It goes without saying that space has always been central to Techno – both in terms of its cosmic and futuristic trajectory, as well as in the spatial dimensions of sonic elements. Etapp Kyle’s first full Ostgut Ton EP release sees the Ukrainian-born, Berlin- based Berghain resident emphasizing the connection between the two, while avoiding Techno’s overt intergalactic cliche´s. By partially linking to his Continuum EP (Unterton, 2016), the results are four tracks of pristine, sci-fi minimalism, propelled by Ambient synths and percussive explosions in distant skies – more utopian than dystopian. More

After his joining with Ostgut Booking in 2015, his contribution to the Ostgut Ton | Zehn compilation and two 12“es on Ben Klock’s Klockworks label, Ukraine-born, now Berlin-based producer and DJ Etapp Kyle debuts on Unterton. As with his previous releases Etapp Kyle captures his playful, multi-layered Techno endeavours with single-word track titles: Continuum EP starts off with “Opto”, an atmospheric track with fazing bleeps, ensouled synths and subdued claps – a prime example of his great feel for musical detail. “Ahora” builds upon this vibe with more asynchronous drum patterns, well placed drips of melody, distant pulses, mesmerizing pads and hints of rattles amongst other percussion. The EPs title track “Continuum” is distinctive through its use of industrial hammer jabs and reduced, puzzling synth pads that are counteracted by a more dominant, steady and stubborn kick drum. “Limb” contrasts unconventional pulsating, hypnotic synth tones with sharp claps and snare sounds, and rounds off this 12“ of all new, puristic and futurist Techno, catering as much to the darker corners as to the brightest spots of the dance floor.
More

English:
Fünfzehn + 1 is a commemorative compilation celebrating 16 years of Ostgut Ton – and the first glimpses of light at the end of a long dark tunnel for parent club Berghain. Originally planned for release in 2020, the music focuses on the interwoven nature of the label and the club in its multitude of different spaces and musical facets. Ostgut Ton artists and close affiliates worked together in pairs to make music dedicated to five different floors, each represented by a specific 12" vinyl. The result is a diverse selection of sometimes functional, other times more abstract sonic tributes; musical homages to spaces they have both influenced and been influenced by. With the pandemic having forced the club to close temporarily, the collaborative nature of the 5x12" boxset represents an attempt to transcend varying degrees of isolation and to wrestle with memories of music and space that had been inaccessible. But certainly not forgotten.

German:
Die Compilation Fünfzehn + 1 feiert 16 Jahre Ostgut Ton – und das Licht am Ende eines langen, dunklen Tunnels für sein Stammhaus Berghain. Ursprünglich zur Veröffentlichung im Jahr 2020 geplant, reflektiert die vorliegende Musik die Verflechtung von Inhouse-Label und Klub bzw. dessen unterschiedlicher musikalischer Facetten. Ostgut-Ton-Künstler*innen und -Freund*innen arbeiteten gemeinsam an Stücken, die fünf Floors gewidmet sind – und im Vinyl-Boxset fünf 12"es zugeordnet werden. Die 20 Stücke sind musikalische Hommage an Räume, die die beteiligten Personen sowohl beeinflusst haben, als auch von ihnen beeinflusst wurden. Das Ergebnis sind mal funktionale, mal eher abstrakte klangliche Näherungen. Nachdem die Pandemie den Klub vorübergehend zur Schließung zwang, stellt der gemeinschaftliche Charakter dieser Compilation einen Versuch dar, unterschiedliche Maße der Isolation zu überwinden und mit Erinnerungen an Musik und Räume zu ringen, die lange Zeit unzugänglich waren. Doch sicherlich nicht vergessen.

English:
Fünfzehn + 1 is a commemorative compilation celebrating 16 years of Ostgut Ton – and the first glimpses of light at the end of a long dark tunnel for parent club Berghain. Originally planned for release in 2020, the music focuses on the interwoven nature of the label and the club in its multitude of different spaces and musical facets. Ostgut Ton artists and close affiliates worked together in pairs to make music dedicated to five different floors, each represented by a specific 12" vinyl. The result is a diverse selection of sometimes functional, other times more abstract sonic tributes; musical homages to spaces they have both influenced and been influenced by. With the pandemic having forced the club to close temporarily, the collaborative nature of the 5x12" boxset represents an attempt to transcend varying degrees of isolation and to wrestle with memories of music and space that had been inaccessible. But certainly not forgotten.

German:
Die Compilation Fünfzehn + 1 feiert 16 Jahre Ostgut Ton – und das Licht am Ende eines langen, dunklen Tunnels für sein Stammhaus Berghain. Ursprünglich zur Veröffentlichung im Jahr 2020 geplant, reflektiert die vorliegende Musik die Verflechtung von Inhouse-Label und Klub bzw. dessen unterschiedlicher musikalischer Facetten. Ostgut-Ton-Künstler*innen und -Freund*innen arbeiteten gemeinsam an Stücken, die fünf Floors gewidmet sind – und im Vinyl-Boxset fünf 12"es zugeordnet werden. Die 20 Stücke sind musikalische Hommage an Räume, die die beteiligten Personen sowohl beeinflusst haben, als auch von ihnen beeinflusst wurden. Das Ergebnis sind mal funktionale, mal eher abstrakte klangliche Näherungen. Nachdem die Pandemie den Klub vorübergehend zur Schließung zwang, stellt der gemeinschaftliche Charakter dieser Compilation einen Versuch dar, unterschiedliche Maße der Isolation zu überwinden und mit Erinnerungen an Musik und Räume zu ringen, die lange Zeit unzugänglich waren. Doch sicherlich nicht vergessen.

1.Rimba7 by MMM 05:25
2.Champu Princess by Avalon Emerson / Roi Perez 06:36
3.An Ode To Audre by Tama Sumo / Lakuti 06:05
4.Session 2 by Substance / Soundstream 07:35
5.Temple Of Love by Len Faki feat. Honey Dijon 09:52
6.Años Perros by JASSS / Silent Servant 07:28
7.9/8 Gumbo by Luke Slater / Barker 06:45
8.A Friend Of A Friend by Ben Klock / Etapp Kyle 06:09
9.The Call by Marcel Dettmann / Norman Nodge 05:36
10.Untitled 15+1 by Pom Pom 07:20
11.Ever Given by Oren Ambarchi / Konrad Sprenger / Phillip Sollmann 10:14
12. Reset Walking by Martyn / Duval Timothy 04:50
13.Iteration by Jessica Ekomane / Zoë Mc Pherson 05:35
14.One Final Thing (Not Zero) by Atom TM / Tobias. 05:00
15.B-Section by Answer Code Request / Gerd Janson 06:31
16.Fontane by Ryan Elliott / André Galluzzi 06:41
17.Ride Out The Wave by Paramida / Massimiliano Pagliara 06:42
18.Labskaus by nd_baumecker / Nick Höppner 06:08
19.Cigarette Glow by Terence Fixmer / Phase Fatale 06:23
20.Remember The Future by Comets 06:32 More

English:
Fünfzehn + 1 is a commemorative compilation celebrating 16 years of Ostgut Ton – and the first glimpses of light at the end of a long dark tunnel for parent club Berghain. Originally planned for release in 2020, the music focuses on the interwoven nature of the label and the club in its multitude of different spaces and musical facets. Ostgut Ton artists and close affiliates worked together in pairs to make music dedicated to five different floors, each represented by a specific 12" vinyl. The result is a diverse selection of sometimes functional, other times more abstract sonic tributes; musical homages to spaces they have both influenced and been influenced by. With the pandemic having forced the club to close temporarily, the collaborative nature of the 5x12" boxset represents an attempt to transcend varying degrees of isolation and to wrestle with memories of music and space that had been inaccessible. But certainly not forgotten.

German:
Die Compilation Fünfzehn + 1 feiert 16 Jahre Ostgut Ton – und das Licht am Ende eines langen, dunklen Tunnels für sein Stammhaus Berghain. Ursprünglich zur Veröffentlichung im Jahr 2020 geplant, reflektiert die vorliegende Musik die Verflechtung von Inhouse-Label und Klub bzw. dessen unterschiedlicher musikalischer Facetten. Ostgut-Ton-Künstler*innen und -Freund*innen arbeiteten gemeinsam an Stücken, die fünf Floors gewidmet sind – und im Vinyl-Boxset fünf 12"es zugeordnet werden. Die 20 Stücke sind musikalische Hommage an Räume, die die beteiligten Personen sowohl beeinflusst haben, als auch von ihnen beeinflusst wurden. Das Ergebnis sind mal funktionale, mal eher abstrakte klangliche Näherungen. Nachdem die Pandemie den Klub vorübergehend zur Schließung zwang, stellt der gemeinschaftliche Charakter dieser Compilation einen Versuch dar, unterschiedliche Maße der Isolation zu überwinden und mit Erinnerungen an Musik und Räume zu ringen, die lange Zeit unzugänglich waren. Doch sicherlich nicht vergessen.

1.Rimba7 by MMM 05:25
2.Champu Princess by Avalon Emerson / Roi Perez 06:36
3.An Ode To Audre by Tama Sumo / Lakuti 06:05
4.Session 2 by Substance / Soundstream 07:35
5.Temple Of Love by Len Faki feat. Honey Dijon 09:52
6.Años Perros by JASSS / Silent Servant 07:28
7.9/8 Gumbo by Luke Slater / Barker 06:45
8.A Friend Of A Friend by Ben Klock / Etapp Kyle 06:09
9.The Call by Marcel Dettmann / Norman Nodge 05:36
10.Untitled 15+1 by Pom Pom 07:20
11.Ever Given by Oren Ambarchi / Konrad Sprenger / Phillip Sollmann 10:14
12. Reset Walking by Martyn / Duval Timothy 04:50
13.Iteration by Jessica Ekomane / Zoë Mc Pherson 05:35
14.One Final Thing (Not Zero) by Atom TM / Tobias. 05:00
15.B-Section by Answer Code Request / Gerd Janson 06:31
16.Fontane by Ryan Elliott / André Galluzzi 06:41
17.Ride Out The Wave by Paramida / Massimiliano Pagliara 06:42
18.Labskaus by nd_baumecker / Nick Höppner 06:08
19.Cigarette Glow by Terence Fixmer / Phase Fatale 06:23
20.Remember The Future by Comets 06.32 More

Giving form to a broad personal project of continuous inquiry and existential expression, A World Of Servicemarks the Ostgut Ton debut of Spanish producer, DJ and artist JASSS aka Silvia Jiménez Alvarez.

The evolution of A World Of Servicehas curved around genre collapsing and unexpected metamorphoses. Formerly the name of the monthly radio show JASSS hosted in Berlin, and soon to be the title of her expansive multi-sensory touring concept in collaboration with Ben Kreukniet, here A World Of Serviceis powerfully concentrated in sonic form. Throughout the album JASSS muses on the especially current human and technological barriers to interconnectivity; both lyrically and musically she deconstructs the self, unmasks anxieties and interrogates the insufficiencies of language as applied to gender, identity and interpersonal relationships. Forming her own fluid, nuanced lexicon in response, JASSS seeks a deeper understanding of her multiple selves, emerging through unbridled adolescent rage and the wisdom of maturation, traversing liminality with abstract electronics and baroque industrial pop. Visually this is underscored by Matt Lambert’s uncanny floral cover portraiture, as well as the record’s distinct scent of wet earth, flower and woods developed for the album by Meri Bonastre and applied to the vinyl innersleeve.

Following the imaginative nostalgia of Weightless, her 2017 debut album for iDEAL Recordings, as well as her series of blistering dancefloor 12”s for Whities/AD 93, A World Of Servicefolds personal and societal concepts in on themselves, not seeking answers but rather luxuriating in the unique friction that questions create. JASSS is intensely focused yet musically unbridled; this is reflected in tonal shifts of A World Of Service. Through the computerised yearning and bruising of a heartbreak on “Luis”, to the jagged and wordless tundra of “Vapor Dentro”; the intriguing juxtaposition of warm, alluring Spanish vocals against rigid pillars of industrial heft and bass grind (“Camelo”), and the soaring maximalist industrial popof the album’s closer, “Wish.”

As intensity rises through the pandemic-era trip hop of the album’s title track “A World Of Service”, JASSS sings: “Pleasure / Is nowhere to be found inside this world of service / I call to be my life.” Pleasure may remain elusive to her, but in the determination to make peace with her various identities in this technological age, JASSS offers a compelling glimpse into an essential type of artistic voice.

Tracklisting
1. JASSS Birds You Can Name 00:02:54
2. JASSS Camelo 00:03:21
3. JASSS Luis 00:03:36
4. JASSS Busto 00:03:46
5. JASSS A World Of Service 00:04:40
6. JASSS In Your Mouth 00:03:35
7. JASSS Vapor Dentro 00:04:09
8. JASSS Wish 00:03:56
More

Follow-up to 2019’s BARKER001! Hand-stamped vinyl! More

On 1972, veteran producer and live musician Tobias Freund offers up four tracks of layered and meticulously-crafted techno using his extensive archives of tape recordings collected since childhood. Referencing a mix of profound political events in German history and esoteric meditation guides, the Berghain resident's warm, detailed sound edges beyond the floor toward brain-tingling home listening and wanderlust autobahn escapism. The EP begins with the titles track’s buzzing synths panning rhythmically across the stereo field like a hypnotist’s pocket watch, while a somber, sampled string melody pushes further into cosmic territory before concluding with a bi-lingual eulogy. “Schism” soars with a never-ending snare roll and sparse kicks – an entire track floating on a break that never lands. On “The Wisdom Of No Escape”, Freund combines soft, polyrhythmic bleeps with esoteric vocal samples on an inward path of hallucinogenic internal discovery. EP closer “Electric Storm” makes a turn for the ultrastoned, with hats and writhing vocals disintegrating and reforming over a soft, round steady pulse. Overall, 1972 features a sound that Tobias. has honed for over 30 years, having initially made a name for himself mixing various pop hits in the 80s and 90s while simultaneously producing experimental electronics under various pseudonyms including Metazone, Phobia, Pink Elln, and Zoon. On his own Non Standard Productions imprint he has regularly collaborated with the likes of Max Loderbauer and Ricardo Villalobos and most recently with visual artist Valentina Berthelon as Recent Arts. His releases and lengthy live techno sets with AtomTM continue to set the bar high for improvised electronics. More

Scanning Backwards, Phase Fatale’s second full-length album following his 2017 debut album for Hospital Productions, is music about control. Using the connection between weaponized sound and psychological manipulation as a conceptual foundation, Hayden Payne explores the ways in which music – and sub frequencies in particular – are used to influence thinking and to synchronize emotions and behavior: from military technology to sound systems and the physicality and sexuality of queer techno culture. Known for his innovative post-punk takes of dance music as featured on EPs for unterton and Ostgut Ton, the Berghain resident draws on his background as both a guitarist and sound engineer to create a heady mix of broken rhythms, noise-, and shoegaze-inflected techno, often at slower tempos. The result is music with space and pace to expand, highlighting the intense rushes of frequencies found in both sonic warfare and functional dance music. Over eight tracks named after a combination of historical and fictional narratives from literature and science fiction, Payne’s rhythmic excursions explore different manifestations of sound as power – specifically within the context of seeing Berghain as an instrument itself. More

"What binds you to places? To remembering them. Places you can feel, when you feel at home. Places that affirm your very existence. This place for me is the Oderbruch. This album is dedicated to it.” – R.P. The fifth studio album by Shed aka Rene Pawlowitz centers thematically on the Oderbruch region in former East Germany where the producer and DJ grew up and continues to split his time (when not in Berlin.) Both the album and track titles as well as the artwork by Arnim To¨lke [Ectoplasma (Oderbruch)] reflect Pawlowitz’s deeply personal associations with the borderland’s marshy landscape, as well as enormous political and historical changes the region underwent as the last Eastern front during World War II – and, later, following the dissolution of the GDR. Nevertheless, Oderbruch is not a concept album. Instead, it’s an ambivalent ode to the area in which Pawlowitz’s family has lived for generations. It’s a musical reflection on place and personal history: meeting up at the local gas station, a view to the water, techno rattling the closed windows of cars peeling out toward Berlin or the next local party, cruising along rural parkways flanked by trees with fruit ripe for picking, past weeping willows and abandoned factories where industry once thrived. Outside buzzes with the sounds of nature inextricably linked with childhood memories, but also a landscape defined by the bloody defeat of the Nazis at the Battle of Seelow, ushering in the fall of Berlin and with it, the entire fascist regime. The album’s nine tracks are inspired by the intertwined nature of the subjective and historical, which ring through Shed’s idiosyncratic take on breaks, bass, techno, symphonic ventures, ambient and hardcore. But unlike Shed’s previous records, Oderbruch incorporates broad pastoral landscapes – left behind and returned to. Both fit Shed, who under various aliases (Head High, Hoover, Wax, The Higher, WK7, Equalized, The Traveller) has long influenced a number of dance music scenes in Berlin and beyond. More

For their second Ostgut Ton EP, Sunao Gonno and Nick Höppner worked together on three tracks over the course of two years between their respective studios in Tokyo and Berlin – editing, altering and tweaking each other’s musical additions with a penchant toward melodic, multilayered house and techno that floats easily beyond the functional. Accordingly, Lost is defined by the interactive playfulness and unpredictability of their collaborative process, elements often missing from dance music. Höppner initially met Gonno on various trips to Tokyo. But it wasn’t until Gonno came play to Panorama Bar in 2015 that the two first entered the studio together: “I think we spoke three words in eight hours,” explains Sunao of their previous studio jams that eventually led to Fantastic Planet EP [O-TON 95, 2016], describing a flowing musical process in which music succeeded where words failed. On Lost, the duo continue further out into inner space. On “Bangalore”, the duo showcase their mastery of creating expansive long, psychedelic ecosystems of melodic phrasing and rhythmic development; drawn-out techno exploration. “Love Lost” slows things down to a post-disco boogie chug of breaks, bass, dubby synth stabs and sadness. EP closer “Start Trying” is a sweaty, post-peaktime trip of strings and dilated pupils. Swirling melodies braindancing long after the after party. More

Steffi and Virginia return with an eight-track double EP on Ostgut Ton, inviting us into new dimensions of the sonic world they have crafted together over a number of years. Work A Change is out September 20, 2019 on 2x12” vinyl and in digital formats. Since their iconic 2011 collaboration “Yours” – which became an instant classic – the duo have experimented with new ways to express their unique strand of dancefloor melancholy. Unlike the grand maximalism often associated with vocals in dance music, Steffi and Virginia’s creations use the voice less as a centerpiece and more an integral part of the groove itself, subtle in temperament and equal to its counterparts. Impassioned vocals spiral around melodic leads and warm harmonies, offering a gentle kind of catharsis that deepens with each listen. Work A Change immediately transports us to a parallel aural universe, refusing to settle into one style and merging multiple references into peculiar new formats. Opening track “Be True To Me” is subdued but inviting, working its way into the conscious with harmonic glitches and a deep, grooving bass lead. “Sight From Above” then slows things down for an angular cut of low-slung machine funk. The B-side, “Help Me Understand” lands us on another planet entirely, complete with extraterrestrial synths and animated robotics. Opening up the C-side, “Until You’re Begging” is a molecular construction of fragmented motifs, both precise and hazy at the same time. Similarly, “Internal Bleeding” takes segments of percussive grooves and rearranges them into complex polyrhythms whilst retaining a careful sense of balance. Closing off the release is title track “Work A Change”; one last high-speed voyage into spiralling drums and hammerdrill bass. Work A Change expands on Steffi and Virginia’s aesthetic, merging elements from a number of genres into a cerebral, highly personal release. It also signals a change of direction for the duo's work, voyaging through new terrain while retaining a sound that is undoubtedly their own. More

Pleasure-seeking and pain-avoidance as a rave metaphor fits the music of Sam Barker. The Berghain resident and Leisure System co-founder has spent the last few years exploring the euphoric potential of altering key variables in dance music formulas. This was especially true on his 2018 Ostgut Ton debut EP Debiasing, which was flush with unconventional rhythmic chord stabs, melody and percussion but devoid of kickdrums. What seemed like an experimental exercise on paper was in reality equally geared towards the club: tracks that worked for the floor but resisted the genre categorizations that kick drums often provide. This has come to define Barker’s sound. Now, on his debut solo LP Utility, Barker turns his focus toward melding experimentation and dancefloor pragmatism with the psychology behind the musical decision making process. In his own words: “After ‘Debiasing’ it occurred to me that my musical decisions were often unintentionally utilitarian, following an instinct to maximize pleasure in one way or another. It’s sort of unfashionable to admit, but by removing elements that have strong genre associations, this became a natural consequence.” Accordingly, Utility is a playful but non-ironic musical approach to a whole spectrum of utilitarian and transhumanist ideas: from models for quantifying pleasure and “gradients of bliss” to abolishing suffering for sentient beings (not just people) through the ethical use of drugs and nanotechnology. Over nine tracks, Barker’s vision ebbs and flows through waves of deeply psychedelic musical vignettes; free-floating and futuristic melodies and rhythms as targeted brain stimulation. The sound draws heavily on modular synthesis, as well as self-built mechanical instruments and plate reverbs to create atmospheres that are at once alien and emotionally recognizable, functional and utopian. Utility is by no means a concept album. Instead, it is an honest take on music as both pleasuremaximizer and consciousness-expander. More

Pleasure-seeking and pain-avoidance as a rave metaphor fits the music of Sam Barker. The Berghain resident and Leisure System co-founder has spent the last few years exploring the euphoric potential of altering key variables in dance music formulas. This was especially true on his 2018 Ostgut Ton debut EP Debiasing, which was flush with unconventional rhythmic chord stabs, melody and percussion but devoid of kickdrums. What seemed like an experimental exercise on paper was in reality equally geared towards the club: tracks that worked for the floor but resisted the genre categorizations that kick drums often provide. This has come to define Barker’s sound. Now, on his debut solo LP Utility, Barker turns his focus toward melding experimentation and dancefloor pragmatism with the psychology behind the musical decision making process. In his own words: “After ‘Debiasing’ it occurred to me that my musical decisions were often unintentionally utilitarian, following an instinct to maximize pleasure in one way or another. It’s sort of unfashionable to admit, but by removing elements that have strong genre associations, this became a natural consequence.” Accordingly, Utility is a playful but non-ironic musical approach to a whole spectrum of utilitarian and transhumanist ideas: from models for quantifying pleasure and “gradients of bliss” to abolishing suffering for sentient beings (not just people) through the ethical use of drugs and nanotechnology. Over nine tracks, Barker’s vision ebbs and flows through waves of deeply psychedelic musical vignettes; free-floating and futuristic melodies and rhythms as targeted brain stimulation. The sound draws heavily on modular synthesis, as well as self-built mechanical instruments and plate reverbs to create atmospheres that are at once alien and emotionally recognizable, functional and utopian. Utility is by no means a concept album. Instead, it is an honest take on music as both pleasuremaximizer and consciousness-expander. More

Detroit native Ryan Elliott has made a handful of weighty contributions to both Berghain and Ostgut Ton, including his Rocksteady and Stepmode EPs as well as his Ostgut Ton 5-year anniversary mixtape and the label’s inaugural digital mix compilation, Panorama Bar 06. A resident DJ at Berghain / Panorama Bar since 2010, Elliott’s mixing is technical, confident and fast, stubbornly riding the border hard between house and techno, melody and rhythm, stayed and future classics. It’s also this DJ’s perspective that has informed Elliott’s own analogue productions, with Paul’s Horizon turning its focus toward deep and slick percussion. This is apparent from the get-go, with the title track’s triangle/clap interplay, funky 5-6 kicks per bar, and bleary-eyed atmosphere. From there “Martinsville Morning” slows down into an understated sunrise groover, led by bassline, strings and pads. EP closer “Grafton Road” turns up the pace again with gasps for hats, aggressive punctuating snares, and a modulating synth bubbling-up throughout. Paul’s Horizon – Ryan Elliott’s first EP in six years – falls musically between Berlin and Detroit, between house and techno and between hypnotic repetition and unpredictability, revealing a subtle ear for groove and composition. More

Since becoming a Berghain resident in 2017, Dominick Fernow’s risk-taking hybrid live/DJ sets as Vatican Shadow have become conduits for infusing techno with contrasting musical ideas – from noise, industrial and ambient to distorted melodies and rhythms that push the club’s borders in unexpected ways. It’s an idiosyncratic approach to techno rooted not only in Fernow’s 25-plus years as an experimental and noise musician under more than a dozen aliases (e.g. Prurient, Rainforest Spiritual Enslavement) but also in his role as founder of the vital New York-based Hospital Productions, whose discography exceeds some 500 releases. The label – which in 2017 celebrated its 20-year anniversary – is also home to the majority of Vatican Shadow output to date.featuring exclusive tracks by Genesis P-Orridge, Virile Games, Los Angeles Death Cult, Ron Morelli, Volvox, JK Flesh, Alberich, Ugandan Methods | Prurient and Merzbow –
More

Peter Kuschnereit, also known as Substance or DJ Pete, has long been known to heads as an essential figure in Berlin dance music, though he has comfortably flown under the international radar. Born and raised in the central district of Kreuzberg (where he still lives in the same high-rise he grew up in), this year marks the 30th anniversary of his DJ career – and a fitting moment to announce his first solo EP on Ostgut Ton following contributions to previous compilations Fu¨nf and Zehn and his longstanding relationship to Berghain. Locally, his influence has been multifaceted: an employee at the famed Hard Wax record store for some 27 years, Kuschnereit is also one of the core DJs in the legendary Wax Treament party series, helping to unite diverse strains of global dance music – from dubstep, grime, house and techno to Senegalese polyrhythms – all pumping through the KILLASAN sound system. Indeed, eclecticism has become a kind of trademark for Kuschnereit as evidenced on various mid- 90s and 2000s deep techno classics with Vainqueur on Chain Reaction and Scion Versions, a funky Latin techno 12” as DJ Pete on Surgeon’s Counterbalance, recent live collaborations with Sleeparchive as TR-101 and dozens of his online Wax Treatment podcasts. Rise And Shine sees Kuschnereit fusing his deep, industrial aesthetic as Substance with the resonant bass-heavy leanings of DJ Pete, as evidenced on the title track’s off-kilter metallic riddims and multiple, interlaced SH-101 and Prophet 5 melodies. From there, potential set-closer “Countdown” blasts off with relentlessly rattling, scraping breaks, hissing German vox and big chords. The compact explorations of “Bird Cave” and “Distance” offer a more atmospheric take on bass and rhythm, while EP closer “Cruising” re-explores the uncanny, Berlin deep techno cosmos Kuschnereit has helped define, this time in denser form. More

After a seven-year hiatus, the longtime Berghain resident Norman Nodge is back with four new tracks of deep, narcotic techno. Hailing from Brandenburg, Nodge spent the 90s as a DJ, promoter and mentor to the likes of Marcel Dettmann and Marcel Fengler before becoming a Berghain resident in 2005. Since then he has occupied a special place in Berlin techno with a sound that is at once forceful, dubby and hypnotic, evident not only on his Berghain 06 mix and various 12”s and compilation contributions for Ostgut Ton, but also on EPs for Dettmann’s MDR imprint. A lawyer by trade, on Embodiment EP Nodge reflects on decades of observing how dancers develop an intuitive relationship to music and process new sounds. “Tacit Knowing” (A1) is a nod to the feedback loop between the instincts of dancer and producer, combining bassline, breakbeats and Detroit-like strings, which subtly develop into a cavernous techno roller. In contrast, “Discipline” (A2) is aggressive, updated peaktime acid packed with the sounds of metal and overdriven snares. On the flipside, “Gathering” (B1) is a bongo-heavy tribal groover, while “Embodiment” references a more halcyon Ostgut Ton aesthetic – one that resonates not only in the space of the club but also within the bodies of those occupying it. More

The Panorama Bar mix series strikes back for its 7th installment with club veteran and psych- house maestro Andreas Baumecker aka nd_baumecker. A Berlin and Panorama Bar resident since 2004, Baumecker’s sets have long been known to heads as a foundational part of the club’s identity: deep, unpredictable, funky, bassline-heavy, melodic, and seamless flowing between different rhythms and key-changes. As a producer, Baumecker’s studio focus (with Sam Barker in Barker & Baumecker) sits comfortably between pop, dancefloor and spiraling left field electronics; on top of two LPs and numerous EPs on Ostgut Ton, the duo have also remixed the likes of Vessels and shoegazers Ride. But Baumecker honed his musical sensibility not only through DJing and studio work, but also as a buyer for famed Frankfurt record store Delirium (founded by Ata and the late Heiko M/S/O), as well as an in-house booking agent for Berghain / Panorama Bar. This composite identity as a selector, collector, club curator and musician feeds heavily into the diversity of Baumecker’s 120-minute vinyl-only mix – including the six exclusive tracks over two 12”s. FaltyDL kicks off Panorama Bar 07 | Part I with the appropriately titled “Paradox Garage Part 1 (With Your Love)”, blending US garage, breakbeats and chopped vocals. The alternative rhythms continue with Jinje´ (of Vessels fame) slowly building machine-funk anthem “Big Skies”, while the B-side is reserved for Gen Ludd’s dreamy, shutter-opener “Bloods Avalanche”. As the exclusive tracks imply: nd_baumecker’s Panorama Bar 07 mix hedges no bets with bold melodies or rhythms, focusing more on groove and depth than genre. Full tracklisting to be announced. More

The Panorama Bar mix series strikes back for its 7th installment with club veteran and psych- house maestro Andreas Baumecker aka nd_baumecker. A Berlin and Panorama Bar resident since 2004, Baumecker’s sets have long been known to heads as a foundational part of the club’s identity: deep, unpredictable, funky, bassline-heavy, melodic, and seamless flowing between different rhythms and key-changes. As a producer, Baumecker’s studio focus (with Sam Barker in Barker & Baumecker) sits comfortably between pop, dancefloor and spiraling left field electronics; on top of two LPs and numerous EPs on Ostgut Ton, the duo have also remixed the likes of Vessels and shoegazers Ride. But Baumecker honed his musical sensibility not only through DJing and studio work, but also as a buyer for famed Frankfurt record store Delirium (founded by Ata and the late Heiko M/S/O), as well as an in-house booking agent for Berghain / Panorama Bar. This composite identity as a selector, collector, club curator and musician feeds heavily into the diversity of Baumecker’s 120-minute vinyl-only mix – including the six exclusive tracks over two 12”s. On Panorama Bar 07 | Part II, Ross From Friends’ “High Energy” delivers from the get-go via driving saturated drums and heady, lo-fi atmospherics, followed by Dave Aju’s lush electronic tropicalia “Wayahed”. The final track belongs to Dutch duo Duplex, who deliver big with “Isolator”, propelled forward by unpredictable claps, snares, open hats and multiple melody lines in a deceptively complex arrangement – made to sound easy. As the exclusive tracks imply: nd_baumecker’s Panorama Bar 07 mix hedges no bets with bold melodies or rhythms, focusing more on groove and depth than genre. Full tracklisting to be announced. More

Following on from debut album 'For Years' and previous Hemlock releases 'October/Macondo' and 'Shaded/Antipolo' we are proud to present the new release from Airhead. 'Lightness' marks a subtle yet precise shift into new sonic territory, beating at a higher tempo and releasing from much of the dominant of sub bass that propelled his earlier work. The refracted take on drum and bass was conceived while staring out over Laurel Canyon and realising the desire to float away. Once grounded, Rob set about trying to capture that feeling by removing all weight from the drums and letting the melodies drift through. Harmonically this is his most advanced record, drawing inspiration from studying and adapting some of the techniques from Joe Pass, Barry Harris, Ted Greene and Mick Goodrick to work for other instruments. The overall sound is analog and highly dynamic, featuring tightly packed layers of guitar recordings and effects treatments. Clips of ethereal sounding experiments with synthetic voice software can be heard on 'Still Waiting For U' and 'Ghosts in CS' punctuating the sweetness with an air of uncertainty. The symphonic closing piece 'Unbearable Lightness' is a collaboration with American contemporary classical composer Nico Muhly. Airhead operates uniquely within electronic music, as a session musician he regularly performs at iconic venues to huge crowds yet is still relatively unknown as a producer outside of UK underground circles. Lightness is his most bold and individual release to date and is destined to reach a wider audience. More

The track 'Abyadh Aswad' is a manifestation of Ali's self-described Middle Eastern beats with Southeast Asian twists, specifically influenced by Indonesia. It offers tropical cruising vibes and tranquil melodies, incorporating Arabic lyrics and repetitive desert-like riffs. Floating melodies and background vocals inject a psychedelic element into the track. The lyrics themselves translate to 'Black and white in one vision.'

On the B-side, there is an instrumental track titled 'White Stallion.' It's a simply cinematic funk track with psychedelic elements and hypnotic repetitive riffs. This track aims to capture the adventurous landscape of Indonesia through music, offering a flat, chill, and contemplative vibe that would suit a cinematic soundtrack. More

Transcendental outernational funk and psychedelic jazz from mystery L.A.- based collective Sun Atlas

Little is known about Sun Atlas. The group members are hidden behind masks and costumes to keep their identities secret and to put the focus entirely on the music and oneness. A sense of community and universal spirit as an alternative to idolization and individualism is heavily reflected in their eclectic musical style.

The sound of Sun Atlas is mystical and cosmopolitan, combining afrobeat, cinematic soul, spiritual & ethio jazz with space sounds, hiphop-breaks and a garage funk vibe.

Their cryptic first 45 single "The Mystic Parade" b/w "Grand Theft" sold out immediately after release and has often been mistaken for either "lost" hiphop samples, 70s habibi funk or another project in disguise from the inner circles of the Mocambo, Big Crown or Daptonefamilies (which it is not).

Return To The Spirit picks up where Sun Atlas' first single leftoff, with everyone wondering where the journey might lead. With the door to a colourful universe opened, the full-length format gives time & space for further exploration.

The ltd.first vinyl edition comes in black vinyl in a deluxe handmade tip-on sleeve. More

Seven Davis Jr. returns with a new album fresh after releasing the virtual reality infused clubby "Iss Good" EP on Classic Music Company. This album contains a fusion of R&B Hip Hop / Trip Hop / Deep & Soulful House songs. Inspired by the 90s sound and energy with appearances from John Cale, Luke Solomon, Ivan Dorn, Life On Planets, Jon Dixon and more. More

Compassionate Vulnerable Tripping Terminators More

The album Malaka is Ali’s desire to incorporate Middle Eastern culture (specifically music) with the elements of 70s Indonesian rock, cinematic soul, funk, disco, and afro beat to create a new groove and sound straight from the contemporary and vibrant Indonesian music scene. The title “Malaka” itself, represents the entrance where the Middle Eastern first come to Indonesia through trading in Malacca Strait / Channel many centuries ago. With all lyrics written in Arabic, this album builds on the influence of Middle Eastern art and music, which over centuries has assimilated itself deep into Indonesian culture and way of life. This album is trying to capture those long journeys, the “cultural dialogues” of our ancestors way back in the past, and bringing it back with modern touch through musical language. Malaka promises to deliver diverse and unique sounds (experience), with the mix between Middle Eastern and South East Asian cultures, in term of music. Which can’t be found in any other parts of the globe.

Sound engineer - Yosaviano Santoso & Jonathan Pardede
Mixing - Viki Vikranta
Music - Ali
Bass, vocal - Arswandaru
Drums, vocal - John Paul Patton
Guitar - Kevin Septanto
Guitar, vocal in “Crystal Sand” - Absar Lebeh
Additional Percussions - Ayla Adjie
Lyrics & Titles - Arswandaru & Abdul Kadir
Photography / Artwork - Michael Tartaglia
Cover lay out & graphic design - Arswandaru More

9-piece powerhouse Nubiyan Twist embark on a fresh musical odyssey with their vibrant fourth album 'Find Your Flame’. Over 12-track the band seamlessly weaves together global grooves, soul and jazz; expertly intertwined with electronic elements, horn-led melodies and spontaneous improvisation.

Tracklist
1.1Lights Out (Ft. Nile Rodgers)
1.2All The Same (Ft. Ria Moran)
1.3Woman
1.4You Don't Know Me (Ft. Corto Alto)
1.5Carry Me (Ft. Seun Kuti)
1.6Battle Isn't Over
1.7So Mi Stay
1.8Pray For Me Part
1.9Pray For Me Part
1.10Reach My Soul
1.11Find Your Flame
1.12Slow Breath (Ft. Mamani Keïta) More

The scenic artist and multi-instrumentalist CLARAGUILAR moves from performing arts to cinema as a composer and live performer. Over the last few years he has created soundscapes that blend electronics and sampled elements with orchestral arrangements, becoming one of the main names of the Spanish theater scene when it comes to soundtrack and sound design creation.

After her acclaimed EP 'Mystery is All' Lapsus is proud to present 'Figura', CLARAGUILAR's debut album, a heartfelt tribute to her connection with the scenic world, and especially with the operatic universe. The starting point of this project was born with the concept of an "invisible orchestra", an imaginary that aesthetically becomes a reality on stage thanks to the collaboration with the Barcelona studio Oscila, as well as with the help of the stylist Joan Ros, who has been in charge of the costume design.

'Figure' is a space in which electronica, ambient, and chamber-pop coexist; all under an operatic halo full of drama. Once again, the producer locked herself down from late 2022 to the beginning of 2023 to compose all the tracks in a very intimate and closed composition process. The album dives into the melodic landscapes, merged with orchestral samples and chopped voices containing mysterious messages inside.

Each track is a pixelated lightshow and a live electronic instrumentation, presented onstage as an elegant performance with an expansive emotional range More

Feeling like the first shot of sunshine after a long winter, Cousin Kula sound instantly recognisable yet gloriously renewed on their second album "Vitamin D". More