 'NHMS', and the sprawling widescreen dubs of "Aux II", "Enne" simultaneously celebrates the delicacy, immediacy, and unmitigated power of twirling synth lines, grumbling bass spirals, and pounding techno rhythms. More

Atom™ & Tobias.’s CUANDO is the first in a series of three upcoming take-no-prisoners techno EP’s. Atom™ & Tobias. showcase their unique skills for hypnotic dance floor killers in unmatched sound design and once more prove that they are playing in a league completely their own. More

Atom™ & Tobias. deliver their first tracks recorded for Ostgut Ton on the "Physik 1 EP". Both artists operate within a wide spectrum of electronic music, ranging from Ambient through Electro to Techno. For this collaboration on Ostgut Ton they opted for two classic Acid jams. On the first side "Physik 44A" builds a steady sweep with its continually modulating Acid line and relentlessly driving percussion. Luscious beats are propelled through an intricately crafted hi-hat construction until the filter cut-off signals a break, only to allow the track to strike back in full force. On the B-side "Physik G321V" focuses on the groove. The same subject with a different approach. A surprising balancing act between the serious mood layed down by the track and the combined playful vocal stabs that are comfortably bathed in Acid as though they always belonged there. A thoroughly timeless record. More

For those of you knowing the collaboration between Atom™ and Pink Elln (aka Tobias Freund) and the series of releases they have put out during the last 20 years, "Grand Blue" may come something of a surprise. Be assured though, that nothing has changed! "Grand Blue", like all the other works of Atom™ and Pink Elln, has "the unexpected improvisation" as the invisible working title. This time, instead of drum machines and sequencers on a stage of a club, both artists by sheer coincidence found themselves confronted and intrigued by a completely different set of instruments: two pianos (a midi- and an acoustic one) that were standing in a tiny lobby of a hotel in niigata (japan) (the "Grand Blue Hotel"). Without any musical pre-concept, yes, without even the intention to "produce" or to "record" something or to have any use for what was going to happen, the musicians simply started to improvise while sipping on some delicious sake...a small flash recorder was sitting on a chair...recording. The beauty of "Grand Blue" may lay in the total lack of intention, musical concept and, related to that, stereotypes! In other words, "Grand Blue" is a truly naïve, spontaneous and direct recording. It was neither driven by fulfilling a musical plan, a marketing concept nor by the egos of two artists firing at each other with the sophisticated knowledge of complex chord progressions. In fact, the lack of all that, and the resulting passages of fragile, drifting musical code make "Grand Blue" such a unique and emotional piece of work. More

From the straight-edge allure of 'Dime' to the enigmatic charm of 'Stranger' and the jazzy sophistication of the title track, ending with the deep electro funk tune 'Easy Virtue,' Lok44's 'Late Reaction' is a captivating exploration of divergent forms of electric sweat music. Out on Pomelo, one of the longest running techno label out there. More

Extremely limited collectors edition of Atom™ & Tobias.' Toolbox Series (Cuando, Zahlenraum & Enne) released on Pomelo (POM45-47) with a Dextro-designed cover, including download codes of all releases with exclusive edits. More

Newest addition to Pomelo is Spanish talent Vedelius, who delivers the late night burner "The Crypt". The EP comes with three inventive and floor ready remixes by the likes of Phosphene, Lodig/Dibek and Lok44 – a rolling breakbeat version by Phosphene, jacking techno by Lodig/Dibek and a dubbed out Electro-Techno stepper by Lok44. Strictly Limited Edition of 250. More

Atom™ & Tobias bookend their Pomelo trilogy in style with "Enne", final instalment of their three-part series that started with "Cuando" and "Zahlenraum" last year. The EPs three tracks span the breadth and depth of Atom™ & Tobias's hardware techno sessions. From the slow-burning and punishingly addictive title track, to the jacking, rattling TR-909 grooves of 'NHMS', and the sprawling widescreen dubs of "Aux II", "Enne" simultaneously celebrates the delicacy, immediacy, and unmitigated power of twirling synth lines, grumbling bass spirals, and pounding techno rhythms. More

Atom™ & Tobias.’s CUANDO is the first in a series of three upcoming take-no-prisoners techno EP’s. Atom™ & Tobias. showcase their unique skills for hypnotic dance floor killers in unmatched sound design and once more prove that they are playing in a league completely their own. More

Pomelo are back with this new release by Lodig/Dibek. The viennese duo delivers two modern techno tracks with compelling acid grooves, sparse drums and a haunting atmosphere. On top of that the EP is backed with a remix by Cheap records' Erdem Tunakan and Alpha Tracks who surprise with an old school Piano techno rave tune the likes of we have been missing for over 20 years.
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“Eat My Pussy” is the delightfully nasty debut solo release from Latvian artist Anet K., coming out on Pomelo November 24th. The title track, featuring Anet’s vocals and production, functions as both a demand and endearing request, fusing her encyclopaedic knowledge of electro with a cunning lyrical twist. With such a explicit title, it should come as no surprise that the inspiration for “Eat My Pussy” comes from firsthand experience. Anet K. is no stranger to the scene – as a long-term resident of Berlin she’s contributed vocals to several recent releases, including Barker’s “Like An Animal” on Leisure System. For the remixes, DJ Stingray presents the vocals as an even more aggressive command, while the legendary Egyptian Lover raps some addictive verses and completely revamps the arrangement, presenting his personal ode to cunnilingus in an earworm chorus. On the dance floor or between the sheets: you won’t forget “Eat My Pussy” anytime soon.
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In 1994 Pomelo released their first record, the double album "Pomelo Compilation" which featured acts who played during some of the notorious Pomelo nights in
Vienna, that had started one year before. This is the first of 2 EP ´s with exclusive tracks by some of their recording artitst, celebrating the 20th anniversary of
Pomelo Records This first part features new recordings by Patrick Pulsinger & Sam Irl, Altroy aka. TJ Hicks, Buffered Multiple aka. Microthol and DJ Glow.
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Pomelo’s newest outing is delivered by the NYC based producer extraordinaire Brendon Moeller, a real master in the field of techno and dub, also well known for his productions under the monikers ‘Beat Pharmacy’ and ‘Echologist’. Despite his 10 albums and over 50 singles released for some of the best labels out there, it is three of Brendon’s strongest tracks to date that have made it on his ‘Reconcile’ EP. The EP’s title track promises a subtle fusion of house and techno through a loosly swinging techno groove, and duly delivers with echoing chord cascades and spluttering sound effects. ‘Machiavellian impulse’ picks up the intensity with a more direct, pounding beat, to which stuttering, spacious stabs add an element of deepness and dub. ‘Loudness Sustain Decay’ finally has a whole side to itself, starting out as a lofty house mover, with a pulsing wild pitch synths slowly adding tension until the track’s wild finale.
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Tin Man has been creating a stir on dance floors worldwide for many years with his unique vision of acid, techno and house. In recent times he has opened his production toolbox to a wider variety of styles, also focusing on songwriting, often adding vocals. The Underdog series, produced last winter in New York, emphasizes on deep killer techno – This new release – the Underdog EP Part 2 – features three floor shaking techno cuts in different shapes. On the A Side the aptly titled “Swarm” features an epic minimal acid tune building over 10 minutes driven by twirling soundscapes resembling a swarm of killerbees on attack. Flipping over there is “Hack”, which bows towards Soundhack with its dirty funked up sample chords and cut up groove. The EP finishes off with “Rocky”, a masterpiece in reduction – hypnotic and deep techno.
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After spending 6 months in New York Tin Man returned with 2 records for Pomelo. The first of the pair, the “Underdog EP pt1.”, features two of Tin Man’s most party ready tracks to date. On the A Side Tin Man shows how to rock at peak time. ‘UR’ applies rave stabs over a Tin Man trade mark acid line, achieving maximum dancefloor pressure in an always evolving 13 minutes arrangement. The track title makes it easy to guess where Tin Man drew his inspiration from. ‘Stay Down’ on the flip side goes deeper, delivering a hypnotically grooving minimal house tune, featuring an elevating key line that, like an Escher staircase, perpetually moves up while returning to its starting point. More

Pomelo introduces the Motor City?s superbly talented Kemetrix, aka Soulwerkz Detroit. Part of the Mahogani Music family and closely associated to Moodyman as well as Sherard Ingram aka DJ Stingray, Kemetrix blazes a unique path through soul, funk, ghettotech and sci-fi electro styles. ?Soulbrother #3? brings both KDJ?s deepness and Stingray?s futurism to the table, merging both sides of Detroit?s 20th century musical heritage, Motown and Metroplex, in singular fashion. Kemetrix?s influences range from Curtis Mayfield?s falsetto vocal style and social commentary, to George Clinton?s collage production style, and J Dilla?s raw and unquantized beat programming. Kemetrix?s music comes from the ghetto. It is raw, intense, and authentic, a unique expression of the struggle and hardships of Detroit inner city life ? true soul music for the 21st century. More

Elektro Guzzi have been called a lot of things – from “Man-Machine” to “first ever real live techno band” – and most critics have added plenty of superlatives to their descriptions. It’s a hype you can safely believe: The energy and precision of their fabled live shows has to be experienced first hand in order to understand why Elektro Guzzi are regulars on the world’s clubs and festival circuit, having played Berghain and Fabric, SÛnar and Time Warp in 2011. It’s also a hype you can safely ignore: Listening to Elektro Guzzi’s music it becomes completely irrelevant that these tracks are created using guitars, drums and effect pedals. They stand tall for what they are: Spectacularly unique sounding and brilliantly flowing exercises in dark, organic techno.
From hypnotic ‘Fat Pony’ to ‘High Noon’s swirling pads and ‘Jangu’s steel-drum-led Jeff Mills allusions, the trio’s Pomelo debut is an EP that’s firmly made with the dance-floor as its inspiration and goal, refining their style while embracing new influences, such as the wobbly bass lines and bouncy UK-style grooves in ‘Asteroid’. Once again aided by the legendary mixing skills of Patrick Pulsinger at Vienna’s Feedback Studios, Bernhard Hammer, Jakob Schneidewind and Bernhard Breuer are clearly at the peak of their prowess and well on the way of making Elektro Guzzi the most radical dance band of the decade.
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15 years have passed since Alex Cortex began to create his own vision of electronic music - timeless and beyond trends, without a buzz or hype, steadily winning the following of DJs and home-listeners, collectors and critics worldwide. His style can be described as unpredictable to a certain point, while maintaining high aesthetic standards; playful with quotes and references, always low-key and focused on psychedelic immersion into sound
that shifts the attention from the artist to the music. 'Kihon' is a very personal effort, as suggested by the self-portrait on the cover that puts ear, eye, and mouth -reception and production- into context. The carefully elaborated design of this gatefold double LP speaks as a whole and in true minimalist fashion about the passing of time, without ever declaring nostalgia to be a means for itself. This also reflects in the music. Alex Cortex evades large gestures and obvious quotes, but is certainly conscious of locating his album within a framework of references to other works of electronic music that are important for his own musical evolution. In 11 nameless tracks, 'Kihon' takes us on a journey through organic worlds of sound that invites us to flow with the music and connect with the feelings contained in it. The title 'Kihon' that relates to Japanese martial arts translates to 'basics' or 'fundamentals', the training of which does not even cease when reaching master grades. Those basics that are passed on beyond time are also the foundation of this album. By concentrating on the bare essentials, the music begins to speak, turning the album into a harmonic whole. 'Kihon' therefore is also a return to
listening, away from a utilitarian perception of music as a background sound. This does not mean it would not work perfectly well in a club context -in the right hands it indeed does- but more notably, 'Kihon' is a work of art worth your attention and destined to stand the test of time.
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