After last year's massive 26 Miles EP, Gavin Herlihy is back on Cadenza, and he comes bearing what can only be seen as an instant anthem. Remember those foam toys, the ones where you just had to add water, and they'd swell into wonderful, unexpected shapes? "Back Burner" is a lot like that, but no water needed: just a needle in the groove, or a laser across the aluminum, is enough to send this sucker ballooning to enormous proportions. It begins with a loop of standup bass and rippling cymbals. It's understated, even delicate, but right from the start there's something electrifying about the cadence. It's a rushing, skipping groove enlivened by a hint of a voice deep in the mix. And from there it only gets more intense. First there's an eerie, wordless vocal loop, a bluesy falsetto croon that sounds like a freight train barreling across open space. The
percussion digs in: meaty kick drum, flashing tambourines and a steady patter of hand drums. Tersely plucked funk guitar adds to the polyrhythmic flux, like sticky, elastic spiderwebs strung between the beats. And high, lonesome wildpitch strings break it all wide open, bringing a delicious sense of relief. It's huge: a spine-tingling, hair-raising, sex-and-laughter kind of rush. "Think" is just as powerful, but it courts a different kind of intensity. This time it's all about the hips, with a brute, half-speed bass line leading the way. Like classic Chicago house, this is raw, unvarnished stuff, with hard-edged congas, cowbells and hi-hats getting as nasty as they wanna be. There's a looped vocal—a cry of desire or pain, take your pick—that adds to the urgency, while plunging chords and trim analog synth leads add depth to the mix. It's hard to believe that something this insistent
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When Cadenza invited Gavin Herlihy to come on board, he showed up on the label's Swiss doorstep with suitcases absolutely bursting at the seams—spilling over with rubbery bass lines, silvery percussion, and strange samples with a faded, postcard patina. (Also, two of the most evocative titles in recent memory.) Wherever the Irish-born, Berlin-based producer has been on his travels, it was clearly one hell of a journey. From the sound of "Underneath the Wind Machine," he must have made at least one stop on the Italian Riviera: the song's climax features a slow swell of mandolins that evoke the hot breeze ruffling dog-eared pages at a seaside café. But this isn't musical tourism. Herlihy takes his sweet time building things up, with dry electronic percussion shuddering in place beneath subtle synthesizer gusts; it's more than three minutes before the sound of a lone, plucked arpeggio can first be faintly heard, and then another, rising with a hummingbird's motion. The remainder of the track all but sweeps you off your feet, between the fantastical melody and a driving, housey groove. "Train Dodging," true to its title, is all about hijinks on a hairpin curve. Whereas Herlihy's productions can often be deeply melodic, this one pours all of its energy into a bounding, propulsive groove. Hi-hats, woodblocks, bells and bass trade syncopations, tumbling over one another in a breathless game of percussive leapfrog; fat, battered 909 snares push it all forward with martial riffing. The suggestion of a melody flashes by in scraps of sampled horns and voices, like blurred forms glimpsed from the passenger window as the train goes hurtling down the rails. It's a white-knuckled ride with a wide-eyed grin.
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Gavin Herlihy has long been one of dance music's most respected journalists and DJs, and with two acclaimed releases on Mood Music last year and more recently a brace of top-drawer remixes for UNKLE and Alexkid, he's fast becoming one of its hottest producers. Freshly relocated to Berlin, his debut 12" for Kindisch, 'Opium Haze', confirms his status as a skilled and innovative player on the house and techno scene. 'Opium Haze' is as heady and intoxicating as its title implies; an effortlessly psychedelic piece of music that's nonetheless firmly rooted on the dancefloor. It begins with a clicky, funked-up conga tattoo cloaked in disorienting effects which partly obscure the jazzy melody rising up from the mix's depths. Out of that sticky, dubby fug emerges an insistent, upward-tripping piano line and synthesized string stabs - together forming the kind of rave-ready hook that'll cause immediate damage in the club. Herlihy is superbly heavy on the edit, using an Eastern woodwind sample, disembodied voices and various percussive elements to deliver build after build, drop after explosive drop. 'Opium Haze' is a hugely satisfying piece of music, and a club anthem-in-waiting. 'Professional Exit' is a more stripped-down but no less accomplished affair, driven by a warm, rippling bassline and phased electronics. Before the percussion intesifies and interlocks, offsetting a sparse one-note synth line which hangs in the air, thickening it with understated drama. At once seductive and unsettling, experimental and club-oriented, 'Professional Exit' is indeed a professional end to a highly professional 12".
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Tracklist:
A1 Mike Witcombe - Delomi (Original Mix) A2 Mike Witcombe - Almond (Original Mix) B1 Mike Witcombe & Felix Warmuth - Islagrande (Original Mix)
Short info:
Mike Witcombe joins the Kindisch family, bringing along a delicate sound for a fantastic journey with his 'Delomi EP'.
The title track charms both the body and the soul, with an elegantly simple track unleashing a sea of warmth with beautiful chord-work and a steady stream of organic percussion.
Taking the torch further, 'Almond' dives a bit deeper, and travels a bit further, hypnotizing us into the night. Acid meets house meets after-hour meets pure and warm intentions to create an intricate and almost spiritual experience.
Next, Mike Witcombe and Felix Warmuth balance chaos and control with 'Islagrande', representing the symbiosis between artist and machine; opening doors to realms rarely seen and inviting all to join the experience.

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Kindisch is absolutely thrilled to introduce the newest family member to the roster, French mastermind YokoO with his sensual and moving EP, 'SATYA'. The title track brings us warm percussion topped off with long, drawn out pads and elegant notes jumping around the track. The track holds its energy back for the most part, creating a beautiful ambience and amazing warm up or after-hour vibe. The next track, 'Shaping Our Own Reality' fills the room with deeper percussion first, while simmering for a while to set the mood. With noticeably more energy than 'Satya', this track leads us into the night. Using the same sonic signature of Satya, the track again features long drawn out pads for dramatic effect, as well the 'hopping' synth notes on top. Building up to the break with a fitting vocal sample of 1950's, the track then lets the piano and strings creep leading to a dramatic end.

Tracklist:

A Satya B Shaping Our Own Reality

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Tracklisting:
A1 Walk Away (Original Mix) A2 Now Or Never (Original Mix) B1 Metaphor (Original Mix) B2 Turn The Tides (Original 12" Mix)
Infotext:
One of Kindisch's first releases of the year has come to us via the duo known as Bedouin. After their 'Mirage EP' that dropped last summer causing some serious waves in electronic music ... Tamer Malki, along with partner Rami Abousabe have served up their new EP called 'Whispering Words of Wisdom', as their first joint venture for Kindisch. Slow-moving and ethereal, ‚Whispering Words of Wisdom EP' features four tracks that take us from ‚Walk Away' warped, grungy strings to ‚Now Or Never' phantasmagoric bells and ghostly duet vocals through to ‚Metaphor' aquatic atmospheres, only to finish on ‚Turn The Tides, a track previously featured on Get Physical Music Presents: Hausmusik Vol. 1 last year and a perfect closing to this spaced-out, almost narcotic journey of sounds. Available on digital as well as vinyl release, Bedouin have made sure to produce an EP made for leaving that needle running.


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Kindisch would like to welcome Hamid to the family. French born and Jazz influenced, he's been making his name known in the Tech-House scene for a while now. Now we've got his latest work 'Revolution Bay' for you to enjoy! An upbeat Jazz vibe is an accurate way to describe 'Just Once'. Not too calm, but not too intrusive, the track finds a middle ground and recreates what you could describe as an opium induced haze. This is the track you will hear on the best dancefloors for a while to come. Our hats off to you Hamid. Hamid's Jazz inspirations are clearly present in 'Revolution Bay', wether it be in the saucy percussion, or the controlled chord play. The bassline sets a subtle-yet-sweet groove and the rest fall into line. A versatile track for diverse purposes. 'Serenity Wick' plays with not only delayed keys, but interesting vocal cuts as well. Hamid displays his mastery here, he plays with the highs and lows, all while capturing us with infectious percussion.
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A1 El Zahir (Original) B1 El Zahir (Acid Pauli's Acid Dub) B2 El Zahir (The Sorry Entertainers Remix)
Raz Ohara is back on Kindisch with another obsessive release, 'El Zahir'. A shuffling mix of acoustic guitar riffs, licks, natural percussion and of course Raz's well known melancholic vocal lines all come together to generate a country folk feeling of the 60's. A dampened kick drives the energy deep and harmonicas seep into our minds and set our soul on fire. A fresh track for a hot summer day on the lake. Acid Pauli takes the track and 'acidizes' it by adding, yep, acid lines and a very direct kick. The track gains more of a main time vibe, heightened energy and deeper bass allow this track to hold its own in a variety of set styles. The final mix is an open air anthem delivered from The Sorry Entertainers M. Rux and Lotti. Using percussion of the same natural flavor and incorporating dirty synth lines, the two produce a heavier mix worthy of both dancefloors and home listening.
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Raz Ohara brings his unique style to Kindisch, in the form of the 'See It Coming' EP. Raz holds true to his style of layering ghostly vocals with haunting melodies coupled with ambient percussive elements. We begin the EP with its title track 'See It Coming', a colorful blend of melancholic tones on a chilled canvas of percussion. As a perpetual melody drives, delicately laid vocals narrate the journey to the subconscious. Next up we get 'Deeper', as Raz brings out the bass on this one. Dissonance and vocal chops harmonize over a heavy kick. The deepest levels of our mind are explored and exploited with mechanical precision. Echo, reverb, claps and full chords all play their part in making 'Deeper' sound exactly the way you would hope for. Raz's partner in crime and Journey To The Feathered Sun counterpart NU gives us his thoughts and perspective in his remix of 'See It Coming' on the B side. With organic percussion and rhythmic intuition, NU provides us with a dancier version of 'See It Coming'. Heavy chords bring out the late night vibe, as Raz's voice retains the ambience of the original. 'All's Been Said (Tool Mix)' is what we're left with. A tense mix of pressure and eerie vocals. A rolling kick and fuzzy synths take the level of intensity higher, as the vocals rise again, hi hats keep us on our feet as Raz takes us to the edge of our minds.

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Just across The Main, lies Offenbach, a place where many of the kids of Frankfurt's inspirational House and Techno scene call home. Two promising producers - Florian and Marc - who hail from this hood, have within one year caught the attention of labels such as levelNONzero, OFF, Below and Cécille. This offering on Kindisch follows in the same vein with tight grooves and chunky beats rolled together with funk infused samples Bastian Schuster rolls through the Jacuzzi's studio and proves that three is not always a crowd. 'Lady Lover' could be a tribute to their orientation or just the way they treat those fine things down there in Hessen. Layered rolling House beats with an edge and a slowly up-building groove that trickles down your spine like rose water. The original bad boys of Offenbach, Meat & Chris Wood, team up to show the new jacks a few tricks or two. Flipping the script by bringing the vocal to the forefront and using it in a manner similar to diva House records, but without too much of the "diva". Throw in a breakdown with Hip-Hop beats and an all encompassing bass line and you've basically got one of the most essential party records for the summer. Florian and Marc ride off in the sunset together for the final track, 'In My Bed'. A mellow track to bop on down the road to or find a little someone to cuddle up with and squeeze the night away to.
The Jacuzzi Boys, have relatively recently emerged as another force Am Main to be reckoned with; a force that we are firmly going to be keeping an eye on.
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Who is Noa Siano: A face in the crowd, or a ghost in the shadows? We don't know ourselves, but this intriguing newcomer has an affinity for deep soulful House that has the spirit of what House music is all about leaking from every orifice. 'Track For Lyn' is an overwhelming experience of diva vocals fused with gritty House beats. This one takes you way back, almost to the point where you can hear the fuzz and crackle from a 7" found in the basement of your local record store. The pair of tunes on the B-Side is also brimming with a rough analog sound that can be as soothing as a lullaby to some. 'Deep Down' puts this to work through battering snare hits, soulful vocals once again and the sound of modern electronics used in comfortingly soulful manner. 'Kwani' delves even deeper into the roots of Soul. Way back across the ocean, from where it originally came from. Chants, congas and wood-like percussion is what we mean here. The bare essence all jammed into a seven-minute 4x4 beat. This is the record Kindisch fans have probably been waiting for. Taking it straight to the heart and soul of what the label stands for, from a mysterious character. Let's just hope this isn't the last we have seen or heard from Noa Siano.
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Delete a.k.a Sergio Muñoz hails from what the great explorer Christopher Colombus called 'The Land of Grace'; better known today as Venezuela. The fact that the twenty-four year old resided miles away from the House and Techno dominated shores of Europe doesn't seem to have hindered his musical inspiration or output. He's had well over 15 releases in the last 3 years on labels such as Dubfire's Sci + Tec Digital Audio, Steve Lawler's Viva Music and many others. His debut three-track E.P. for Kindisch has been brewing for a while, which makes us extra excited to present the crème de la crème of his latest musical productions. It is no secret that the 1980s was probably one of the best decades. 1986 was in particular a very memorable and historic year across the world. It also happens to be the year Delete was born and the name of the groove laden A-side. '1986' does not boast any sci-fi effects or other worldly sounds; it does however have one of the catchiest bass lines out there. 'Our Generation' pours a real telltale Chicago House vibe, complete with Derrick Carter style vocals and a bone-chillingly infectious four-note pad melody. This is eyes closed, hands in the air euphoric House. The 12" rounds out with Delete still showcasing his knack for creating funky bass lines with, 'Lunchbox'. This number runs a bit deeper than the first two tracks, as it is rolled along by little percussion edits and snippets that evoke a more subtle laid-back vibe. This release shows that dance music influences have crossed all borders and boundaries. Technology has allowed true talent to surface from every corner of the globe. We can only rejoice in it as this E.P. from Delete is a superb example of how to keep it simple, by just concentrating on a good groove that is friendly to the DJ's and, of course, the dance floor.

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Patrick Rasmussen's musical worldview goes beyond the adjectives that are continuously used to describe his music - eclectic, accomplished, experimental. He is a restless journeyman who, as Raz Ohara, has sojourned in collaborations with electronica luminaries such as Apparat and Luomo, and has penned solo work of electronic downtempo, acoustic, folktronica, and various points between. Most recently, under the guise of The Odd Orchestra, he changed course again and crafted two albums, Raz Ohara & The Odd Orchestra and II, both explorations of hazy, pastoral, avant-garde pop, grounded by Rasmussen's soulful and heartfelt vocals.
With "Colefire", which featured as the closing track for Get Physical's Full Body Workout Vol 04 compilation of 2008, Rasmussen gave us the first glimpse of his affinity for leftfield electronica as Omurah is the alter ego of Raz Ohara. The long-ranging ambient drones and minimalistic sound design of "Colefire" were a precursor to the otherworldly body music that Rasmussen has created for the first official Omurah release, Paranormal Symphonies.
Weightless deep-space sounds introduce "Die Hochzeit", which translates to 'The Wedding' in English. Looped, finger-plucked strings, and an ever-increasing tide of deep, formless pulses and harmonica trails are pursued by galloping rhythm, created from the marriage of bass and acoustic guitars. A deep and hypnotic fusion of slow-house tempo and analog transformation, combined with heady vocal harmonies that lend an ethnic edge, it calls to mind modern post-rock acts like Pivot, The Field and Battles.
The original version of "Paranormal Symphony" will undoubtedly draw comparison to the great master of experimental micro house, Ricardo Villalobos. Ramussen's flair for arranging unexpected melodic tangents over a core of club music is breathtaking, and "Paranormal Symphony" will likely become Omurah's signature opus. Hemmed by a subtle yet driving house beat, "Paranormal Symphony" allows it's budding and slowly unfurling melodies to blossom, shimmer, retreat and mutate into abstractness. Wooden percussion, liquid sounds and bodily noises reform into a saturation of electronic pulses that multiply and ricochet from left to right. Whispered chants form layer after layer, building towards a fluttering bed of synths that chime as 2-bar melodies, before retreating as spirit voices and accordion wheezes circulate the skeletal beat.
Young Berlin talents Nu and Christopher Schwarzwälder amplify the dub elements, for their "Nu's Crooks Mix", fattening the kick and bass, blurring and thickening vocals, while laying a raw spoken word sample of hard-knock urban life over an arctic tech house tempo. Nu's solo turn for the Ambient Mix, samples and layers the vocals samples, coaxing them to vibrate and disorientate. Whispered sweeps of percussion accentuate the drone texture that builds in density, while off-kilter claps and sampled string sounds fade in and out through the honeycombed structure.
With Paranormal Symphonies, Rasmussen has reinvented himself yet again, exploring the outer reaches of experimental sounds, and confirming his place as one of the most exciting risk-takers in modern music.
Tracklisting.
A1: Die Hochzeit
A2: Paranormal Symphony (Original Version)
B1: Paranormal Symphony (Nu's Crooks Mix)
B2: Paranormal Symphony (Ambient Mix Nu)

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DJ T. has proved, there is no substitute for experience. A career in dance music that spans three decades, has trained him well in the nuances of what it takes to keep up with the demands of a grueling 2009 that included the release of his second album, embarking on six month-long worldwide tour, while still heading up the A&R for the Get Physical, Get Digital and Kindisch labels. The latter of these imprints is the worthy recipient of his, and studio partner Thomas Schumacher's, final release of the year. Slow-building percussion rhythms are an effect that T. and Schumacher have mastered as a means to give 'Try To Understand' elapsing energy, rather than all balled up into four bar loops over six minutes. Putting in effort and sparing no sound of detailed individualization has a genuine lasting affect, and the main reason the tunes stay a cut above the rest. 'Try To Understand' is a seminal track that perfectly epitomizes what the Kindisch label stands for. T. calls up one of his favorite producers of this year, &ME. &why not? &ME has been smashing dance floors all year long with his tune 'F.I.R.'. He flips the script on 'Try To Understand' by adding a dash of Techno, a pinch of 909 flavor and a whole lot of bass. Enough in fact to huff and puff down the walls of any club. Pierce & Jerl get nominated to grace 'Try To Understand' with their brand of "Cologne-honed" funk. This comes in the form of slightly pitching down the vocals, to give the tune that 'turn the lights down and turn the volume up' effect. Some slight tweaks of the percussion and a bubblier bass line make 'Try To Understand' a little easier to get. This single symbolizes one the most fruitful periods of DJ T.'s career. Simultaneously reaffirming his trusted reputation for underground beats while supporting artists he believes in. Indeed a splendid end to the year for T. and Kindisch.
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David Keno is going for the trifecta with Feast, his 3rd Kindisch release of the year. Following on from his excellent label debut Discoteca, and his storming Tout Le Temps collaboration with Jaxson, Keno is back with the 3-track smorgasbord that is Feast. Starting off his career with a number of releases for on Corrado Izo's 1220 label, David Keno has since cut his teeth with Morris Audio Citysport Edition and Frankie Rec, and has honed his sound into a fresh combination of masterfully constructed beats, perfectly pitched percussive elements and infectious melodies… all the right elements for dancefloor devestation! Feast shows David Keno taking a leaf out of the book of US westcoast house pioneers, and giving the sound a new perspective. "Bonito" opens with a hint of cheeky Latin swing and demi-percussion, before breaking into a tough jacking beat and boompty house bassline. A lone, melancholy string sample in the second half define the track by injecting a touch of unexpected quirkiness into the mix. Keeping the momentum going is "808", a slightly deeper affair based on a throbbing, undulating bassline and conga-led percussion. Simplicity is the key to this drum machine tribute, as stabs of percussion are fused together with soulful scatting vocals, for a deeply funk flavoured house workout. Last but certainly not least, title track "Feast" rides on a pulsating, low bassline, a subtle synth tone, and a haunting keys melody that build a moody atmosphere. Expertly combined this with the kind of jerky cut-up vocals and samples that get the shoulders bumping and the feet moving, Keno showcases true inventiveness with dancefloor appeal.
With Feast David Keno is not cementing his place within the Kindisch family, he's also building his reputation as a young producer to be reckoned with!




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After collaborations from Berliners Jaxson & David Keno and Londoners Glimpse & Alex Jones, Kindisch heads to the Southern hub of Germany's House source: Frankfurt. This time reaping the harvest from the joined forces of Level Non Zero label owner Chris Wood and the main man behind one of the most infamous record stores in the world, Meat. Both have released acclaimed records on labels such as Get Physical, Below and Level Non Zero. 'Le Beat N'est Pas Triste' is a straight up sweat on the walls filthy Tech-House number. Off kilter snares, crowd risings chants and pleasantly distorted vocals that sound like they came out of a 80's horror science fiction film, squeeze every drop of energy out of the sound system. This is one of those tracks you wish you could hear when running from ruthless gangsters through a run down industrial city. We at Kindisch love grimy, thick and choppy percussion, in fact - the heavier the better. 'Le Yack Noir' is just that: a percussive workout combined with some drum machine claps all riding a wave of rising sub bass. Although that could be enough to keep this tune going, the boys are not satisfied and decide to snaz it up by tossing in some actual Yak mating calls, squeaks, diced and pitched vocals. Just don't play this one too loud in the wilderness. Rounding it out is a little comedown from the sonic high that the first two tunes have induced. 'Outil' utilizes a more bouncy old-school House bass line that sits comfortably along side the disco claps and filtered organ stabs. Chris and Meat's studio skills and deep understanding of electronic music seem like a match made in heaven. That is if your heaven is Saturday night at 3AM. If so, then you better make sure you have this record on you when the man upstairs dial's your number.
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Christopher Spero a.k.a Glimpse has really made a name for himself the way that Producers and DJ's in this day and age should: By making tasteful music of the highest caliber; and putting substance over style. These two tracks co-produced with frequent collaborator and head of the Hypercolour label, Alex Jones, put that said taste on display in a refined and elegant form of House music.'True Friends' pumps right from the beginning with a chunky rolling kick drum only made denser by the thick brushing percussion that surrounds it. Before the beats become to overwhelming a soothing male vocals drifts in reminding how hard it is these days to find a true friend. A stark tune of epic proportions. Returning with a similar pressure from drum programming aesthetic, which basically means hefty percussion layered over warm and tumbling drums. 'Cambria' sets itself apart from the A-Side with a more open-air vibe. Light piano notes float along side softly played wind instruments, creating a surreal dreamlike audio experience that still has the tools to do damage on the dance floor. Glimpse and Alex Jones have really put some true style, grace and class into their music. Masters at creating a distinctive sound that exist in the space where warm and lush tones meet musicality and stimulation. A Summer record with good vibes scrawled all over it.




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David Keno is not as "wet behind the ears" as one might think. Having released well over 30 tunes while perfecting his sound with a slew of well-received releases on Offenbach based i220 and many other labels before, he has now started his own successful Keno Records. This EP oozes Keno's distinct style, which is comprised of burly beats built from scratch and simple effective rhythms intended not to intimidate but alleviate. This is never more evident than on the EP's title track, 'Discoteca', which uses a heavily filtered Latino male vocal. One that slides in and out of the only spaces in the frequency field that are not filled with chunky beats and guitar samples sliced within an inch of their lives - albeit well disguised, after being run through a myriad of distortions and filters. 'Karacho' follows suit with those signature beats, but this time Keno asks the guitar player to take five while the trumpet player gets some. Flagrantly utilizing several horn sections all molded together and tweaked with a pinch of flange on top to keep the groove tenderly skipping along. The previous side of this 12" enthralled with two exciting A- Sides that set up a mild juxtaposition to the quirky, yet deep and euphoric elements of, 'Grutane'. Clean organ melodies are sewn together with contorted shakers tripled with some subtle effects to make this a perfect builder of a track. This is exactly the tune to ease the crowd back and rub their shoulders. If there is the slightest bit of tension then 'Grutane' is precisely the right tool to rub it out like a good Thai massage. Discoteca is a splendid trio of tunes that the Kindisch crew is extremely excited about, and equally as excited to welcome David Keno into the family. 2008 has quite possibly been the labels best year in its short history and this release carries the high standard Kindisch has reached into 2009. More

The once fledgling Kindisch record label has flourished due to its focus on what the label was intended for: Bumping forward thinking underground House music. Although the label has featured such artists as Samim, Jay Haze & Einzelkind the last few have focused on a new breed of talent. Much of this talent has been selected by one of the label's creators DJ T., whom has helped to ennoble Kindisch to its current level. And so comes about DJ T.'s first release on the label with the help of his frequent studio whiz Matthias Tanzmann. They have crafted the single thing everyone wants on an uneventful autumn evening: A 'Booty Call'. The title says it all, a call for all booties - big or small - to migrate to the dance floor. An orgy of percussion and low end rumble lift you from your head bobbing slump up against the wall and firmly plants you right in the sweet spot of the dance floor, where the rising energy hits a climax. There is a pause and then the most noticeable sound of the track hits: The Booty Call.
One artist credited with invigorating the Kindisch label, is the young Frankfurt based producer Daniel Mehlhart, whose first (and hopefully not last) release, Origami was a highlight of last summer. In his Booty Call remix, one can immediately hear his style thrust into the main groove of the track, injecting it with a heavier feel and bringing forth a whole slew of new effects and sounds including a hypnotizing African vocal.
This marks a small milestone as the 20th release of the label. Also, keep a look out for exclusive digital-only remixes that will be unleashed shortly after the initial release.


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Having already proved itself as a forward-thinking label which provides a valuable platform for up-and-coming talent alongside better established names, Kindisch once again delivers the goods - in the form of this debut 12" from Matchbox. The discerning party animals among you may well already be familiar with Matchbox as one of the most tireless and innovative DJs on the scene, regularly playing slots at Weekend, Panoramabar, Bar 25, Tresor, Cookies and innumerable after-hours; vinyl junkies might know him as part of the team of Berlin's respected Rotation record store. But now it's time for Matchbox, the producer, to step out from the shadows. In summer 2006 he teamed up with Ilja Coric to unite their different qualities and create tracks that reflect their vision of modern dancemusic. Matchbox's knowledge of the history of techno music and his experience as a DJ in combination with Ilja's skills as a composer and producer are the basis for a succesfull collaboration. The 12" opens with a blast of superlative dancefloor funk, "U Can Get Sonar". It's immediately obvious that this track is the creation of someone who knows - as a fan, DJ, record-seller and musician - what works on the dancefloor, what sounds good, and has endeavoured to make his record satisfy us on all counts. Carried along by an unbelievably buoyant bassline, purring, deep house-style chords and crystalline percussion, the track climaxes in waves of synthesized strings. "Upad Aah" is a vivacious, skippy dancefloor track, its constituent bass and drum elements rounded and smoothed for maximum bounce; sharp, pressurized snares provide a glorious counterpoint, as quasi-tribal percussion, and airy African female vocals are layered over the top. The result is fresh, powerful and eminently danceable. "Persuasion" is a deep, swinging club track; once again that warm bass is at the forefront, with clipped yet languid chords building melody around it as. Just when you most want it, but least expect it, there arrives a massive breakdown that seems almost to swallow space, before dropping back into that lean, motoring groove. The "U Can Get Sonar" 12" signals the arrival of an important producerteam, one who understands intimately what makes the dancefloor and the head tick. Made by music-lovers for music-lovers, these three highly accomplished tracks deserve your close attention.

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In its relatively short life-span, Kindisch has proven itself to be a natural home for innovative, idiosyncratic club music, with the likes of H.O.S.H., Raz Ohara, Diskjokke and Gavin Herlihy contributing daring, distinctive but invariably club-smashing 12"s to the series. Einzelkind, aka Arno Völker and Miguel Ayala, are no strangers to the label, having already recorded three EPs themselves; for their latest effort, they've teamed up with the inimitable Douglas Greed for ICE 1656 EP. The Einzelkind guys first crossed paths and began making tracks with Greed back in their 90s drum'n'bass days, but they've always enjoyed separate, if complementary, musical identities. According to Greed, it's not just their different musical sensibilities, but their different backgrounds, personalities and haircuts that make their collaborations so interesting! In A1 'La Belle', a rolling, woodblock rhythm sets the scene for the abstracted keyboard tones which cluster around the track's middle, cranking up the drama and throwing the bottom-line bass throb sharp relief, ahead of the dirty, flanged synth line that'll gleefully force any dancefloor into submission. 'La Belle''s beauty lies in its simplicity - Einzelkind and Douglas Greed use a small, well-chosen assortment of percussive and melodic elements to create a wonderfully tense, propulsive club track with not even a hint of flab about it. For B1 'Ed The Optician', the trio inject a bit of funk into proceedings. It's a slinky little number, characterised by an expanding and contracting, analogue-sounding synth-line, woodwind samples and a bouncy, morse-code bassline: together making for a warm, grooving track that will work well in warm-up and peak-time sets alike, not to mention at home. B2 'Squirls in a Bathtub' is a similarly supple, funk-fuelled cut, driven by haunting, almost animal-like noises (perhaps the 'squirls' of the title?) and which mutate into wiry acid lines while the aquatic bass drum, hissing shaker and pressurised snares keep the rhythm tight and robust.

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