UPC 827170576865 Rel date 1.12.2014
Tracklist:
A. Over And Over (Time To Celebrate Mix) B1. Just A Glimpse B2. Pleasure Play
Information:
Half Baked Records proudly presents the sixth instalment of their sought after Vinyl Only series. After having being featured on the second release of the label, the Canadian modular man of mystery, aka Mike Shannon, drops another swinging monster to his already extensive list of wax slabs. This EP celebrates Half Baked's 5th birthday and the A side, "Over and Over (Time To Celebrate Mix") is the perfect embodiment of that, a cybernetic-gospel-funk monster that will drag even your grandmother to the middle of the dancefloor, shaking her ass till she faints. On the flip side we find "Just A Glimpse", featuring Mike's
signature elements, crisp drums, a spooky yet playful bass and teasing electric piano jazzy phrases. The B2, "Pleasure Law", is the deeper and more romantic cut of the record, adding some mellow chords in the equation that eventually get picked up by Detroitish wave of filtered epicness, finally unfolding into an uplifting piano solo outro. HB006 will take no prisoners. More

UPC: 827170564169 Release : 3.11.2014
Tracklist A Baryonic Lensing B Galactic Lensing
Shortinfo:
Mike Shannon's returns to Cynosure with a combination of pure techno that transends the genre's cliche's.



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UPC827170563865 Re-Release 18.8.2014
Tracklisting
A. Slip It
B. Slip It - Melchior Productions Ltd Remix (ft edit)
Info:
After its first installment, Half Baked Records is back with a stellar Ep where two milestones of the underground electronic music scene collide: Mike Shannon and
Thomas Melchior. The original cut, crafted by Mr. Shannon, label head of Cynosure and Haunt, carries his typical sound signature; crisp swingy drums, hypnotic stabs and a
haunting modulated bassline. However, this time, we venture into deep house territories rather than techno, with a jazzy delayed chord progression that will no
doubt cause ruckus on the dancefloor. On the flipside, Thomas Melchior, under his “Melchior Productions Ltd.” moniker, delivers his interpretation stripping it down to the essential. A 12 minutes minimal trippy monster that effortlessly locks you in the groove. Needless say more with these two, let the music speak.
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RELEASE DATE: Nov.28 2013 Barcode 827170528062
A Gravitron
B Valosel 4000
Mike Shannon throws another volley of no way back and only forward techno. Gravitron is the monster A side named after a cheap amusement park ride that spins it's passengers inside a wheel faster and faster until it's passengers are all floating off the ground. Playing this track at 100 db should also give the listener the same effect. Valosel 4000 is a phase shifted bass monster. With a chest hitting kick this track takes hold of a spacious, wave table bass line that connects the listener with a sound influenced from early 90's UK techno/hardcore but weaves it's reference into a complex maze of compression and dynamics only found in the music of the future.
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Barcode 827170504561 Rel date 02.09.2013
A1Bleep Back
A2 Serge Up
B Bleep Forward featuring Evan Baggs
Mike Shannon has revived Cynosure Recordings after a two-year hibernation, and its revenge has come with a focus on Mike's solo productions and Collaborations. Reset, Bleep puts the label's catalogue back at 000 and begins to count backwards to where its roots began.
The A1 - Bleep Back is a deep bass monster with some definite in your face, morphing wave table trickery. And if Shannon's latest sets are anything to go by, it is a tried tested and true weapon on the dance floor, one that you'll find yourself coming back to in your mind. Following is "Serge Up", a super dry and crunchy minimal house number produced with the famous Serge Modular system, a rare synth used by producers like Richie Hawtin and Jean Michel Jarre. In the hands of Shannon, this machine has produced some of the weirdest and wildest sound to come out of his studio to date. Finally we have "Bleep Forward", an alternate mix of the A1 track. This time Shannon enlists the help of NYC/Berlin badass Evan Baggs. This version leans more towards a futurist sound with an underlying modular bubble and a synth progression that chugs tirelessly forward. Backed with an Aux88 style 808 groove and Ghetto Detroit style bass line, this track is poised to be a regular from Berlin to Brooklyn.
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Mike Shannon steps up to the Cityfox LTD plate and squeezes the jack juice on his latest offering for Cityfox LTD entitled Foxology. It's a 3 track (5 digital) session of deep jazzy basslines and smooth cuts. We start things off with 'Foxology feat. Flowing', a twistedly deep smoothy of a house cut with Shannon's signature shuffle groove and warped dynamic basses featuring some wicked Blues harp action from Amsterdam's Flowing. Foxology's B-side is home to 'Foxwell' and 'Zukunftstrasse', the former being a rather hot number bubbling with bouncing bass, whereas 'Zukunftstrasse' is even more laid back and down tempo, while still playing your mind with it's sonic insight to the distant future. Digitally, you have the pleasure of Foxology feat. Flowing (Dubmix), taking things deeper than before. Digital buyers will also receive the 'Spritz Mix' with it's emphasis on percussion and mood, this sounds like a whole new track. Leaving the Jazz at home in favor of a bubbling Detroit style deep jack mix.
Tracklist: A Foxology feat. Flowing B1 Foxwell B2 Zukunftsstrasse
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It’s been 10 years since Mike Shannon started making a name for himself on the international techno scene as a DJ, producer and label owner. Now, having recently relocated to Berlin he’s crowning his
first decade of active service with The Memory Tree, his third LP in all and the first for another notable Canadian export – Plus 8 Records. Anyone who knows his previous two albums will already be aware
that Shannon’s music covers a broader spectrum than just minimal techno. In fact 2005’s “Possible Conclusions To Stories That Never End” was awash with downbeat electronica, highlighting a natural
instinct for fusing rhythm and melody whatever the style or tempo. Although “Memory Tree” follows a more club oriented trajectory it retains much of the emotional response generated on “Possible
Conclusions” and is all the better for it. As a result Shannon has put together a collection of tunes that are simultaneously dark and soulful, stays true to his roots while embracing the future and never fails to deliver a flurry of kick-ass, funk inflected beats.
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It’s a long time since Mike Shannon first presented Richie Hawtin with his first dub plate at a Jack party in Detroit
way back in ‘96 and although since then he’s gone on to establish himself as one of Canada’s foremost techno
producers, there seems to be a strong sense of destiny surrounding this new collection of tunes being released on
Plus 8. Either way, Memory Seed is the first EP to be taken from Shannon’s forthcoming Memory Tree LP,
containing three varied cuts that perfectly capture the style and direction of this remarkable album.
With its long, beatless intro Mercury Mile makes its presence felt amid a wash of static interference and squirming
synth riffs, while the molten bass and raw, angular snare lend the groove a cool Detroit-electro flavour. Mix friendly
and deeply atmospheric, it’s a handy dance floor tool for breaking things down and spacing things out with its
snaking rhythm section and cavernous wash of background effects. Shannon’s natural instinct for combining
rhythm and melody will have beads of perspiration breaking out in anticipation before he finally allows the sultry
beats to kick in.
The X Flex mix of Dr X is a more beat intensive version of the album cut and another flawless example of
Shannon’s highly addictive synthetic funk, this time with a raucous, jacking main riff replacing the classic filtered
down chord stabs and soft melodic interludes of the original. Shannon downplays the groove during the opening
stages allowing the deep, chugging bassline to make full use of the space between the beats. By gradually
dropping snares and hi hats in tandem with secondary melodies, Dr X goes through several stages of subtle
elevation before the main riff opens up and the rhythm section solidifies into a rough and ready techno shuffle with
just enough distortion to stop the beats from boiling dry.
Love Fry is one of the pivotal, stand out moments on the album occupying the middle ground between the
contrasting musical aspects of Shannon’s work. On the one hand - the dark, engrossing synth lines full of ecstasy
and menace, on the other - the soulful, jazz inflected elements that add colour, light and a tinge of nostalgia to his
work. And right at the heart of Love Fry they collide like two shifting tectonic plates throwing out a jagged
mountainous terrain that suddenly levels off into a lush, expansive plateau. It’s a masterstroke made all the more
impressive by the chameleon like bassline that morphs through all manner of twists and turns before the resonating
wind chime fx add a tactile, new dimension to the mix-out. If that’s not enough, there’s also an exclusive raw mix
available for download that peals away the rhodes sequence focusing instead on the dark, funk of the track’s
underbelly. More

2019 Repress. Brown kraftpak sleeve

stunning second 12" single on his new label´is finally coming folks. what a name for this pretty incredible 2 tracker!! "Return of the Zombie Bikers" is a massive spine shiveringly intense almost dnb b lined big room track recorded in early 2005 and can easily be compared to Mat´s strongest moments including "decompression" on minus. Don't get us wrong though, this track doesn´t necessarily need the comparison,it easily stands out by far.let it work on and let it touch you, we feel it´s probably one of the strongest records MJ ever did!! "Put your booty shorts on" is yet another a side track written in 2002 dedicated to his wife Frank and remixed with including a vocal in 2005. A unique taste of what is to come in future live sets at the festivals this summer.this is the "hi end" in micro house coming. More

UPC 827170138520 Rel date 9.12.2013
A: Ditch Pig B: Harry the Kase Man B2: Silent Samba
The Modern Deep Left Quartet is back. Well actually, it never really went away, but due to contractual obligations they had been releasing as Cobblestone Jazz the past few years. So it's high time that the projects are re-branded as originally intended, and this release marks that foray into quirky techno and mid-tempo goodness. On the A-side we have the synth stab orchestra known as Ditch Pig. It is direct and to the point, pushing onward and upward with a refined relentlessness. On the flip, we first find Harry the Käse Man, a mid-tempo slice of future funk. A chugging beat meets splashes of twanged out blips and quirky pads resulting in a welcome departure from the Quartet's normal direction. Rounding out the release on B2 is Silent Samba, a quirky and obtuse groove sprinkled with a little cheekiness and a touch of the abstract. It's a great representation of the odd free form jams the quartet loves to imbibe in
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UPC 827170479562 REL DATE 10.12.2012
This past June the Modern Deep Left Quartet boys hunkered down for a month in Mathew's Berlin studio, producing a wealth of content for future consideration. While they focused mainly on the four-man project, this is the only Cobblestone Jazz track resulting from the session - made on the couple of days The Mole was away on a Sardinian retreat. In their classic form of Danuel on Fender Rhodes, Mathew on SH101 bass and Tyger Dhula on drums, this is another example of how the three piece sounds on stage, this time with a straight ahead samba house groove spread over two versions. The A side - BEFORE THIS has plenty of fiery rhodes and shuffled hats to compliment the congas, synth and snaking bassline, while on the flip we find BEFORE THAT, which is decidedly more subdued and relaxed, with a mellower rhodes pass and stripped down drums.
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COLOURED VINYL
BOMB ALERT! Hrdvsion's "Prettier Than That" is a monster, created by a monster and is perfectly suited for the likes of Wagon Repair. Dim the lights, because when this record drops it's going to get freaky!

On the flip side, Midnight Operator (the duo of Mathew Jonson and Hrdvsion) bring the noise! "Dangerous Behaviour" rains bass in your face! If you caught their live show on Boiler Room recently then you'll understand. These two are ready to take the dance floors by storm this year - a melding of the analog and digital minds.


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The third installment in the Cobblestone Jazz 12" series brings two more tracks.
On the A side we find "Who's Future?". Full of bubbling elastic bass and deep chord swells, it's a laidback affair with a snappy groove to push it along. On the flip is "Across the Nation", a stripped out and up-tempo electro jam with crisp breaks and gated pads. All the elements mingle together to create a thick bed of future funk. Another wheel for your wagon.
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Cobblestone Jazz are back after the highly successful Memories EP with their second installment in the series. On the A side, we find the spaced-out zero-gravity jam Lunar Lander - its sparse and jittery beats complimented by some sweet key stabs and a thick and burly analogue bassline. Flip it over for Your Life (You're Life) - an uptempo slugfest of crunchy beats and a driving bassline that won't quit. As always, both tunes were recorded live in studio and have been culled and edited for your mixing pleasure (A side duties performed by tyger dhula while the flip was done by danuel tate). Stay tuned for the next installment, and, until then, enjoy! Lunar Lander is available on vinyl via Wagon Repair and on digital via !K7. More

Canada's Cobblestone Jazz have established themselves as one of the most unique and inspiring bands of the past decade. Thanks to their exploration of house through the eyes of a jazz improv group, their music is derived from the organic energy of the group's jam sessions and their now legendary live performances. Comprised of members Tyger Dhula, Mathew Jonson, Danuel Tate along with newest addition The Mole, Cobblestone Jazz are as accomplished individually as musicians and performers as they are a band - united by long term friendship, respect and passion for writing music in the moment. Their decade long history of releases on IsWhatItIs, !K7 and Wagon Repair have earned the praise and long time support from the likes of Gilles Peterson, Carl Craig, Luciano and Sven Väth. "Memories (From Where We Are)" celebrates the first of a series of 12" releases that will come out on Wagon Repair over the course of 2011/12. The outcome of a Berlin jam session last fall, the band incorporated a Fender Rhodes, vocoder, and SH-101 to make up the core voicing of the tracks while a CS-20 provides the drive at the end of both. In typical Cobblestone Jazz fashion, the track was mixed live with no prior sequencing arrangement. The session was then cut by The Mole into two sublime edits - the results could be their strongest release since "Dump Truck".
Cobblestone Jazz use) a clever use of depth, which provides you with the type of pleasure normally found by illegal means. - Resident Advisor.
Here's a group of artists that are quite literally 'blowing their minds' - Fabric
Tracklisting:
A: Memories (From Where You Are) Pt. 1
B: Memories (From Where You Are) Pt. 2

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"'Where did you just go?' is something my girlfriend often says to me when she's talking to me and I kind of drift off. I'll be talking to her then just stop all of a sudden. I think the title reflects me and my music well; there's this idea of going in one direction then suddenly pausing to dream about a completely different place..." The debut album from Hrdvsion, aka Nathan Jonson, takes the listener to a variety places, at least some of which will doubtless be new to many ears. A non-compromising creator of glitch-heavy electronic music for the last decade or so, Hrdvsion has finally matched his esoteric vision to the more formal structures of house, techno and electro/breakbeat. "I did it to make the girls dance!" he laughs. "Actually it's a kind of bridging point. The production, the way it's mixed, is similar to my older stuff as I've always liked loud and punchy music. In general this album is a bit subtler. I focused on letting ideas evolve more slowly and let the grooves go on for longer. I realised I liked making techno! But it's still fairly challenging I think." Jonson's prior releases on labels like Itiswhatitis and the upcoming Wagon Repair (run by his brother, Cobblestone Jazz's Mathew Jonson) are known for their scattered Squarepusher-esque energy, their bleep-drenched melodies and sense of twisted urgency. Where did you just go? retains these circuit-busting tendencies yet aims more directly for the dancefloor. Opening track "842 Colours" blends off kilter beats with Hrdvsion's trademark skittish sounds, while cuts like "Captivated Heart", "City Girls", "Closed Eyes" and "Making It Home" cultivate and simultaneously subvert 'traditional' house and breakbeat riddims via buzzing synths and serrated melodies. The deep and resonant "Cause I Love You" (influenced by the DJ sets of his friends and fellow Berlin residents Dirt Crew) are, he admits, among the "softest I've ever written". "I think I'm coming to terms with the fact I don't have to fight against everyone," he says. "Four years ago, I would never have released something like this. I would have felt like I was doing it for someone else and that would have bothered me a lot. But now I can see it's still all done for me even if it doesn't sound like it. I've allowed myself to be more indulgent and ditch some of the anti-social sentiment apparent in older material..."Don't go thinking this is a predictable techno album though. Plenty of songs hark back to his earlier, more chaotic work. "Betrayed,""Bonker Brainss," "Kiss Yesterday Goodbye" and "Claustraneonia" are wild-eyed forays into acid-addled glitchtronica, replete with distended diodes and screaming capacitors. Nathan ends the album with a couple of nostalgic visits to his ambient days, namely "Amsterdam at 457" and the lush closer "I Wish I Could Directly Affect". Where did you just go? was started when Hrdvsion moved to Berlin in 2009. During a period of insecurity borne of being broke in an alien city, he opened up his laptop and sorted through hundreds of finished and half-finished songs, creating what were ostensibly remixes of the originals. "It was like this collaboration between the old me and the new me," he laughs. More or less by definition, Where did you just go? represents a brand new era for Hrdvsion and his unique sound.

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''Be At Risk'' was created at Tracknotic Studios located somewhere in the beautiful and magical hills of ibiza. It was recorded and produced by Bea Tricks and Beatmaster G (producer/beatboxer) using state of the art class A equipment and a whole lot of good vibes. Wide range of influences can be heard when listening to 'Be at Risk'... such as; electro pop, punk rock, hip hop, old school, 90's techno ... 'We wanted to create an innovative record where all our influences would bepresent and that would go deep into the roots of our musical tastes... from records that we used to love as kids, to the tracks that really get us going on the dance floor. There's also a mystical side to the project, that we thought was relevant to the current situation where there's a whole lot of talk about 'the end of the world' and so on... when you hear tracks such as 'el mensaje' you will be able to decipher our positive outlook on this topic, but also our beliefs in the knowledge transmitted by lost civilizations and the fact that we believe in a renewal process and not an 'end'. We created a character that travels through dimensions to awaken civilizations to the fact that they must be brave and use their supernatural abilities to transition to the next phase....just how us 'humans' should do'' Marta Nael's artwork for the record reflects the arrival of the dimensional traveler to a fictional world where it's inhabitants will interact with him and show him a good time (melting dancing) and their fears (pipistrello) to their non-conformism (contravention)... 'Its up to the listener to interpret the record in their own way, and we just hope that you will have as much fun listening to it as we had making it!'
Bea Tricks & Beatmaster G
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It has been five years since my last solo Mr.C EP, having focused my song writing attention during this time on working with my production partner, Adultnapper, on our Sycophant Slag's projects. As Mr.C, I wanted to make three tracks that really reflect where I'm at these days as a DJ. As always, this meant working in minor chords to get the depth I desire in my music. In the 22 years that I've been making house & techno music, I've always used an engineer, that is until now, so this project was also about me learning to use Logic & working alone. The EP has therefore taken me the best part of 8 months to make, working on these tracks in many short sessions, which has served the dual purpose of learning to work alone & making an EP that I can be proud of.I started with Waxing (working title Waxing Moon) & wanted to go for that deep after hours vibe. It had to be spaced out yet soulful, warm & rich, so with the tempo set at 122bpm, I started with a simple rhythm & then started layering deep chords & bass line with spaced out tones. The track soon took on a life of its own and directed me into making what you hear now. I've always written in this way and I'm a firm believer that the best tracks really do write themselves. On completion of Waxing, I kept hearing lush strings, pads & beautiful melodies on the track, which are a signature of the Mr.C productions, comparable to my only solo album, Change on End Recordings. So when I started working on Full Moon, I had the idea that this was to be an EP of three versions of the same track but all with very different purposes as DJ tools, rather than three completely different tracks. With Full Moon, I slightly changed the chord structure of the bass line to make it sit more comfortably with the pads, stabs & melodies I was hearing and am delighted with the final results of this version - a beautiful last track of the night or sunrise piece. So now I had two deep, beautiful, extremely different versions of the same track but there was nothing really for the main dance floor. This is where Dark Moon comes in. I pitched up the tempo to 126bpm, lost all of the deep chords, pads & melodies but kept the spaced out aspect of the original & then proceeded to make the tune dance with a pumping bass line, techy bleeps & some nice dark pads. The track had to be something that I would play in the middle of a Mr.C set, so it had to have edge & be haunting. Delighted with the results, the Lunar EP was complete.
The making of this EP was a lot of fun for me as well as a great learning process. I hope you enjoy the music. Mr.C
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Wagon Repair is pleased to welcome Exercise One to our roster, with their newest EP - Several Things at Once. This four track EP, with a bonus digital only track, is sure to please.
Title track, Several Things at Once, is the result of Marco and Ingo playing around with some new gear purchased to enhance their live act. In fact, this track was explicitly meant to be an addition to their live shows as it was produced using their exact on-stage setup. By laying out a groovy foundation and letting the machines do their thing, this intentionally rough and dirty sound is able to be accessible and seducing at the same time. The A2 track, Breeze, was inspired by windchimes on Marco's balcony, which were recorded with a mic and mixed with melodies and reverbed kicks coming from the back ground, resulting in an almost early era Aphex Twins ambient feel. Although the second tracks on both sides were originally planned to be really loud and noisy, both tracks came out on the opposite side of the spectrum as inspiration took hold. B1, Colony, is a subtle track that seems to accumulate power by winding itself into the mind and body of the listener. Whenever this one is played in front of a crowd it always has a great impact as its psychedelic and focused elements mix to great effect. As with the digital only bonus track, Twin, a trippy feeling lurks around with a kind of 'submarine' atmosphere. Both Twin and Colony have been a part of Exercise One's live-set for some time now as they are one form of techno that the boys just love to play as it gives them the variety that they have always craved. The closer on the EP, Prowl, is more of an tensioned atmosphere than a track. Prowl is mainly based on sound-shifiting and old samples that are intended to transmit the mood of a predator in search of its prey.The digital only track, Twin, has a chunky, upfront bassline for a foundation, which drags you into the track like a strong under current. Little sets of percussions and delayed chords fly through the track to keep the mind focused while the body is already hooked to the groove. Pretty in your face and trancey, but just so much fun to play!
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Following up on her unanimously acclaimed third album ' May Be Later' (Vakant), Chilean artist and Berlin transplant Alejandra Iglesias conceived 'Anemik' entirely for the Wagon Repair label after being approached by label head Mathew Jonson. A musing on femininity and the fine line between romance and delirium, 'Anemik' transcends borders in its range of influence and reflects consciousness in the fluidity and tangibly live origins of its creation. Recorded using analog equipment and acoustic instruments with a strong emphasis on voice, there is a wisdom and maturity to this work that suggests an artist in the prime of her life. Opener 'Childish' builds from meditative beginnings with looped synth, wandering pads and wildfire percussive cycles that concoct a deep and dreamy landscape. 'Romaniks' creates space between electronic and acoustic spheres with Latin soaked beats encircling a subdued kick. Mantric vocal chants inject a mystical dimension to the affair, its psychedelic overtones continuing into 'Westoid', where Dinky's vocal lament is complimented by the baritone accents of Los Updates enigmatic Jorge Gonzales. 'Gold Fishes' bubbles into being with processed choral scales, while 'Rain Fallic' is a mid tempo trip of lazy legato harmonies and epic Telecaster drones. Title track 'Anemik' is a restless electronic frenzy, with melodic and percussive elements feuding amidst staccato vocals, effervescent machine transmissions and a penetrating central kick. 'Glacial' opens with an aquatic brew of reverberant vocals and deep percussion that swims through murky pads and delayed keys to close. 'Ceramik' weaves a tight beat, with warm Rhodes accompaniment, live percussion and ramped vocal passages concocting a mesmeric floor worker for the early hours. A perfect example of the fluid, jam infused
tone of the album as a whole. Thumbed melodic patterns and sonorous key stabs characterize 'Glassic', while 'Skyped' intertwines grandiose processed chorals, deep metallic percussion and leveling pads in a hypnotic malaise of storm and sweat. The infectious arpeggiated melodies of 'Epilepsia' are invigorated by live Latin percussion and intermittently cooled by warm pad progressions in a contemplative ascent to close. 'Fadik' grips as a wonky love song set to cascading beats, strummed guitar and electronic emissions, while closing track 'Nocturnal' unsettles with moribund ambient shivers to complete the kaleidoscopic range of flavors and emotions offered by this most remarkable of records. At times dreamy, at times nightmarish, at times romantic, at times befuddled, 'Anemik' is always quintessentially Dinky. More

Cobblestone Jazz founding member Danuel Tate is back on the solo tip with his newest project for Wagon Repair - WAG055 'Doesn't Like You Back EP' - and this time, probably as a result of spending so much time on the road with bandmates Mathew Jonson and Tyger Dhula, he's bringing it harder. Although some familiar elements from his first EP, 'Pushcard', can be found in the horns and synths mixing together to form the beds for the quirky vocoder, this five-track release comes more direct.'Doesn't Like You Back' reflects the moment on the dance floor when you realize the woman next to you is way out of your league, which we guess isn't a bad feeling as long as you like dancing with super hot women.





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Exciting times at Wagon Repair as London duo Dollz at Play release their debut EP after 5 years of taming dance ?oors throughout Europe and the world. London transplants Xochitl and Bea, originally from Mexico and Spain respectively, have been tipped for great things. 'Oscura Wand in Paris' is a mid pace bass driven minimal electro strut, equally suited for the Miami sun or Berlin dawn. Sleek and deep, spoken words punctuate a tight percussive ascension into a synth hook that ties together a broad mix of resonant tone and psychotropic modulated vocals. 'Oscura Wand in Paris (Danny Boy Dub)' is a subtler beast, pacing elements into an ethereal and meditative ambient journey. Intermittent vocal emissions and soaring tones colour a bubbling percussive loop in a contemplative downbeat mix.
'Oscura Wand In Paris (Mr.C Remix)' sees Dollz at Play manager and Superfreq head honcho Mr. C providing the ?nal mix, a deep and engrossing techno trip founded on swelling synth, bouncing
bass and epic melodic elements that launch the track above and beyond its earthly origins.




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Wagon Repair's first release past the 50 benchmark offers a look at long time partner Hrdvsion's latest works of chopped melody and effervescent invention. Opener 'The Mohana' explores a central chord progression with intermittent squeaked melodic static, reverberant pad echoes and crisp swinging percussion. A pragmatic animal, dueling hook lines dance, transform and compete for attention between pounded kick and hat in one of Hrdvsion's most floor ready tracks to date. B side ' Sliding Into Air (Edit)' takes matters ten clicks deeper as soaked pads loom forebodingly over lively harmonic sparks. An exercise in volume and dynamics, melodic holes are punched through a compressed mix, their impact adding profound rhythm to the already infectious percussive motor. Epic and uncompromising, 'Sliding Into Air' is a violently graphic alternative to its meeker techno cousins. 'Sliding Into Air (Live)' , which will only be available in digital format, offers a different shade to its aggressive original, with melodic and percussive variations adding definition to the tracks monolithic pads and mix meddling dynamics.




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Wagon Repair are excited to announce the latest EP from Berlin based Canadian Mike Shannon.
The Re-Nag EP, his third Wagon Repair release and first production of 2009, is the latest in a long line of releases from the head of Cynosure Records, with his work having previously graced imprints from ~Scape and Num to Richie Hawtin's Plus 8 Records. Opener 'Darkstar 3000' is a futurist techno stomp. Engined by poked melodic tones and a prominent metallic hat, dissonant stealth melodies manoeuvre around percussion and punched bass. Biding time to prolong suspense, both bass and key melodic journeys coordinate to climax in a tightly executed sensory assault. 'Sweets (TLA Mix)' opens energetically with static percussive tones circling around a pummeling kick. A rapturous vocal takes lead, effervescing within a wind tunnel of wobbly bass melodies and dizzy pads to close. 'Sweets (Acapella)' is an abstract entity, with it's sole vocal discernibly haunting in the absence of beats and structure. Full of texture and space, this is one for the producers that will surely not go to waste.
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Part of a new breed of Detroit techno, we are delighted to announce Ryan Crosson's debut Wagon Repair EP. Having already released on Trapez, Telegraph and M_nus under his alias Berg Nixon, Ryan's floor friendly live sets and shuffled percussive styles are getting many excited, with due cause. A side 'Confiteria Del Molino' is a bassy and deep bomb. Introducing itself with eerie warped vocals and strutting beats, dynamic melodic tones hover above a subtle synth progression. Enlivened by stabbed horn samples, percussion and booming bass is key to this track's heavyweight strength. B1 'Sunshine Wave' is slightly lighter, opening with a bouncing melody and chattering percussion. A huge bass sound opens things up, accented by needling synth and fueled by a classic prodding techno kick. To close, 'Use Me Up' bubbles with melodic tone and stuttering crackled samples. Subtly progressing to a simple beat and rumbling bass, distorted vocal arrangements haunt the mix as flighty pads howl in the distance.

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Hrdvsion's second Wagon Repair release this year is an absolute epic. Combining his signature fervid IDM style with a patient developmental sensibility commonly associated with his brother Mathew, Canadian Nathan Jonson offers two new tracks as accomplished and mature as anything he has produced to date. Opener 'Love's Duel (The Seduction Business)' is a slowly approaching storm, weaving melodies from disparate melodic tones and waves of rhythmic synth. Stuttering percussive blasts and a phased bass pulse steady the voyage as static jolts of lightning synth battle for control of the mix. Purposeful and enterprising, this eleven minute sonic saga is a trip worth taking. On the flip, 'Melting Fire' is an industrious IDM production with a percussive line reminiscent of 'dirty south' hip hop's rattling hi-hat patterns. Stabbed intermittant synth lines interact with chimed metallic tones in a mechanised melodic drive.'Melting Fire (Inkwell Remix)' closes proceedings, with Canadian duo Inkwell (Danksoul Recordings) transforming the original into a bass heavy floor pleaser. Charged by piston like percussion and wispy melodic synth, the bulging bassline offers warm respite from the original's cold precision.


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