UPC: 827170522664 Release: 30.09.2013
Tracklist: (A1) Cinnamon Kiss (B1) Push It
Harvey McKay is back on the track, and stronger and harder than ever before! His last release for Cocoon climbed to the top position in the Beatport charts and stayed there for quite some time and it was about time that the drumcode- and soma-recordings producers returns to Cocoon. And the wait was worth it as he manages it to bang the drums even more with his new release! "Cinnamon Kiss" brings us spicey cinammon flavour for the colder days & nights that need to be heated up in all the clubs again after this super hot (but short) summer. A massive tech-house-tune with cool oldskool house chords and cool break downs that will put raverhands up in the air. However there is even more here waiting for you as "Push It" does what the names says and pushes the beat even higher! This tune is energy loaded and will power your legs to dance, dance and dance. A pumping techno monster that even features a little D-Shake sample for the ones who know. Pure Testosterone and a clear message: Get on the floor and get crazy! One for the big raves!
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"Shake" is Techno at its best! Dub Techno elements in a Basic-Channel-style meet kicking, masculine beats as you may know most likely from Santos releases, all united in the meanwhile typical McKay style. McKay is the incarnate Techno beat, and "Shake" is no exception! More

Tracklist: (1) Damiano von Erckert – Steam (Staub Mix) (DE-Q20-24-00015)
(2) Damiano von Erckert – Dad Was Not Around (DE-Q20-24-00016)
(3) Damiano von Erckert – Roh (DE-Q20-24-00017)
(4) Damiano von Erckert – Fantazia 93 (DE-Q20-24-00018)


Long overdue, we are happy to welcome Damiano von Erckert to Cocoon Recordings with his debut single, bringing late summer vibes that were well worth the wait. Damiano's lovely energy shines through in this EP, resulting in music that blends soulful character with his signature house sound.

“Steam (Staub Mix)” lifts your spirits from the very first beat, and the summery vibe of the housey Rhodes piano brings a smile to your face. Yet, the track retains a somewhat wistful and melancholy feel. Skillful intonation gives the break a jazzy feel, it's this friction that makes it special. Von Erckert showcases his skill with this playful arrangement, sure to have dancers' hands reaching skyward. The second track “Das Was Not Around” is a masterclass in purism, where simplicity meets profound emotion. Swirly synth pads unfold to create a dreamy, immersive atmosphere, pulling listeners into its depths. Despite its introspective title, a sense of hopefulness permeates the track, as if reaching for light through the shadows. Damiano’s approach allows every element to shine, making the deep grooves and ethereal sounds feel both intimate and expansive. It’s a journey of reflection yet imbued with a quiet optimism that lingers long after the final beat fades.

The essence of reduced Chicago drumming is brilliantly embodied in “Roh”, channeling a raw, stripped-back rhythm that strikes with precision and purpose. This forms the bedrock of a composition that feels timeless. The track carries an unmistakable grandeur, echoing the majestic hymns of certain legendary French artists. As the beats develop, they evoke a profound sense of reverence and nostalgia, seamlessly blending classic house influences with a modern edge. It's a track that honors the roots while confidently advancing the frontiers of contemporary house music. "Fantazia 93" is a nostalgic dive into a ‘90s House vibe, channeling the essence of that unforgettable era with authenticity. Damiano's signature sounds are front and center, infusing the track with a unique touch that’s fresh while reminiscent of classic house anthems. The track exudes an Ibiza after-hour feeling, transporting listeners to those sun-drenched days where time seems to stand still. It’s a sonic journey that feels like sunbeams warming the skin, bathing the senses in a radiant, feel-good energy that resonates long after.





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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!



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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.



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- 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!



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- 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!



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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.



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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!




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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.

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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'.
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Special remarks: VINYL ONLY // 180G VINYL // PRINTED KRAFTPACK SLEEVE


Tracklist 12":

A1 Drivenman
A2 SMRK
B1 Tsipla
B2 Soulistics

Romanian duo Dani and Robert aka NTFO returns to the label with four minimal monsters
The vinyl comes as 180g vinyl only release.

















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Limited Edition, includes
- 4 x 12” with full cover artwork
- exclusive Bonus-10” with new remixes from Amirali and REZarin
- printed Energy 52 biography leaflet
- handnumbered

GENRE/S:
Progressive House, Techno, Trance, Breaks

TRACKLISTS:
A. Café Del Mar (DJ Kid Paul Mix 30 years anniversary Vinyl Remaster)
B. Café Del Mar (Three ’N One Remix 30 years anniversary Vinyl Remaster)
C. Café Del Mar (Nalin & Kane Remix)
D. Café Del Mar (Deadmau5 Remix)
E. Café Del Mar (Tale Of Us Renaissance Remix)
F. Café Del Mar (Paul van Dyk’s XOXO Remix)
G. Café Del Mar (Orbital Remix)
H. Café Del Mar (Michael Mayer Remix)
I. Cafe Del Mar (Amirali Extended Remix)
J. Cafe Del Mar (REZarin Extended Remix)

SHORT INFO:
Energy 52's Café Del Mar is one of the most iconic tracks in dance music. Over the years, Café Del Mar has achieved legendary status, regularly featuring in lists of the greatest dance tracks of all time. To put it simply, Café Del Mar is a cultural phenomenon, encapsulating the spirit of an era and influencing generations of artists and fans alike.
Superstition Records appreciates the 30th anniversary of the legendary track with a limited box set release consisting of four 12”es and an exclusive Bonus-10”.
The original version (DJ Kid Paul Mix) and the Three ‘N One remix appear in remastered, vinyl only versions alongside new classic remixes from Nalin & Kane, deadmau5 and Tale Of Us. The newer remixes include Paul Van Dyk’s XOXO remix as well as reworks from Orbital and Michael Mayer. The package also includes a Bonus-10” featuring new, exclusive remixes from UK producer Amirali and Latvian DJ REZarin.






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Territories: World excl. UK

FORMAT 12" vinyl, generic sleeve, dl card

TRACKLIST
1. / A1 Dark Light 05:09
2. / A2 Fire Chant 04:30
3. / A3 Grátt Silfur 04:41
4. / B1 Green Light 05:11
5. / B2 Ráðabrugg 05:31
6. / DX1 Ruff Cut (Digi Bonus) 05:41
7. / DX2 Only One Way (Digi Bonus) 05:02
8. / DX3 Everyday (Digi Bonus) 04:59

Growing up on the north Atlantic island of Iceland bestows one with an unusual and often intense relationship with light and colour: Summers come with endless days, Winters with scant sunlight yet increased sightings of the Aurora Borealis; the mysterious and awe-inspiring glow across the sky. Channelling these energies, Exos
comes to Tresor with his Green Light EP, a five-track collection of the sort of spectrally rich techno synonymous with the Northman’s 27-year career.
Across the EP, the five tracks fizz and pulsate driving ever forward, making the release’s title a three-way play on words referencing the continuous travelling of photons, the verdant warping of the Northern Lights, and the universal colour for Go, for forward propulsion. Smart wordplay can also be found in titles like Grátt Silfur, a term in Íslenska (literally “grey sliver”) which signifies a tension between two parties, further extending the colour metaphor and dark/light dichotomy found elsewhere.
The digital release comes with three extra tracks that continue the dynamic energy, pushed along by the same shifting, mutating force where the music often feels like voices calling out from the darkness or the shimmer of light as the sun rises across the horizon.
Green Light EP continues this year’s blazing return from an artist who, similar to his output, is never stagnant: ever changing form yet ever moving forward.
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GENRE/S: Techno, Experimental

TRACKLISTS:
A1: Stille
A2: Conditioning
B1: Doubting Systems
B2: Entwöhnung

SHORT INFO:
IGLO debuts on the infamous UKW49b label with an EP which shows his holistic approach on music having an ear for the floor and hedonistic listener.










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12” vinyl with full cover print

TRACKLIST:

A1. Brocken Clock
A2. Pulsing

B1. Plaintive
B2. Dark Clouds


INFO:

Fresh off the heels of his first release on Figure, French producer Arkan deepens his explorations of a unique sound with Part 2 of his Lightworker EP.
His signature blend of mental techno is expanded upon, with opener Broken Clock swaying and rumbling mysteriously like a hypnotic pendulum over an abrasive groove. Pulsing picks up traction and pushes the momentum forward while still allowing jagged textures and cavernous effects to paint a largely looming soundscape.
The flipside gets treated to more colours, with the linear Plaintive works its magic through a set of dense and emotive synths, slowly creating an uplifting yet condensed energy.
Dark Clouds equally builds a strong atmosphere, using ricocheting sparks of panning synths and lighting to conjure the ominous feeling of a rising thunderstorm.

If you haven’t checked it yet, make sure to go back for Lightworker Pt 1 and hear more of this promising new talent’s sounds.


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2 x 12” colored vinyl with full cover print

TRACKLIST:

A1 Josh Wink feat. Ursula Rucker - Sixth Sense (Hardspace Mix)

B1 Aoki Takamasa - Ham (Hardspace Mix)
B2 DJ Yoav B. - Energize (Hardspace Mix)

C1 Huxley – Weapon 3 (Hardspace Mix)

D1 Tuttle & Chich – Funktion (Hardspace Mix)
D2 Mike Parker – Shakuhachi Two (Hardspace Mix)


INFO:

Arriving on transparent blue vinyl, the fourth installation of Figure’s Hardspace series brings six new re-interpretations of Len Faki’s favorites via his Hardspace alias.

Starting with a true classic, the gem that is Josh Wink’s Sixth Sense picks up on the original’s tight plastic groove and creates some serious low end rumble.
A less obvious choice, Aoki Takamasa’s minimalist dub from Japan, gets a complete makeover in the Hardspace edit, using driving percussion to morph the pensive blueprint into an upbeat peaktime slammer.
One of the most iconic basslines of the last decade, DJ Yoav B’s Energize is a standout on its own but paired with the relentless groove of the high-energy Hardspace remix it unlocks new levels of rave potential.
Huxley’s Weapon 3 was maybe one of the darkest tunes ever released on the otherwise house-centric catalogue of UK label Aus, which Len Faki already played back when it was first released. The Hardspace Mix merges a feeling explosive force with the originals sultry ambiance, catapulting the track back onto today’s dancefloors.
Colourful, dubby synth stabs are what keeps the momentum on peak time roller Funktion by French producer Tuttle, which in its Hardspace version packs even more heat, as Faki employs his signature claps and tunes up the original’s enervating siren sound, squeezing out every last drop of energy.
Originally released in the 90ies, Mike Parker’s Shakuhachi Two is as techno as it gets. Only now sounding even more powerful and dynamic, as the Harspace Mix keeps all of the original goodness while stacking additional propulsive percussion for a sweaty floor workout.



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12" vinyl with full cover print

TRACKLIST:

A1. Delirium
A2. Vicious Night

B1. Voltaris
B2. What Is Not Born Cannot Die



INFO:

The latest addition to the Figure roster comes in form of French producer Arkan. A musician from young age, he combines minimalist, deep-cut grooves with understated harmonies.

His first release on the label arrives as part one of his Lightworker double EP, giving the artist ample room to showcase his own vision of contemporary, „mental techno“ as he dubs it himself.

Fitting this description, opener Delirium is a deeply hypnotic tune, mastering the subtle art of sustain and release to effortlessly cycle its own energy. Vicious Night then tips towards a more percussively lead momentum yet stays true to the less-is-more approach of Arkan.
On the flip he gets to further build on his musical ideas, whether it be the melodic fragments echoing pensively in and out of the 4/4 grid over the galopping beat of Voltaris or eventually the saccharine, IDM-reminiscent ambient closer What Is Born Cannot Die.

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12"
Tracklist:
A1. Heartbreaks & XTC
A2. SH-09
A3. H3000
B1. Faith
B2. Time
B3. Sat Morning


The return of the mack. Chris Barratt aka Eagles & Butterflies possess the rare ability in his music to unite a larger-than-life peak time producer personality with the understated production method of underground records, techno pop and a modern Italo twist. Perfectly suited for Running Back, Heartbreaks & XTC is luckily exactly that. The mirror image of Eagles & Butterflies and how to find common ground between polar flairs. Chord happiness, Italo bass lines, arp art, filter magic and side chain stunts. Indispensable to life or any dance floor near you.





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Tracklist

A1. Love Seeking
A2. Love Seeking – Club Mix
B1. Love Seeking – Âme Remix


The brothers Fognini aka Mind Against return to Life And Death with their new single Love Seeking with a remix from friends and fellow masters of the emotional dancefloor Âme.
It’s fitting that techno storytellers Mind Against should revisit the home of their first EP with a revamped sound and turbo-charged take on current-day disco. Their history with DJ Tennis and Life and Death is almost as old as the label itself, harking back to their days living together in Berlin.
Now the brothers leave behind their signature hypnotic techno palette for a boogie-fied stepper that’s equal parts pop breeze and deep synth trip, full of hopeful anticipation. For the remix, Innervisions duo and cultural tour-de-force Âme twist the knobs and stretch out the heartstrings for an extended slice of big room goosebumps.
In the words of Mind Against themselves:
“10 years after releasing our very first EP Atlant on Life and Death, we’re excited to come back to our first imprint with such a special track and remix by Âme.
We’ve stepped out of our usual comfort zone and done something that can be both linked to our own musical world and to the sounds that Life and Death have evolved in recent years.
Our friendship with DJ Tennis is about as old as the label is, bringing us back to the times we used to share a flat in Kreuzberg. One may say this release is both an ode to the past and to a bright future, full of promises.”


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Format Notes: 2024 first time vinyl release, 140g double vinyl, remastered audio with restored artwork


Track List:

A1 Mr. Righteous (Intro) 0:35
A2 You Need Knowledge 3:45
A3 88 Soul 3:12
A4 Black Shakespeare 3:02

B1 For My People...It's Spiritual 2:55
B2 Lonely At The Top 3:56
B3 Just Listen 4:05
B4 California Dreamin' 4:33

C1 Purity 3:59
C2 Kunta Kente 4:20
C3 1993 Shit 3:49

D1 We Got Plots 3:38
D2 Do Win-Dis 4:11
D3 Hope She Remembers Me 3:15

Release Notes:

Holy grail hip-hop alert! Superstar Quamallah's Invisible Man was never released on wax so, to celebrate the 15th anniversary of this astounding record, we present the first ever vinyl edition. A stunning record which gained accolades upon its initial release, such as a prominent feature on Gilles Peterson's renowned Best Of 2009 show, it's one of the most essential jazz rap albums of all time. Cut across double vinyl, it’s exceedingly limited, with just 500 pressed for the world.

Deep jazz rap on that mellow-melodic tip, Invisible Man is an unforgettable album with nothing but dope beats and dope bars. There's a strong chance this album has passed you by but we truly believe it to be a lost hip-hop masterpiece. It supremely captures the essence of a golden age classic without being slavish to the past. No, this ain't some facile throwback rap. It's a fresh and deeply soulful, original album shot through straight from the heart. Perfect to chill to, Invisible Man is profoundly jazz-oriented and captures with simplicity and sincerity the essence of hip-hop circa 1983-1994. It sounds like vibing with your nearest, dearest and oldest friends on a long hot summer night as the tantalising thought that anything is possible fills the air. You know what, we can just call this "magic hour rap" and we think you'll know what we mean. It's just beautiful. Just Listen.

Brooklyn-born, California-based emcee, DJ, and producer Superstar Quamallah was active in the West Coast underground scene throughout the 90s and recorded extensively with such revered names as Defari and Tajai. His parents were some serious artistic heavyweights, too; his father was soul organist Big John Patton, a giant in the jazz world known for his releases on Blue Note whilst his mother was an active designer. However, he remains relatively unknown. Invisible Man, named ostensibly after the classic Ralph Ellison novel, could also refer to how he is viewed by the public at large. With close affiliations to the Hieroglyphics, Dilated Peoples and Likwit crew, his debut EP "Don't Call Me John" arrived in 1999 on ABB Records, after which he took a sabbatical from recording which included graduate school, travelling, teaching at Inglewood High and eventually a professorship of African Studies at Berkeley.

With a laidback flow and deep, relaxing presence on the mic, Superstar Quamallah is equal parts Big Daddy Kane, Rakim and Guru. Invisible Man is refined, soulful, feel-good hip-hop of the old school. Its wise, spiritual and literate sound, combined with the summertime vibes projected by the smooth beats and the nostalgia-inducing samples and vocal scratches, created jazzy boom-bap rap reminiscent of prime De La Soul, A Tribe Called Quest and Gang Starr.

Irresistibly bouncing opener "You Need Knowledge" loops sparkling pianos, horns and a nagging whistle refrain with scratched vocal refrains from Slick Rick, Mobb Deep and Guru. The super-smooth head-nod classic "88 Soul" also utilises a beautifully swelling piano line and dusty breaks whilst Quamé reminisces about his childhood in NYC. Deeply moving, the silky, sultry "Black Shakespeare" is built around an elegant piano loop and goes hard on the superman lover tip whilst "For My People...It's Spiritual" is transcendental rap in conversation with Rakim and older gods. The "Moment Of Truth"-sampling "Lonely At The Top" is striking for its undiluted boom-bap stylings and the staccato flute-hop of "Just Listen" is riddled with soulful refinement. The deeply-affecting, wistful-yet-triumphant bells and horn-drenched single "California Dreamin'" is top-tier rap of unimpeachable quality. What a flow!

Another highlight is the rich melodic piano-rap of "Purity", a beautiful ode to the foundations of rap and those keeping the culture authentically alive. Beautifully played instruments and spiritual jazz samples elevate the deep thinking present on "Kunta Kente" whilst the darker jazz-tinged battle-rap of "93 Shit" goes super hard both in a lyrical sense and with its no-holds drum punches. The breezy Rhodes and string loops that serve as the sonic backdrop to the slinky jazz rap of "We Got Plots" are just gorgeous as our hero evokes Common's "I Used To Love H.E.R." with a head-spinning tale of crime, deception and double crossing. And some twist! "Do Win-Dis" has a tense crime-funk backing and rolling beats which complement Quamé's flow perfectly before the record is rounded out by the tough yet jazzy brilliance of rap confessional "Hope She Remembers Me". Just sensational.

Upon its original release, Quamallah himself declared: "My favorite time period for Hip Hop music was definitely between 1983 and 1994 with 1988 and 1993 being two years that standout as extremely impressive years musically and culturally. The fashion, slang, movies, TV shows and vibe during those years was incredible. While totally submerged in the feelings and music of that entire time period, I went to work on Invisible Man and I am excited for people to hear the result! It is an album that I would want to hear from some of my favorite artists of the past and present today. This is not a RETRO trip for me; this is me at my best lyrically and spiritually using the accessories of the 80s and 90s to fuel me. I am a 88 soul as the song states!"

This album goes deep. It goes all in. When Invisible Man first came out it had a real hold on us here at Be With HQ. We couldn't stop listening to it. We'd venture to say it's one of the top 25 rap records of the 2000s. In the years since its release, it has remained a criminally underrated record, an increasingly hidden gem. We sincerely hope this first time double LP release will go some way to correct this. It's been mastered for vinyl by Simon Francis, cut by Cicely Balston and pressed at Record Industry. Finally available on the format it should always have been on, it must never be rendered invisible again.
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