12“ Vinyl

GENRE/S: Electro/Techno

TRACKLISTS:
A1) Extrawelt - Riverrun
B1) Extrawelt- Midi Waters

SHORT INFO:
Arne and Wayan of Extrawelt hardly need an introduction, yet their latest release is notably special as it marks their debut on Marc Romboy's Systematic Recordings imprint.
Renowned for their releases on Cocoon, Kompakt/Speicher, and Border Community, they masterfully blend techno with rich sound structures, harmonies, and intricate arrangements.
Their new track "Riverrun" features a captivating bass line that twists and transforms throughout the piece, showcasing their skills as sound architects. Alongside, "Midi Waters" delves into a darker, deeper soundscape that commands respect from Detroit Techno enthusiasts with its powerful, dystopian narrative. Experience the sound for yourself with this unique two tracker.

VITAL SALES POINTS:
- Debut EP from Extrawelt on Systematic
- Strictly limited vinyl (300 only)
- Special Sound Mastering by LUPO More

3x12" Gatefold White Vinyl (Download Code Inside)


1. Extrawelt - Dark Side Of My Room (DE-Q20-08-00161)
2. Extrawelt - Wippsteert (DE-Q20-08-00162)
3. Extrawelt - Trümmerfeld (DE-Q20-08-00165)
4. Extrawelt - Must Attack (DE-Q20-08-00164)
5. Extrawelt - Wolkenbruch (DE-Q20-08-00166)
6. Extrawelt - Added Planet (DE-Q20-08-00167)
7. Extrawelt - Daten Raten (DE-Q20-08-00169)
8. Extrawelt - Lost In Willaura (DE-Q20-08-00170)
9. Extrawelt - Kurt Curtain (Skit) (DE-Q20-08-00168)
10. Extrawelt - One Tree Hill (DE-Q20-08-00160)
11. Extrawelt - Messy Machinery (Rough Mix) (DE-Q20-00-01376)
12. Extrawelt - Homing (DE-Q20-08-00171)
13. Extrawelt - Bright Side Of My Room (DE-Q20-22-00014)



Including all the tracks from the original release. But adding "Bright Side Of My Room" to the list as a counterpart of "Dark Side Of My Room" makes this release even more attractive. And to top it all off, as another treat, there's the "Messy Machinery" Rough Mix instead of the Original Mix.

It's all about hooking up our music to the emotional world of electronic music at the beginning of the Nineties, however, without falling for nostalgic references. We don't want to do cowardly Zeitgeist Techno, we want to have the heart to dare big sounds and more melodies. Sunrise scenarios, energy, revolution, and kaput-ness, all these are parts of the Extrawelt." (Extrawelt, 2008)

However, don't panic even if the aesthetics of the debut album of the two Hamburg-born artists Arne Schaffhausen and Wayan Raabe is affected by the attentive observation of electronic dance music over the last fifteen years, the "Schöne Neue Extrawelt" is above all this: Premium Techno 2008! The Hamburg-based producer team has been unmistakably imprinting the last three years' club sound with widely noticed releases on Border Community ("Sooper Track"), Traum Schallplatten ("Doch Doch") and Cocoon Recordings ("Titelheld") as well as with remixes for Gregor Tresher, Minilogue or Alexander Kowalski - last but not least due to an excellent live presence, that resulted in the second rank in the Groove Live Act Charts, even still without the accompanying long-player.

The work on "Schöne Neue Extrawelt" started more than two years ago for Schaffhausen and Raabe. "The initial idea was to present an album covering all styles of electronic music between Ambient, Breakbeats, and Techno. When we had 25 tracks for the album ready, we had to realize that this approach did not work for us. Insofar, we finally decided to use the 4/4 bass drum in all tracks except in the little intermezzo "Kurt Curtain". We have tested all tracks live over the last three months and constantly re-interpreted them. So, the 'danceability' is clearly in our focus, but the sound spectrum and the dramaturgy of the titles should not be solely functioning in the club. Our intention was definitely not to deliver an album full of superficial peak time hits."

Those twelve tracks on "Schöne Neue Extrawelt", all unreleased, are therefore primarily representing a pleasurable 'in-between', the organic development of hypnotically compressed dance music that is more than "just" Minimal Techno, reduced Trance or electronic listening sounds of the Warp era - even all those elements have left their marks. From the richly decorated musical-clock-intro "One Tree Hill" via the stereo singing bowl of "Trümmerfeld" to the Asian-sounding creaking of "Daten Raten", Extrawelt celebrate a vision of futuristic melancholy with organic detail richness, which is permanently in motion but is nevertheless seeming to be well-balanced. However, in the Extrawelt universe, one gets along quite well with antagonisms. "We have always been polarizing, not only in the Techno scene but also in the Trance scene. Because in the end, "Schöne Neue Extrawelt" - freely adapted from Aldous Huxley - is now not only a big neon-colored future but is likewise positioned in the often-disillusioning grey of the here and now."



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2021 Repress, Black Doublehole Sleeve


Tracklisting:
A. Titelheld 8:09
B1. Titelheld (FSK 18) 5:26
B2. Stammgast 5:48

English:
With respect, my name is Minimal Rock! Extrawelt give us a good going over and bravely break new grounds with their "Titelheld" EP. Here, insane minimal sounds merge with Rock flair, Electro and Trance harmonies. The title track with the telling name "Titelheld" brings us an electro hymnus with hints to Anthony Rother or Codec&Flexor, paired with a juicy deal of pain in the heart. A guaranteed hit for next summer!
"Stammgast" is a perfect DJ tool, which has a strong recognition effect, still, and makes the crowd go wild in seconds. Minimal rock par excellence!
For all of you who don't know much about Extrawelt (yet): the human beings behind this project name are Arne Schaffhausen and Wayan Raabe, who have worked primarily under the akas Midimiliz and Spiralallianz. Until now, they have released more than thirty maxi singles and several albums (on Border Community among others!), and will record a new 12" for Traum Schallplatten this summer.


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Genre: Melodic Techno, Electro Breaks, Hypnotic Techno, Ambient


Tracklist 12": A1 - Extrawelt - Gazelle Flip (Original Mix) A2 - Extrawelt - Gazelle Flip (720° Version) B1 - Extrawelt - Gazelle Flip (Sebastian Mullaert Remix) B2 - Extrawelt - Gazelle Flip (Wa Wu We Prayer)

Short Info:

Living and breathing electronic music for what has now been twenty years, Arne Schaffhausen and Wayan Raabe have carved out a piece of its history and showed us that in the vast spectrum of dance music, where the normal world ends, Extrawelt begins. Their single "Gazelle Flip" on USA based label Dreaming Awake continues their journey into genre defying music. Call it Techno or Electro, but one thing is for sure, this is Extrawelt!

On Remix duties is none other than Sebastian Mullaert (Minilogue, Son Kite) who takes the track into that deep hypnotic techno place that only he does best! Extending the grooves and melodies into a long and psychedelic masterpiece, but also delivering a gorgeous ambient version under his Wa Wu We moniker and a more stripped down minimal dub version he calls his "Hidden Voices Remix".
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Tracklist:
01) Extrawelt - Alpha & Oma
02) Extrawelt - Email auf Klinke
03) Extrawelt - Automatik Akrobatik

Release Info:
New W-Agency signing Extrawelt deliver a trio of exhilarating “one-take” jams.
Since their inception in 2005, the Hamburg duo has commanded the loftiest respect throughout the industry
thanks to their thoughtful and emotive brand of house and techno. From ‘Soopertrack’ to ‘Dark Side of the
Room’, every raver worth their salt has had an Extrawelt dancefloor moment, their soaring chords touching
hearts and hips in equal doses.
Taking their intuitive approach to musical production to its next evolutionary phase, the ‘Automatik
Akrobatik EP’ sees them in free-flow form, gifting us with a triumvirate of superb studio jams that
encapsulate everything that’s special about their music. ‘Alpha & Oma’ is uplifting and throbbing, the kind of
visceral techno gem that would make even the most hardened punter a little weapy. ‘Email auf Klinke’ is
punchy and minimal, a solid roller to contrast its predecessor. The title track has the sonic arc of an epic
film score, building from a languid pace to a widescreen glistening wall of sound, inspiring and bad ass in
equal doses.
“These tracks are basically "one take" jams with very few edits afterwards. The computer was mostly acting
as a tape recorder while the arrange took place on the desk and machines. We feel that those tracks that
happen in a nice flow and without overthinking them too much often appear to deliver their energy in a more
raw and direct way but simultaneously also become rather homogenous instead of taking unnecessary
deflections.” - Extrawelt More

Includes: CD

Extrawelt are Arne Schaffhausen and Wayan Raabe. Both have been around for about 40 years, and making music together for half that time. They enjoy normal things and are ashamed of their carbon footprints due to the large number of flights they take to bring them to their gigs. Unknown, is the tenth studio album from the producer team, and the fourth under the name Extrawelt. Its largely devoted to another side of their creations.


Tracklisting:
CD / LP

Tracklist: 1. (A1) Extrawelt - We Are The Asteroid!
2. (A2) Extrawelt - Fischmarkt On Acid
3. (B1) Extrawelt - Auslöser
4. (B2) Extrawelt - Ort Und Impuls
5. (C1) Extrawelt - Runway Hitchhiker
6. (C2) Extrawelt - Die Vorahnung
7. (D1) Extrawelt - St. Morley
8. (D2) Extrawelt - Under The Fridge
9. (E1) Extrawelt - Das Diktat
10. (E2) Extrawelt - Streetwise
11. (F1) Extrawelt - Die Zitrone Der Schöpfung
12. (F2) Extrawelt - Herzstück


Something's different. Well, Extrawelt releases always have been somehow different yet, despite becoming instantly absorbed into the familiar Extrawelt atmosphere when listening, I can't help but notice again: something's very different. Feet are bouncing, mind is traveling and my fingers speed across the keyboard like they're on fire. I'm trying to imagine what it would be like to listen to Unknown with closed eyes in the midst of a throbbing concert instead of through laptop speakers. Listening to Extrawelt on crappy speakers is anyway never a good idea, as it really deserves the backing of the loudest and best possible sound system.

With this, I leave the audio confines of my lo-fi laptop world and get in the car. Cranking up the stereo, I cruise around aimlessly - lost in appreciation of the music from within the bubble of my metal highway-pod on wheels. I've got the urge to speed up - which is surprising considering I'm a usually a very sensible driver. The bass and the beats blow up in my face. Something uncluttered. Something broken. Something grimy. Something sideways. Something undeniably Extrawelt, yet inherently different to what we've come to expect from the Hamburg pair. I don't plan on getting all emotional, but something about this twelve track journey fits together so superbly it's hard not to be overcome with at least a few shivers up the spine. With profound bass lines and cutting drums, I keep coming back to these sounds. Again and again these sounds. On one hand you feel that you know them, on the other hand you don't know them at all. Is that a synthesiser or a voice? Is it rotating or just linear reinvented? Whatever the answer, my mind goes astray. Whether this is exotic or native doesn't matter: all I know is that it's great. Meanwhile I've reached track seven and now I realise what's been different all along - it isn't techno! Somehow, they've accomplished staying true to themselves despite deploying not even one four-to-the floor-bass drum. Admittedly, you can find a couple of similar tracks on a few of their previous releases, but here you've got a whole album full of it. I gotta listen to track seven again. As a music writer I'm asking myself: what genre of music is this actually? Neo-Electro? Alternative Electronica? Emo-EDM?? Ah, whatever - these guys don't like to be put into boxes anyway. It's simply Extrawelt.

As I talk to Arne and Wayan later on, I discover that the tracks on Unknown began simmering more than ten years ago without any goal or idea regarding if they'd end up releasing them. Come 2018 though, the time felt right to dedicate an entire album to this side of their musical spectrum. This also explains how Unknown appeared so quickly after their most recent LP 'Fear Of An Extra Planet'. As the guys mention "We just felt these tracks a lot when we made them, and never cared really if anyone would be interested in it".

We're definitely interested!

Yours sincerely,
Cocoon
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Includes: Deluxe Gatefold 3x12 140g Vinyl, download code

Extrawelt are Arne Schaffhausen and Wayan Raabe. Both have been around for about 40 years, and making music together for half that time. They enjoy normal things and are ashamed of their carbon footprints due to the large number of flights they take to bring them to their gigs. Unknown, is the tenth studio album from the producer team, and the fourth under the name Extrawelt. Its largely devoted to another side of their creations.


Tracklisting:
CD / LP

Tracklist: 1. (A1) Extrawelt - We Are The Asteroid!
2. (A2) Extrawelt - Fischmarkt On Acid
3. (B1) Extrawelt - Auslöser
4. (B2) Extrawelt - Ort Und Impuls
5. (C1) Extrawelt - Runway Hitchhiker
6. (C2) Extrawelt - Die Vorahnung
7. (D1) Extrawelt - St. Morley
8. (D2) Extrawelt - Under The Fridge
9. (E1) Extrawelt - Das Diktat
10. (E2) Extrawelt - Streetwise
11. (F1) Extrawelt - Die Zitrone Der Schöpfung
12. (F2) Extrawelt - Herzstück


Something's different. Well, Extrawelt releases always have been somehow different yet, despite becoming instantly absorbed into the familiar Extrawelt atmosphere when listening, I can't help but notice again: something's very different. Feet are bouncing, mind is traveling and my fingers speed across the keyboard like they're on fire. I'm trying to imagine what it would be like to listen to Unknown with closed eyes in the midst of a throbbing concert instead of through laptop speakers. Listening to Extrawelt on crappy speakers is anyway never a good idea, as it really deserves the backing of the loudest and best possible sound system.

With this, I leave the audio confines of my lo-fi laptop world and get in the car. Cranking up the stereo, I cruise around aimlessly - lost in appreciation of the music from within the bubble of my metal highway-pod on wheels. I've got the urge to speed up - which is surprising considering I'm a usually a very sensible driver. The bass and the beats blow up in my face. Something uncluttered. Something broken. Something grimy. Something sideways. Something undeniably Extrawelt, yet inherently different to what we've come to expect from the Hamburg pair. I don't plan on getting all emotional, but something about this twelve track journey fits together so superbly it's hard not to be overcome with at least a few shivers up the spine. With profound bass lines and cutting drums, I keep coming back to these sounds. Again and again these sounds. On one hand you feel that you know them, on the other hand you don't know them at all. Is that a synthesiser or a voice? Is it rotating or just linear reinvented? Whatever the answer, my mind goes astray. Whether this is exotic or native doesn't matter: all I know is that it's great. Meanwhile I've reached track seven and now I realise what's been different all along - it isn't techno! Somehow, they've accomplished staying true to themselves despite deploying not even one four-to-the floor-bass drum. Admittedly, you can find a couple of similar tracks on a few of their previous releases, but here you've got a whole album full of it. I gotta listen to track seven again. As a music writer I'm asking myself: what genre of music is this actually? Neo-Electro? Alternative Electronica? Emo-EDM?? Ah, whatever - these guys don't like to be put into boxes anyway. It's simply Extrawelt.

As I talk to Arne and Wayan later on, I discover that the tracks on Unknown began simmering more than ten years ago without any goal or idea regarding if they'd end up releasing them. Come 2018 though, the time felt right to dedicate an entire album to this side of their musical spectrum. This also explains how Unknown appeared so quickly after their most recent LP 'Fear Of An Extra Planet'. As the guys mention "We just felt these tracks a lot when we made them, and never cared really if anyone would be interested in it".

We're definitely interested!

Yours sincerely,
Cocoon
More

Includes: HQ Gatefold, 3x12 140g Vinyl, black innersleeve, download code

Tracklisting:
CD / LP
A1.Superposition B1. Gott Ist Schrott B2. Oddification C1. Gentle Venom C2. Das Große Flimmern D1.Silly Idol D2.Punch The Dragon E1.Fear Of An Extra Planet F1.The Friendly Coroner F2.Extrawelt - 2084
Info:
EXTRAWELT are back! Although in fairness, they were never gone. On the contrary, since their first release on James Holden's Border Community Label dropped in 2005, Arne Schaffhausen and Wayan Raabe have been responsible for a plethora of classics including "Schöne Neue Extrawelt" and "In Aufruhr", their two seminal albums on Cocoon Recordings. The duo are one of the most booked live acts worldwide, commanding a huge fan base. Their performances are the stuff of legend, making them the absolute highlight at every club and festival they play. So it's with great pride and respect, that we can announce the release of Extrawelt's third album for Cocoon Recordings. "Fear Of An Extra Planet" completes the Cocoon trilogy and the excitement growing among their fans represents a new high in the history of EXTRAWELT!
Musically, of course, there's enormous pressure on EXTRAWELT to deliver, but this is dismissed with a playful disregard and they are clearly focused on the job in hand. The album title "Fear Of An Extra Planet" sounds cinematic, like some art-house science fiction film, without giving too much away. However, from the first seconds of the opening track "Superposition", the album title makes 100% sense and sets the scene for the rest of the trip. We are immersed in wide open spaces and invited to explore dark and dusky worlds that transport us back to their Border Community years. Timeless and elegant, "Superposition" perfectly captures the epic, dream like quality that made James Holden's label so influential.
Second up, "Gott ist Schrott" takes a much more minimalist approach with its retro 80s drum programming, monster bass lurking in the breaks and playful Rhodes/synth riffs that span the divide between early German techno and deep Detroit electro with a distinctive film soundtrack aesthetic. "Oddification" continues this theme, adding extra spice reminiscent of the techno-synth vibe of Detroit with a punchy, almost Prodigy-style breakbeat complete with shredded vocal samples that gives us a taste of what's in store. "Gentle Venom" then takes the breakbeat motif to the next stage. The main focus here is the classy sprinter of a bassline, peppered with a flurry of intricate and subtle effects and modulations, that immediately trigger an intense, movie-like 'in pursuit' feeling.
With "Das Grosse Flimmern" we cautiously approach the album's high point. It's still in keeping with the soundtrack aesthetics, but faster and with more urgency. Almost hypnotically, Extrawelt invade us with an energy and impetus that always radiates from their music. Next in line is "Silly Idol" and here Arne Schaffhausen and Wayan Raabe opt again for a more minimal tack, focusing even more intensely on the dance floor to reveal a pulsing, twisted heart to the album.

"Punch The Dragon" is the hidden gem of the collection, utilising and melting together the most bombastic and playful elements. This one is totally off the hook, a sensory overload in an acoustic widescreen format! Then we have the title track "Fear Of An Extra Planet" which perfectly sums up the album concept. It opens up like a film score, with minimal passages following dark sequences that morph into dreamy melodies, all grounded by cool, constantly alternating analogue drum patterns. If you're not listening closely, you might get the impression that three or four different titles are mixed together; such is the effortless flow of the album.

As we near our destination, "The Friendly Coroner" really does honour its name. The morbid charm of the title is captured by a fluid bassline and melodic arrangements that border on the absurd, until the funky drum beat finally drops. In our mind's eye we see a cheerful medical doctor removing his bloody gloves, hanging his smock in the closet and vibing out in his neon drenched workspace. And there we sit, glued to our cinema seat, submerged in the different textures EXTRAWELT have conjured up on "Fear Of An Extra Planet". Over the course of the last title, the strings usher in the final acknowledgments as the credits roll. The dramatic end of "2084" leaves us transfixed in front of a black screen in a large, dark room safe in the knowledge that we've just witnessed a science fiction epic.

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Tracklist:
(1) Riccardo De Polo – Ascension (DE-Q20-24-00011)
(2) Riccardo De Polo – Wahnstimmung (DE-Q20-24-00012)
(3) Riccardo De Polo – Inception (DE-Q20-24-00013)


The epochal energy of "Ascension" captivated us from the very first moment, making it an ideal intro track. With its cinematic soundtrack reminiscent of "Vangelis", Italian producer Riccardo De Polo has crafted a sublimely ethereal experience that transports listeners into the vast expanse of space. As stars and planets drift by, the music beckons us to explore further, to surrender ourselves to the moment. The low strings serve as a booster until the rocket engine roars to life and the spaceship disappears into another galaxy.

Subsequently the polyrhythmic sequence of "Wahnstimmung" spirals abstractly far below the cerebral cortex. The driving bass drum, paired with shakers and percussion, propels the composition forward at a steady pace. The tension intensifies, painting a picture of liquid metal pouring into a melting pot.
Pure, stripped-down techno as we know it from its origins.

"Inception" hypnotically takes you into a deep state of trance, engulfing you in a tribe's energy. It’s truly a classic Cocoon sound that has its very own place in Sven's sets. The vigor is palpable, the shimmering sequence will make the dust visibly glow above the open-air dance floors while the air begins to shimmer. Noisy snare drums heat the narrowed arrangement to the absolute boiling point. This is the energy we have been looking for!




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Tracklist: (1) Sven Väth – L'Esperanza (Original Album Version) (DE-Q20-24-00009)
(2) Sven Väth – L'Esperanza (Hardspace Mix) (DE-Q20-24-00010)


L'Esperanza (Hope) is undoubtedly one of Sven Väth's greatest hits. After more than 30 years, we are very proud to revive this timeless masterpiece for you on Cocoon Recordings. The artwork of the A-side is from the original 12" cover, which was released on Eye Q Records back then. Anyone who knows Sven recognizes that he has always felt free and evolved in terms of appearance and style. That's why we instantly loved the idea of Sven re-staging himself in the same pose but in a new guise. This picture disc documents a 30-year-long transformation, both sonically and visually. It is a beautiful journey through time and a true collector’s item.

A1: L'Esperanza (Original Album Version) 1993 Produced in 1993, this track has certainly not lost any of its charm over the years. Lovely string sounds envelop you in a cloud of comfort, while the filtered downbeat emphasizes this feeling of lightness. The catchy tune of the playful synthesizer melody invites you to close your eyes and start dreaming. Let yourself fall into a deep state of meditation and trance. The airy electric bassline comes with a charismatic power and opens a door to the subconscious, calling on you to dive deep. The atmosphere of this composition sits somewhere between drifting through the sea and hovering through space.

B1: L'Esperanza (Hardspace Mix) 2023 A revised version of the "Hope Will Move Mountains Mix" by "Visions Of Shiva" occurs on the B-Side in the form of Len Faki’s hardspace mix. Len is renowned for his elegant edits and refined modifications as part of his side project, this time delivering a stripped-down 135 BPM version that fits perfectly into the current zeitgeist. A club version of "L'Esperanza" that radiates a high level of euphoric energy, constantly pushing the rhythm patterns forward. All hands go up in the air at the latest when the piano part starts in the middle section. Let’s go back to the good old days of the original 90s trance sound since the cheerful arpeggio synth melody takes us along.

What is certain, you can't tell that either version has been around for 30 years.


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10“ Vinyl with hand-stamped cover and labels

Tracklisting:

A1. DeFeKT x Extrawelt – Cell Sync (DE-Q20-23-00029)
B1. DeFeKT x Extrawelt – In The Space Of… (DE-Q20-23-00030)


After their debut 12" on Feel My Bicep and their contribution "Halluzinelle" to the Dots And Pearls 7 compilation, DeFeKT and Extrawelt are joining forces again.

In the act of remembering the true spirit of no-nonsense, raw, and direct techno, they created these two masterfully executed, original, and timeless cuts.

Each time they get together they come up with something truly unique, blending their styles effortlessly and seamlessly. Their expertise, knowledge, and recognition of our music's history just radiates out of this release. Both tracks immediately captured our souls here at Cocoon headquarters and we couldn't be more excited to put them out right away on this beautiful, limited, hand-stamped 10" vinyl.


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Tracklist:

(1) Gregor Tresher – Black Halo (DE-Q20-23-00015)
(2) Gregor Tresher – Phantom Dancer (DE-Q20-23-00016)


Cocoon Recordings' next 12” vinyl comes from a well-known face. No introduction needed as nobody less than Gregor Tresher once again delivers a superb and surprising pair of tracks.

“Black Halo” is down-the-line and perhaps one of the catchiest tracks by Gregor Tresher.
The wobbling driving bassline builds up a rising tension that increases through the vast, detuned, and powerful string parts appearing to extend out to light years, reaching far beyond. Zaps drive the rhythm forward while rushing cymbals push the groove and weld everything together to absolute unity. For Gregor, techno and club culture have certain transcendental qualities, “Black Halo” is concerned with these sentiments and tells an ambivalent story. The onset of bliss oscillates between melancholy and hope, making it an exuberant roller coaster of emotions. A classic Gregor Tresher track, which perfectly represents Gregor’s signature sound!

“Phantom Dancer” literally pulls you onto the dance floor. Discharging beats, which hit you heavily but pleasant. The atmosphere violently evolves with a twisted noise-like signal sound and gets even more brute through the low-pitched filter vocals. An exceptionally deep techno production by Gregor Tresher, which will definitely come to full fruition in the clubs at peak time.



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- 3x12“ gatefold vinyl – with turquoise foil embossing

Tracklisting:

LP
1. (A1) Sven Väth – Silvi‘s Dream (Damiano Von Erckert Remix)
2. (A2) Sven Väth – What I Used To Play (Roman Flügel Remix)
3. (B1) Sven Väth – The Worm (Robag Wruhme Remix)
4. (B2) Sven Väth – We Are (Jonathan Kaspar Remix)
5. (C1) Sven Väth – Feiern (Krystal Klear Remix)
6. (C2) Sven Väth – Mystic Voices (Benjamin Damage Remix)
7. (D1) Sven Väth – Nyx (PAS Deep Heet Remix)
8. (D2) Sven Väth – Butoh (Robert Hood Remix)
9. (E1) Sven Väth – Nyx (Planetary Assault Systems Remix)
10. (E2) Sven Väth – Being In Love (Harald Björk Remix)
11. (F1) Sven Väth – Catharsis (Mano Le Tough Remix)
12. (F2) Sven Väth – Silvi‘s Dream (Florian Hollerith Remix)

The life-affirming energy at the heart of Sven Väth‘s recent album Catharsis is revisited, reanimated,
and remixed by some of the most exciting names around, closing the circle on a superlative burst of
recent work that has not only given us the epic original LP, but also the extraordinary compilation What
I Used To Play.

Roman Flügel, Benjamin Damage, Robert Hood, Planetary Assault Systems, Mano Le Tough… do we
need to go on? This hand-picked list of luminaries have answered the call and certainly don’t
disappoint, each fusing their signature sound with Sven‘s DNA to create a wild, uncompromising
companion piece to the original album.

True to form, the running order is very much rooted on the dance floor, Silvi‘s Dream, revisited by
Damiano von Erckert, explodes like a Balearic sunrise. Dreamy strings with a touch of Detroit create a
lovely atmosphere while the beautiful piano sound goes right into your heart and appears as if you
could feel the warm sun on your skin. Roman Flügel’s acidic rework of What I Used To Play is a
homage to the 80s and the early sound of electronic music which creates nostalgic feelings and offers
a greatly produced retro soundscape à la Kraftwerk. Staying close to the original, but with the perfect
amount of spin, it’s a symbiotic interplay of synthetic bass pads, and a tiny bell melody. Robag
Wruhme’s cranking minimal funk takes us down The Worm-hole. A concise interference sound builds
up sustained tension, tangled but structured, deep and yet driving. Robag took over the deep and dirty
rhythms of the original perfectly and delivers a versatile piece. This opening salvo oozes quality and
sets things up perfectly for the electrified celebration of hi-octane technology come.

Jonathan Kaspar‘s growling interpretation of We Are provides a melancholic atmosphere with
fascinating percussion parts. Zaps shoot through the air like small laser pistols while we let ourselves
be carried away by the bass, the frisky vocal stutter effect is the icing on the cake. Speeding things up,
the euphoric trance that engulfs Krystal Klear’s epic version of Feiern. Expansive strings increase up
to ecstasy and guide us to a love-filled unity. This remix is sure to be an excellent peak-time smasher
for the open-air season. On to a wild ride of pure techno with Benjamin Damage, who delivers a dry
and uncompromising Berlin Techno version of Mystic Voices. Harder pace but the string synthesizer
harmony brings light to an otherwise gloomy environment. Next up is Luke Slater’s PAS Deep Heet
Mix to add a retro nineties vibe to proceedings on Nyx. Entering a rough space with gigantic clap
impacts, we are blessed with straightforward Techno. Shimmering and spooling, this groove hits the
mark. Then, as if it was ever in doubt, Sven‘s lofty place in the techno firmament is underlined by a
peak-time contribution by non-less than Detroit legend Robert Hood. Unmistakable, you must
recognize the signature Robert Hood drive on Butoh. Chord stabs fulfill the Detroit feeling with offtaking string elements and high-energy vocal transformations. It’s a warm embrace that triggers
emotions. Planetary Assault Systems then blasts things ever deeper into the cosmos on a second
outing of Nyx. Reduced and to the point but of course, true to form, with powerful tribal percussion
parts and intensive cutting hi-hats.

From there on in, the collection gradually re-enters the atmosphere, burning with a phosphorescent,
melancholy glow. Harald Björk extrapolates Being In Love into a hypnotic groove for the early hours. A
playful and atmospheric electronica interpretation to soothe our souls due to disharmonious synth
pads and a dreamy deformation of the original melody. Mano Le Tough harnesses the ethno-rhythms
and brooding energy of Catharsis into a low-slung, tribal stomper. Anomalous organ parts ring out and
link up with a trance-like sequence, summer feelings arouse as you feel like you can almost smell
Ibizan air. The collection comes full circle with a second equally seductive interpretation of Silvi‘s
Dream by Florian Hollerith. Stripped-down and hypnotic, the homage to Sven's girlfriend Silvi is
extended as a reverence to Sven himself. Sven's profound vocals clearly infuse time and space and
leave a forever-lasting memory of love.

By accident or design, it somehow leaves us with the reassuring sense that, although this specific part
of the journey may be drawing to a close, the mission of the man behind it all most definitely isn't.

written & produced by: Sven Väth & Gregor Tresher More

Tracklist:
(1) Raxon – Robotalia (DE-Q20-23-00013)
(2) Raxon – Kryptonite (DE-Q20-23-00014)

Release Info:
Next up is an overdue reunion with a familiar face. After his outstanding contribution to Cocoon Compilation S and his first solo EP on Cocoon Recordings, Raxon is back with a more than equally fascinating sound. The Egyptian-born and now Barcelona-based artist is back on it again, delivering two tracks that will take you on a journey through the depths of robotic soundscapes.
Intricate beats, hypnotic synthesizer melodies, deep bassline grooves, and distinctive EFX sounds create Raxon’s very special signature sound.

Straight drum programming paired with chirping percussions takes us away to embark on a travel through space and time while distinctive claps poke through a futuristic nebula of floating and shifting sequences. The twisted melody of “Robotalia” carries us to a parallel dimension of machine sound and if you listen closely, you can hear the robots’ screwing and sawing. Warping bleeps and mechanical effects complete the robotic feeling. Raxon’s understanding of structures and architectural abilities are reflected through the arrangement, slowly increasing to ecstasy.

“Kryptonite” scores with alien soundscapes. Stuttering vocals are the questions, while futuristic and dramatic chord stabs are the direct answer. A straight, radiant sound appears as an electronic trombone from outer space, offensively supporting the driving bassline. The symbiotic interplay between the euphoric synthesizer hook line and the relentless beat with pushing sharp hi-hats visualize powerful images in one's mind's eye. Suddenly the beat stagnates and results in a morphing break going head over heels developing a start-stop pitch effect that not only builds up tremendous tension but also bears an increased risk of melting your brain. We just love tape delay!



More

Tracklist:
(A1) Metal Master – Spectrum (Bart Skils & Weska Reinterpretation)
(B1) Metal Master – Spectrum (Original Mix)

Release Info:

black 12-inch vinyl + cover with rainbow silver foil

You may have already been waiting for this one. After the limited splattered one-sided vinyl edition, this 12-inch pressing comes with the remastered original mix on the B-side.

The original, the second release on the label Harthouse at the time, is an all-time classic and went down in the music history of Frankfurt. Thirty years later, the track by Sven Väth and A.C. Boutsen has not lost its shine and will certainly continue to provide goosebump moments.

Techno is all too often described as timeless but while most of it eventually evaporates into the ether, there are some riffs, melodies, and breakdowns that remain etched into our collective consciousness forever. Legendary Frankfurt label Harthouse is home to more than its fair share of such moments, but you must go all the way back to 1992, the opening strains of the Metal Master classic ‘Spectrum’ to locate the source for this special single-sided remix release.

The common denominator and catalyst to all this is of course Sven Väth, co-creator of ‘Spectrum’ and founder of both Harthouse and Cocoon Recordings, while the independent variables in the equation are Bart Skils and Weska, who lend their considerable talent and vision to this sublime makeover.

Coming on like rolling thunder, sparks fly immediately as crackling vocoder licks, silky ride cymbals and soaring arpeggios build an atmosphere taut with anticipation before giving way to that iconic melody - a love letter from Frankfurt to Ibiza, wrought from metal, drenched in distortion yet pulling at the heartstrings - the perfect soundtrack to any chemical sunrise.

It‘s a powerful re-interpretation that pays the warmest respects to the original and, despite the relentless groove, there is still room for sentimentality - an invitation to momentarily pause for thought and reflect on the journey so far as the sumptuous breakdown washes over the dance-floor. But not for long, the simmering bass line soon emerges from the euphoria and the track kicks in again, driving us forward towards a new, uncharted spectrum of possibilities.



More

- exclusive 12x12" vinyl box set with silver hot foil embossing
- twelve individual colored disco sleeves with distinct full-size portraits of Sven from the 80s

Tracklisting:

LP
1. (A1) Logic System - Unit
2. (A2) Kraftwerk - Computerwelt (2009 Remastered)
3. (B1) Whodini - Magic's Wand
4. (B2) Rocker's Revenger - Walking on Sunshine (feat. Donnie Calvin)
5. (C1) Klein & MBO - Dirty Talk (European Connection)
6. (D1) Liaisons Dangereuses - Los Niños Del Parque
7. (D2) Yello - Bostich
8. (E1) The The - Giant
9. (F1) The Residents - Kaw-Liga
10. (G1) Clan Of Xymox - Stranger
11. (G2) A Split - Second - Flesh
12. (H1) Severed Heads - Dead Eyes Opened
13. (H2) The Weathermen - Poison!
14. (I1) New Order - Blue Monday
15. (J1) Anne Clark - Our Darkness
16. (J2) 16 Bit - Where Are You?
17. (K1) Phuture - We Are Phuture
18. (K2) Model 500 - No UFO's (Vocal)
19. (L1) Frankie Knuckles feat. Jamie Principle - Your Love
20. (L2) Quest - Mind Games (Street Mix)
21. (M1) Jasper van't Hof - Pili Pili
22. (N1) Guem Et Zaka Percussion - Le Serpent
23. (N2) Hugh Masekela - Don't Go Lose It Baby
24. (O1) Sly & Robbie - Make 'Em Move
25. (O2) Brian Eno - David Byrne - Help Me Somebody
26. (P1) Primal Scream - Loaded (Andy Weatherall Mix)
27. (Q1) The Ecstasy Club - Jesus Loves The Acid
28. (R1) Foremost Poets - Reason To Be Dismal?
29. (S1) Lhasa - The Attic
30. (S2) A Guy Called Gerald - Voodoo Ray
31. (T1) M/A/R/R/S - Pump up the Volume - USA 12" Mix
32. (T2) Bobby Konders - Nervous Acid
33. (U1) Meat Beat Manifesto - Helter Skelter
34. (V1) Raze - Break 4 Love
35 (W1) Sueño Latino with Manuel Goettsching performing E2-E4
- Sueño Latino (Paradise Version)
36. (X1) OFF - Electrica Salsa


Sven Väth - What I Used To Play

For this uniquely personal retrospective spread over twelve vinyl discs, Sven Väth takes us back to the early days of his DJ career. On What I Used To Play we meet great pioneers of electronic music, gifted percussionists, obscure wave bands, and innovative producers of a bygone 'new electronic' era. Rough beats and irresistible grooves from the identification stage of house, techno, and acid remind us not just how far electronic music has evolved over the past four decades, but how great it was to dance to EBM, techno, and house for the very first time.

If there is one protagonist of the electronic music scene who has remained curious, innovative and at the very cutting edge of music for over four decades, it's Sven Väth. His multi-layered artist albums and Sound of the Season mix compilations have been defining the genre for over two decades, and even today, he is constantly on the lookout for the next top tune to add to the highlights of his next set. At least, that's the case when he's not producing them himself as an artist or remixer. "Actually, it's always been part of my DNA to think ahead," and nothing had been further from his mind than looking back at his past, but when in spring of 2020 the international DJ circuit had to be scaled down to virtually zero, the 'restless traveler' suddenly had time. Time to stop and reflect on "how it actually was back then, at the very beginning of my career..."

"It was a great trip and with every track, beautiful memories came flooding back".
In the London apartment, he had just moved into, Sven has set up a "little music room", where he cocooned himself for several days, "to look way back for the first time and review my musical journey through the eighties, so to speak."

The interim result was six thematically oriented playlists with a grand total of 120 tracks from 'early 80s' to 'Balearic late 80s', together with excursions into afrobeat, European new wave, and EBM sounds and a few epochal techno/house tracks from the USA in between. From these 'Best of Sven Väth's favorites', the project What I Used To Play crystallized. Sven remembers how the Cocoon team reacted to his proposal: "They found the idea of making a compilation out of it MEGA from the beginning and everyone said 'Sven, go for it', but then, of course, the work really started, namely, to clear the rights and to get clean sounding masters of the up to 40-year-old tracks. There was also disappointment, of course. We couldn't clear certain titles because the rights holders in the USA had fallen out with each other or simply disappeared from the scene. In short, it wasn't easy, but now I can safely say we got the most important tracks."

Finally, after two years of research, curation, design, and administrative fine-tuning, the "little retrospective" from 1981 to 1990 is available. The exquisitely packaged, and three-kilo heavy box set is not only physically impressive, WIUTP is also the definitive record of Sven Väth's musical development. On each of the twenty-four sides of vinyl, you can trace track by track, what influenced him during which phase, and how he took off as a DJ from his parents' Queen's Pub straight into the spotlight at Dorian Gray. There and at Vogue (later OMEN), Sven became the style-defining player in the DJ booth that he still is today.




1981 - 1990: Future Sounds of Now

In the early eighties, the crowd in clubs like Vogue and Dorian Gray danced to what nowadays we call 'dance classics' - mainly disco, funk, soul, and chart pop. It was up to a new generation of DJs, including Sven Väth, the youngest protagonist in the Rhine-Main area at the time, to create their own club-ready music mix. Good new tracks and potential floor-fillers were rarities that had to be sought out and found, in order to prove oneself worthy.
Without MP3s, internet streaming, or other digital download possibilities, music didn't just gravitate to the DJ, instead, it had to be tracked down. In well-stocked record stores in Frankfurt and Wiesbaden or even in Amsterdam, London, or New York, Sven and friends sourced the material for countless magical nights. On WIUTP we can follow Sven's very personal journey through this wild, innovative era in which synth-pop, funk, hip-hop, and disco were successively replaced as 'club music' by house, techno, acid, and breakbeat. By the end of the decade, it was clear to see that these once exotic 'fringe' phenomena would soon become 'mass' phenomena.



Early 80s

Dirty Talk by the Italian-American duo Klein & M.B.O. represents the most innovative phase of the Italo-disco genre in the early eighties like no other track. Mario Boncaldo (I) and Tony Carrasco relied entirely on the original synthetic drum and percussion sounds of the Roland TR-808, coupled with the raunchy vocals of Rossana Casale and guitar accents of Davide Piatto. Of course, other tracks from this period were also influential in style, most notably Unit by Logic System, which worked as the perfect soundtrack to the laser lighting system at the legendary Dorian Gray club. With stomping beats and robotic rap interludes, Bostich by Yello also belongs on Sven's eternal playlist - after all, it caught the attention of Afrikaa Bambaataa, who invited the Swiss duo to perform at the Roxy in New York in 1983.



EBM Wave - Mid 80s

From today's point of view, the almost ten-minute-long, downtempo track Giant by Matt Johnson's band project The The, would probably not be considered an obvious club classic. However, a closer (re)listen reveals the rhythmic intricacies of the percussion overdubs by JG Thirlwell (aka Foetus) on Johnson's composition, and it becomes clear why this exceptional piece of music is one of Sven's absolute favorites. Other classics from this phase include Kaw-Liga by the mysterious The Residents, the hypnotic-synthetic Our Darkness by Anne Clark (and David Harrow), and last but not least, the somber, monotonous anthem Where Are You? by 16Bit, one of Sven Väth's projects together with Michael Münzing, Luca Anzilotti from 1986.



US House - Late 80s

You certainly can't talk about Chicago house without mentioning Frankie Knuckles. The resident DJ at the Warehouse not only gave the name to an entire genre, but also produced epochal floor fillers on the Trax label like the timeless Your Love, sung (and moaned) by Jamie Principle. Acid house protagonists Phuture also hail from Chicago, and on We Are Phuture (also released on Trax) we hear the chirping acid sounds of the legendary Roland TB-303 in full effect. Another featured classic is No UFO's by Detroit's Model 500 aka Juan Atkins, who is rightly considered the 'Godfather of Techno' even if the genre-defining track from 1985 still breathes with the spirit of hip-hop and electro from the first breakdance era.





Afrobeat

Le Serpent, by Algerian-born Abdelmadjid Guemguem, is a track that sounds completely different from everything else on WIUTP. Made in 1978, it's a monumental, rousing groove created without bass or synths, just with five congas! Even though Guem sadly passed away in 2021, his immortal, acoustic beats are understood all over the world and will continue to enrich many thousands of DJ sets for years to come. Another classic that not only Sven appreciates beyond measure is Hugh Masekela's Don't Go Lose it, Baby. In addition to being one of the most important jazz pioneers, the trumpeter and freedom fighter from Johannesburg was very experimental, integrating electronic sounds into his music in later years, in a similar vein to Miles Davis and Herbie Hancock. Dutch jazz pianist Jasper van't Hof's afrobeat project Pili Pili has also aged well. The trance-like, almost sixteen-minute-long track of the same name, manages to fill a whole side on the seventh of twelve vinyl discs in the WIUTP box.



UK-US-Euro - Late 80s

Time for a change of scene, in the truest sense of the word, and from a musical perspective, this section is like landing on another planet. First up is Andrew Weatherall's classic remix of Primal Scream's Loaded, featuring the iconic Peter Fonda sample (lifted from the 1966 biker film Wild Angels) that came to personify the mood triggered by the British Second Summer of Love in the late eighties: "We wanna be free to do what we wanna do, and we wanna get loaded...". This period also saw the emergence of M/A/R/R/S whose only single, 1987's Pump Up The Volume, became a club classic with support from DJ legend CJ Mackintosh. In this most eclectic of sections, we also encounter New York house and reggae producer Bobby Konders and his seminal Nervous Acid.



Balearic - Late 80s

Those who know him, know that Sven had already lost his heart to the 'magic island' of Ibiza as a teenager, so with that in mind, the WIUTP project couldn't end without a Balearic chapter. Inspired by Manuel Göttsching's E2-E4, the immortal, eponymously titled Sueño Latino belongs in there without question. Equally popular on the island was, and still is Break 4 Love by Raze, which thinking about it, would also fit perfectly into the house chapter. Last, but not least, there's an overdue reunion with Sven Väth himself, in his role as frontman of the successful Frankfurt trio OFF. Together with Michael Münzing and Luca Anzilotti (later of Snap!) this 'Organization For Fun' created the off-the-wall club hit Electric Salsa in 1986 which incidentally turned into an international chart smash, putting Sven in the enviable position of having to decide between pop stardom and a DJ career. Well, we all know how that decision turned out and the rest, as they say, is history. A not insignificant part of his story is What I Used To Play. Enjoy!



More

- exclusive deluxe digipak slipcase with silver hot foil embossing



Tracklisting:

CD
1. (CD1) Logic System - Unit
2. (CD1) Kraftwerk - Computerwelt (2009 Remastered)
3. (CD1) Whodini - Magic's Wand
4. (CD1) Rocker's Revenger - Walking on Sunshine (feat. Donnie Calvin)
5. (CD1) Klein & MBO - Dirty Talk (European Connection)
6. (CD1) Liaisons Dangereuses - Los Niños Del Parque
7. (CD1) Yello - Bostich
8. (CD1) The The - Giant
9. (CD1) The Residents - Kaw-Liga
10. (CD1) Clan Of Xymox - Stranger
11. (CD1) A Split - Second - Flesh
12. (CD1) Severed Heads - Dead Eyes Opened
13. (CD1) 16 Bit - Where Are You?

1. (CD2) The Weathermen - Poison!
2. (CD2) New Order - Blue Monday
3. (CD2) Anne Clark - Our Darkness
4. (CD2) Phuture - We Are Phuture
5. (CD2) Model 500 - No UFO's (Vocal)
6. (CD2) Frankie Knuckles feat. Jamie Principle - Your Love
7. (CD2) Quest - Mind Games (Street Mix)
8. (CD2) Jasper van't Hof - Pili Pili
9. (CD2) Guem Et Zaka Percussion - Le Serpent
10. (CD2) Hugh Masekela - Don't Go Lose It Baby
11. (CD2) Sly & Robbie - Make 'Em Move

1. (CD3) Brian Eno - David Byrne - Help Me Somebody
2. (CD3) Primal Scream - Loaded (Andy Weatherall Mix)
3. (CD3) The Ecstasy Club - Jesus Loves The Acid
4. (CD3) Foremost Poets - Reason To Be Dismal?
5. (CD3) Lhasa - The Attic
6. (CD3) A Guy Called Gerald - Voodoo Ray
7. (CD3) M/A/R/R/S - Pump up the Volume - USA 12" Mix
8. (CD3) Bobby Konders - Nervous Acid
9. (CD3) Meat Beat Manifesto - Helter Skelter
10. (CD3) Raze - Break 4 Love
11. (CD3) Sueño Latino with Manuel Goettsching performing E2-E4
- Sueño Latino (Paradise Version)
12. (CD3) OFF - Electrica Salsa



Sven Väth - What I Used To Play

For this uniquely personal retrospective spread over twelve vinyl discs, Sven Väth takes us back to the early days of his DJ career. On What I Used To Play we meet great pioneers of electronic music, gifted percussionists, obscure wave bands, and innovative producers of a bygone 'new electronic' era. Rough beats and irresistible grooves from the identification stage of house, techno, and acid remind us not just how far electronic music has evolved over the past four decades, but how great it was to dance to EBM, techno, and house for the very first time.

If there is one protagonist of the electronic music scene who has remained curious, innovative and at the very cutting edge of music for over four decades, it's Sven Väth. His multi-layered artist albums and Sound of the Season mix compilations have been defining the genre for over two decades, and even today, he is constantly on the lookout for the next top tune to add to the highlights of his next set. At least, that's the case when he's not producing them himself as an artist or remixer. "Actually, it's always been part of my DNA to think ahead," and nothing had been further from his mind than looking back at his past, but when in spring of 2020 the international DJ circuit had to be scaled down to virtually zero, the 'restless traveler' suddenly had time. Time to stop and reflect on "how it actually was back then, at the very beginning of my career..."

"It was a great trip and with every track, beautiful memories came flooding back".
In the London apartment, he had just moved into, Sven has set up a "little music room", where he cocooned himself for several days, "to look way back for the first time and review my musical journey through the eighties, so to speak."

The interim result was six thematically oriented playlists with a grand total of 120 tracks from 'early 80s' to 'Balearic late 80s', together with excursions into afrobeat, European new wave, and EBM sounds and a few epochal techno/house tracks from the USA in between. From these 'Best of Sven Väth's favorites', the project What I Used To Play crystallized. Sven remembers how the Cocoon team reacted to his proposal: "They found the idea of making a compilation out of it MEGA from the beginning and everyone said 'Sven, go for it', but then, of course, the work really started, namely, to clear the rights and to get clean sounding masters of the up to 40-year-old tracks. There was also disappointment, of course. We couldn't clear certain titles because the rights holders in the USA had fallen out with each other or simply disappeared from the scene. In short, it wasn't easy, but now I can safely say we got the most important tracks."

Finally, after two years of research, curation, design, and administrative fine-tuning, the "little retrospective" from 1981 to 1990 is available. The exquisitely packaged, and three-kilo heavy box set is not only physically impressive, WIUTP is also the definitive record of Sven Väth's musical development. On each of the twenty-four sides of vinyl, you can trace track by track, what influenced him during which phase, and how he took off as a DJ from his parents' Queen's Pub straight into the spotlight at Dorian Gray. There and at Vogue (later OMEN), Sven became the style-defining player in the DJ booth that he still is today.




1981 - 1990: Future Sounds of Now

In the early eighties, the crowd in clubs like Vogue and Dorian Gray danced to what nowadays we call 'dance classics' - mainly disco, funk, soul, and chart pop. It was up to a new generation of DJs, including Sven Väth, the youngest protagonist in the Rhine-Main area at the time, to create their own club-ready music mix. Good new tracks and potential floor-fillers were rarities that had to be sought out and found, in order to prove oneself worthy.
Without MP3s, internet streaming, or other digital download possibilities, music didn't just gravitate to the DJ, instead, it had to be tracked down. In well-stocked record stores in Frankfurt and Wiesbaden or even in Amsterdam, London, or New York, Sven and friends sourced the material for countless magical nights. On WIUTP we can follow Sven's very personal journey through this wild, innovative era in which synth-pop, funk, hip-hop, and disco were successively replaced as 'club music' by house, techno, acid, and breakbeat. By the end of the decade, it was clear to see that these once exotic 'fringe' phenomena would soon become 'mass' phenomena.



Early 80s

Dirty Talk by the Italian-American duo Klein & M.B.O. represents the most innovative phase of the Italo-disco genre in the early eighties like no other track. Mario Boncaldo (I) and Tony Carrasco relied entirely on the original synthetic drum and percussion sounds of the Roland TR-808, coupled with the raunchy vocals of Rossana Casale and guitar accents of Davide Piatto. Of course, other tracks from this period were also influential in style, most notably Unit by Logic System, which worked as the perfect soundtrack to the laser lighting system at the legendary Dorian Gray club. With stomping beats and robotic rap interludes, Bostich by Yello also belongs on Sven's eternal playlist - after all, it caught the attention of Afrikaa Bambaataa, who invited the Swiss duo to perform at the Roxy in New York in 1983.



EBM Wave - Mid 80s

From today's point of view, the almost ten-minute-long, downtempo track Giant by Matt Johnson's band project The The, would probably not be considered an obvious club classic. However, a closer (re)listen reveals the rhythmic intricacies of the percussion overdubs by JG Thirlwell (aka Foetus) on Johnson's composition, and it becomes clear why this exceptional piece of music is one of Sven's absolute favorites. Other classics from this phase include Kaw-Liga by the mysterious The Residents, the hypnotic-synthetic Our Darkness by Anne Clark (and David Harrow), and last but not least, the somber, monotonous anthem Where Are You? by 16Bit, one of Sven Väth's projects together with Michael Münzing, Luca Anzilotti from 1986.



US House - Late 80s

You certainly can't talk about Chicago house without mentioning Frankie Knuckles. The resident DJ at the Warehouse not only gave the name to an entire genre, but also produced epochal floor fillers on the Trax label like the timeless Your Love, sung (and moaned) by Jamie Principle. Acid house protagonists Phuture also hail from Chicago, and on We Are Phuture (also released on Trax) we hear the chirping acid sounds of the legendary Roland TB-303 in full effect. Another featured classic is No UFO's by Detroit's Model 500 aka Juan Atkins, who is rightly considered the 'Godfather of Techno' even if the genre-defining track from 1985 still breathes with the spirit of hip-hop and electro from the first breakdance era.





Afrobeat

Le Serpent, by Algerian-born Abdelmadjid Guemguem, is a track that sounds completely different from everything else on WIUTP. Made in 1978, it's a monumental, rousing groove created without bass or synths, just with five congas! Even though Guem sadly passed away in 2021, his immortal, acoustic beats are understood all over the world and will continue to enrich many thousands of DJ sets for years to come. Another classic that not only Sven appreciates beyond measure is Hugh Masekela's Don't Go Lose it, Baby. In addition to being one of the most important jazz pioneers, the trumpeter and freedom fighter from Johannesburg was very experimental, integrating electronic sounds into his music in later years, in a similar vein to Miles Davis and Herbie Hancock. Dutch jazz pianist Jasper van't Hof's afrobeat project Pili Pili has also aged well. The trance-like, almost sixteen-minute-long track of the same name, manages to fill a whole side on the seventh of twelve vinyl discs in the WIUTP box.



UK-US-Euro - Late 80s

Time for a change of scene, in the truest sense of the word, and from a musical perspective, this section is like landing on another planet. First up is Andrew Weatherall's classic remix of Primal Scream's Loaded, featuring the iconic Peter Fonda sample (lifted from the 1966 biker film Wild Angels) that came to personify the mood triggered by the British Second Summer of Love in the late eighties: "We wanna be free to do what we wanna do, and we wanna get loaded...". This period also saw the emergence of M/A/R/R/S whose only single, 1987's Pump Up The Volume, became a club classic with support from DJ legend CJ Mackintosh. In this most eclectic of sections, we also encounter New York house and reggae producer Bobby Konders and his seminal Nervous Acid.



Balearic - Late 80s

Those who know him, know that Sven had already lost his heart to the 'magic island' of Ibiza as a teenager, so with that in mind, the WIUTP project couldn't end without a Balearic chapter. Inspired by Manuel Göttsching's E2-E4, the immortal, eponymously titled Sueño Latino belongs in there without question. Equally popular on the island was, and still is Break 4 Love by Raze, which thinking about it, would also fit perfectly into the house chapter. Last, but not least, there's an overdue reunion with Sven Väth himself, in his role as frontman of the successful Frankfurt trio OFF. Together with Michael Münzing and Luca Anzilotti (later of Snap!) this 'Organization For Fun' created the off-the-wall club hit Electric Salsa in 1986 which incidentally turned into an international chart smash, putting Sven in the enviable position of having to decide between pop stardom and a DJ career. Well, we all know how that decision turned out and the rest, as they say, is history. A not insignificant part of his story is What I Used To Play. Enjoy!



More

single-sided multi-colored splattered 12-inch vinyl release

Tracklist: (1) Metal Master – Spectrum (Bart Skils & Weska Reinterpretation) (DE-Q20-22-00022)

Release Info:
Techno is all too often described as timeless but while most of it eventually evaporates into the ether, there are some riffs, melodies, and breakdowns that remain etched into our collective consciousness forever. Legendary Frankfurt label Harthouse is home to more than its fair share of such moments, but you have to go all the way back to 1992, the opening strains of the Metal Master classic ‘Spectrum’ to locate the source for this special single-sided remix release.

The common denominator and catalyst to all this is of course Sven Väth, co-creator of ‘Spectrum’ and founder of both Harthouse and Cocoon Recordings, while the independent variables in the equation are Bart Skils and Weska, who lend their considerable talent and vision to this sublime makeover.

Coming on like rolling thunder, sparks fly immediately as crackling vocoder licks, silky ride cymbals and soaring arpeggios build an atmosphere taut with anticipation before giving way to that iconic melody - a love letter from Frankfurt to Ibiza, wrought from metal, drenched in distortion yet pulling at the heartstrings - the perfect soundtrack to any chemical sunrise.

It‘s a powerful re-interpretation that pays the warmest respects to the original and, despite the relentless groove, there is still room for sentimentality - an invitation to momentarily pause for thought and reflect on the journey so far as the sumptuous breakdown washes over the dance-floor. But not for long, the simmering bass line soon emerges from the euphoria and the track kicks in again, driving us forward towards a new, uncharted spectrum of possibilities.



More

Tracklist: (1) Harvey McKay – Black Spider (DE-Q20-22-00023)
(2) Harvey McKay – Sticky Carpet (DE-Q20-22-00024)
(3) Harvey McKay – Packed Lunch (DE-Q20-22-00025)
Harvey McKay makes a welcome return to Cocoon Recordings with the Black Spider EP, featuring
three heavy-duty cuts that spin out in a variety of directions, constructing a formidable web of peaktime mayhem in the process.
Black Spider bites hard from the get-go with a venomous bassline that pulses and mutates through a
series of precision peaks and troughs. The track kicks repeatedly, drenching the dancefloor in washes
of analog noise while McKay still finds space for a barrage of clattering percussion. Haunting ambient
voices and a mysterious spoken mantra add yet more texture to the cavernous, gothic atmosphere it
conjures.
Next up, the disconcertingly titled Sticky Carpet utilizes a 90s hard house vibe complete with
crunching, distorted beats, and a glistening octave-jumping synth pattern that slides and constricts
around the chugging bassline. However, the track really comes into its own as alternating metallic
patterns start to dominate in a homage to the hi-hat, whipping the dancefloor into shape as they switch
in and out, jostling relentlessly for attention.
Finally, hardcore junglist tendencies take center stage on Packed Lunch as another rasping,
doomsday bass rides the sonic spectrum, simultaneously spitting sparks and shaking the foundations
to the core. Scattered arpeggios add a certain discord to the fray as the pounding breakbeat hammers
out a pathway to oblivion. Packed Lunch definitely packs a punch, adding extra spice to an EP that’s
exclusively for the headstrong. More

CD, Deluxe Printed with Matt Plastificaton, Embossing

Tracklisting:
CD
1. Sven Väth - What I Used To Play
2. Sven Väth - The Worm
3. Sven Väth - The Inner Voice
4. Sven Väth - Catharsis
5. Sven Väth - Feiern
6. Sven Väth - Mystic Voices
7. Sven Väth - Being In Love
8. Sven Väth - Butoh
9. Sven Väth - The Cranes Of Gangtey Valley
10. Sven Väth - We Are
11. Sven Väth - Silvi's Dream
12. Sven Väth - Panta Rhei


Catharsis is Sven Väth's first solo album in almost 20 years, and the 50th album to be released on his incomparable label, Cocoon Recordings. Produced alongside Gregor Tresher, it arrives on 25 February 2022 and is a musical autobiography that charts Svens most extraordinary life in techno.

Without the West German-born Väth, techno would look, sound and feel very different. Since falling in love with electronic music and DJing in 1981, his dedication to the art has never faltered. He plays every party as if it were his last. His broad smile has connected with millions of people around the world. His colourful and curious character has imbued techno with a personality it was often lacking. His selections remain hugely unpredictable, despite the fact that he has been playing around the world for more than 40 years. To remain not only relevant but innovative after so long is a testament to Sven's ability to connect through music on a deeper level.

Technically, of course, he is a DJ who can play for thirty hours and not miss a beat. His track selections seem almost divine, and his aura is certainly otherworldly. But more than that, he is a ringleader who is able to mix the artful side of techno with the playful side of partying. Most famously he has done this for more than 20 years at his iconic Cocoon parties in Ibiza. They single-handedly introduced techno to the White Isle and have been its beating heart ever since. Under his charge, strict style guidelines and exaggerated pigeonholing no longer apply. Instead, he has perfected the art of playing far and wide while always remaining true to his own musical identity.

In the studio, Sven has always been just as unique. He has worked under several aliases but always brought a fresh perspective. Whether securing chart hits as part of OFF in the eighties, serving up brutalist techno and trance-tinged sounds in the nineties or crafting major label albums in the 2000s, his music has remained utterly forward-looking. That legacy continues with Catharsis as Sven teams up with highly respected producer Gregor Tresher for his latest long-form offering. Tresher has long been part of the Cocoon family and is a revered artist in his own right, when the two got together in the studio it was clear they had an instant connection and there would only be one person fit to co-author this LP.

It is a record inspired by Sven's interest in the physical and spiritual processes that take place when we dance. "They are realms into which we immerse ourselves to experience our own mysticism and ecstasy," he muses. "Dancing is a conversation between body and soul and it spiritually connects us with each other." Because of the pandemic, that is of course a feeling that we all missed out on for so long. "No dancing, no paradise!" says Sven. "My imagination for this record was fueled by the many cultural experiences and encounters I have had in my life. They gave me the strength to find a way, the way to myself." And that way to himself is through music, through purifying dancing rituals and the exchange of spiritual energies that are generated in the club.

The thirteen-track album explores all facets of Sven's sound. It opens with the stomping drums but sleek synths of 'What I Used To Play' and unfolds through deep and dirty rhythms like 'The Worm', subtly euphoric highs on 'The Inner Voice' and the bubbly tribalism of the title track. There is the impassioned call-to-arms that is 'Feiern', peak-time melodic workout 'Mystic Voices' and soothing electronic lullabies like 'Being In Love'. The second half of the album takes in many more twists and turns such as the exotic strings and driving drums of 'Butoh', the paranoid techno minimalism of 'NYX' and expansive synthscapes of ambient gem 'The Cranes Of Gangtey Valley' before things play out though rugged beats and emotive chords on 'We Are', which is named after the idea that we are what we think. "With our thoughts, we make the world.? says Sven.

Then comes the moody reflection of 'Silvi's Dream', which was written in French for Sven's girlfriend. Last but not least we have the immersive dream that is 'Panta Rhei', which completes a trio of electronica tunes on the album. Ambient music has been an integral part on almost every album Sven has written because it can bring a certain emotional deepness, a quality that Sven always has been looking for.

'Catharsis' is an adventurous album that captures the good times, the sad times and, most importantly, the times of hope. More

3LP, Gatefold, Deluxe Printed with Matt Plastificaton & Hot Foil Embossing

Tracklisting:
LP
1. (A1) Sven Väth - What I Used To Play
2. (A2) Sven Väth - The Worm
3. (B1) Sven Väth - Catharsis
4. (B2) Sven Väth - The Inner Voice
5. (C1) Sven Väth - Mystic Voices
6. (C2) Sven Väth - Nyx
7. (D1) Sven Väth - Butoh
8. (D2) Sven Väth - Feiern
9. (E1) Sven Väth - We Are
10. (E2) Sven Väth - Being In Love
11. (F1) Sven Väth - The Cranes Of Gangtey Valley
12. (F2) Sven Väth - Silvi's Dream
13. (F3) Sven Väth - Panta Rhei

Catharsis is Sven Väth's first solo album in almost 20 years, and the 50th album to be released on his incomparable label, Cocoon Recordings. Produced alongside Gregor Tresher, it arrives on 25 February 2022 and is a musical autobiography that charts Svens most extraordinary life in techno.

Without the West German-born Väth, techno would look, sound and feel very different. Since falling in love with electronic music and DJing in 1981, his dedication to the art has never faltered. He plays every party as if it were his last. His broad smile has connected with millions of people around the world. His colourful and curious character has imbued techno with a personality it was often lacking. His selections remain hugely unpredictable, despite the fact that he has been playing around the world for more than 40 years. To remain not only relevant but innovative after so long is a testament to Sven's ability to connect through music on a deeper level.

Technically, of course, he is a DJ who can play for thirty hours and not miss a beat. His track selections seem almost divine, and his aura is certainly otherworldly. But more than that, he is a ringleader who is able to mix the artful side of techno with the playful side of partying. Most famously he has done this for more than 20 years at his iconic Cocoon parties in Ibiza. They single-handedly introduced techno to the White Isle and have been its beating heart ever since. Under his charge, strict style guidelines and exaggerated pigeonholing no longer apply. Instead, he has perfected the art of playing far and wide while always remaining true to his own musical identity.

In the studio, Sven has always been just as unique. He has worked under several aliases but always brought a fresh perspective. Whether securing chart hits as part of OFF in the eighties, serving up brutalist techno and trance-tinged sounds in the nineties or crafting major label albums in the 2000s, his music has remained utterly forward-looking. That legacy continues with Catharsis as Sven teams up with highly respected producer Gregor Tresher for his latest long-form offering. Tresher has long been part of the Cocoon family and is a revered artist in his own right, when the two got together in the studio it was clear they had an instant connection and there would only be one person fit to co-author this LP.

It is a record inspired by Sven's interest in the physical and spiritual processes that take place when we dance. "They are realms into which we immerse ourselves to experience our own mysticism and ecstasy," he muses. "Dancing is a conversation between body and soul and it spiritually connects us with each other." Because of the pandemic, that is of course a feeling that we all missed out on for so long. "No dancing, no paradise!" says Sven. "My imagination for this record was fueled by the many cultural experiences and encounters I have had in my life. They gave me the strength to find a way, the way to myself." And that way to himself is through music, through purifying dancing rituals and the exchange of spiritual energies that are generated in the club.

The thirteen-track album explores all facets of Sven's sound. It opens with the stomping drums but sleek synths of 'What I Used To Play' and unfolds through deep and dirty rhythms like 'The Worm', subtly euphoric highs on 'The Inner Voice' and the bubbly tribalism of the title track. There is the impassioned call-to-arms that is 'Feiern', peak-time melodic workout 'Mystic Voices' and soothing electronic lullabies like 'Being In Love'. The second half of the album takes in many more twists and turns such as the exotic strings and driving drums of 'Butoh', the paranoid techno minimalism of 'NYX' and expansive synthscapes of ambient gem 'The Cranes Of Gangtey Valley' before things play out though rugged beats and emotive chords on 'We Are', which is named after the idea that we are what we think. "With our thoughts, we make the world.? says Sven.

Then comes the moody reflection of 'Silvi's Dream', which was written in French for Sven's girlfriend. Last but not least we have the immersive dream that is 'Panta Rhei', which completes a trio of electronica tunes on the album. Ambient music has been an integral part on almost every album Sven has written because it can bring a certain emotional deepness, a quality that Sven always has been looking for.

'Catharsis' is an adventurous album that captures the good times, the sad times and, most importantly, the times of hope. More

Tracklist:
(1) Sven Väth – Mystic Voices (DE-Q20-22-00006)
(2) Sven Väth – Butoh (DE-Q20-22-00008)

Release Info:
Single release from the forthcoming album “Catharsis”, produced by Sven Va¨th & Gregor Tresher


The second release before the upcoming mighty new Sven Va¨th album “Catharsis” gives you another hint at what´s coming at you! Let us tell you, we couldn´t be more excited for everyone to finally experience Sven´s new masterpiece!

But before we unleash the beast, we decided to release a second single. This time containing two absolute highlight tracks. If you have heard Sven playing in the past months, you will recognize both, as they were pivotal moments in almost every set!

First up we have “Mystic Voices“, a track that was created during the early stages of the album production with Sven gathering ideas and words to finally record the unmistakable vocals during a hectic tour through India, and Gregor spending days and nights on the other side of the planet in his studio to process the stream of inspiration. When the two finally sat down together in the studio, the track emerged quickly. Some would call the instant vibe that magic that every creative mind is longing to find.

“Butoh” is a raw and dark force, influenced by Japanese dance, an art form that deeply touched Sven during his travels on Nippon Island. It´s an otherworldly sounding track, still based in the Techno Realm but heavily twisted by a long break that introduces Japanese percussions that eventually get topped by the haunting vocals of Cana Hatsushiba.




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Tracklist:
(1) Sven Väth – Feiern (Original Mix) (DE-Q20-21-00006)
(2) Sven Väth – Feiern (Dub) (DE-Q20-21-00007)

Release Info:
Single Release from the forthcoming album “Catharsis”, produced by Sven Väth & Gregor Tresher
The feeling that we have all been missing for so long
Ab jetzt, ab jetzt.
Die Quelle, die wir brauchen, der Beat, der Beat, der Beat.
Was die Sehnsucht so verstärkt.
Es ist die Quelle, die wir brauchen, der Beat, der Beat, der Beat.
Der uns zusammenhält. Was die Sehnsucht so verstärkt.
Ich will feiern!
…will wieder spüren, schwitzen und dich berühren.
Mich tief fallen lassen in diese Welten, die mir fehlten.
Ich will feiern!
Ab jetzt heißt‘s feiern, mit euch feiern. Ab jetzt heißt‘s feiern, mit euch feiern.
…will wieder spüren, schwitzen und dich berühren.
Mich tief fallen lassen in diese Welten, die mir fehlten.
Ich will feiern!




More

Tracklist:
(A1) Jonathan Kaspar – Invert Drift (DE-Q20-21-00003)
(A2) Jonathan Kaspar – Last Romance (DE-Q20-21-00004)
(B1) Jonathan Kaspar – Off The Shore (DE-Q20-21-00005)

Release Date:
Jonathan Kaspar has that rare, instinctive ability to germinate the seed of an idea and nurture it to its logical conclusion, both melodically and sonically. It’s why his stock has been rising so sharply in recent years with future classics already released on Kompakt and Objektivity to name but two, and he’s at it again on his debut EP for Cocoon Recordings with three distinctive tracks of sublime quality.

The first cut, Invert Drift, is also a phenomenal mixing tool. What starts off as an expectant minimal groove suddenly explodes with wild, cascading effects that hit you out of nowhere. Any DJ worth their salt will get tons of twisted pleasure orchestrating the crowd‘s synaptic meltdown with this one, but there‘s so much more going on behind the calculated mayhem. In true signature style Kaspar teases the listener, cranking up the pressure with a dark, brooding synth progression that lurks under the surface but never quite breaks free, leaving the morphing bass line, crunchy top loop and laser guided FX front and center. As it reaches its climax it’s like being caught in the crossfire of a Battlestar Galactia shoot out.

Last Romance is another master class in how to hypnotize the dance floor, this time by showering it in ecstasy. The patient, Latin-inflected build up accompanies a discordant metallic synth line that from hesitant beginnings slowly grows to dominate the track. It resonates beautifully almost creating its own language before deep, lush chords and a crystalline arp line flesh out the breakdown, making the hairs on your neck stand to attention.

Coming in at just over ten minutes, Off The Shore introduces a different aspect of Kaspar’s repertoire. With ambient, cinematic overtones and an otherworldly central motif that starts folding space in the extended breakdown, it’s a perfect early morning tonic that leads you off the beaten track, but still carries enough weight to keep the dance floor ticking over nicely.




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*** Artists: André Galluzzi & Daniel Stefanik / Extrawelt***
*** Title: 20 Years: Cocoon Recordings – EP5 ***

Tracklist:

1. (A1) André Galluzzi & Daniel Stefanik – The Regulator (DE-Q20-20-00053)
2. (B1) Extrawelt – Murder Ballet (DE-Q20-20-00054)


Release Info:
Cocoon's unique brand of techno has always been at the heart for the operation and now, these brand new and exclusive tracks confirm that once again. Dark industry when André Galluzzi & Daniel Stefanik link on 'The Regulator' and high grade machine soul from Extrawelt.

More

Tracklist:

1. (A1) Petar Dundov – Overtone (DE-Q20-20-00055)
2. (B1) Sebastian Mullaert – Kikaqu (DE-Q20-20-00056)


Release Info:
Cocoon's unique brand of techno has always been at the heart for the operation and now, these brand new and exclusive tracks confirm that once again. Croatian mainstay Petar Dundov brings his trademark melodic magic to 'Overtone' and things come to a perfect close with the techno warmth and mellifluous synth work of Sebastian Mullaert's ‘Kikaqu'.
More

Format: 4x12"LP

Tracklist
A EASY LEE
B THEOGENESE
C1 BAHAHA HAHI
C2 LA RAJA
D I TRY TO LIVE (CAN I LIVE)
E1 QUIZÅS
E2 FUSION THE ENEMIES
F DEXTER
G BACH TO BACK
H1 Y.G.H.
H2 WAIWORINAO



Ricardo Villalobos first album „Alcachofa“ from 2003.
Originally released by Playhouse as a 3x12“ record set, the re-release adds a fourth 12“, the „Alcachofa Tools“. More

NO RETURNS! -
Special remarks:
2x12" vinyl in full colour cover
Genre: Techno, Detroit Techno, Deep Techno, Dub Techno

- reissue of legendary Convextion classics
- collectable full color cover-art by David A. Hardy



Tracklist 2x12":

A - Kuiper

B - Miranda

C - Ebulience

D - Niche


Short Info:

Long awaited reissue of classic sought-after Convextion tracks originally released on Matrix (Detroit).

Cover illustration by David A. Hardy. Mastered by Redshape.

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Detroit diy party launches label with their inaugural release from longtime friend and party regular Data Plan. The Berlin-via-Montreal artist delivers her debut EP “Late to the Party, Start Without Me” with 5 cuts ranging from bass-heavy electro trips to crystalline early morning dancefloor cuts. More