Special remarks: 2LP Double 12” Vinyl

Genre: Techno


Tracklist:
1. Amorphea 05:56
2. Bodies of Water 05:29
3. Wear the White Belt 05:30
4. Outer Core 07:47
5. Radiant 04:29
6. Lithosphere 05:11
7. Slipstream 05:03
8. Shinkansen 04.29
9. Solar 07:30
10. Cuore Morbido 04:42

Short Info:

Elektro Guzzi return with their 11th studio album, Liquid Center - more focused than ever, yet more
sonically open. The album presents the trio on a new level: their sense of precision and structure
meets an unexpected depth and warmth.

The sound is more restrained, more subtle - and in this way,
it gains even more presence. What stands out: this album sounds different. And it feels different too.

Over the course of a year, the band developed a recording technique that translates their analog live
energy into a sonic image that captures both the physicality of a band in space and the cool
abstraction of techno.

The result is a sound that doesn’t seek loudness, but detail - clear, warm, deep,
and with an almost artificial precision. Liquid Center is not a loose collection of tracks but a coherent
album experience.

With every listen, it opens up a little more: a new texture, a shifted perspective,
another layer emerging from the space between groove and sound. Maybe it’s the music that’s
changing. Or maybe it’s just the way you hear it.

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CD

Tracklist:

1. Hoppadatsch 05:58
2. Fizz 06:44
3. Collin 05:55
4. Walk with Me (featuring Martin Klein) 06:11
5. Scheck 02:19
6. Blame Me (featuring RocketNumberNine) 05:50
7. Agua (featuring Yoruba Percussion) 03:17
8. Seat A 07:59
9. Acido 05:01
10. Flirr 05:04
11. Archimed 03:51
12. Gepard (featuring Polybrass) 04:36
13. 1010 (featuring RocketNumberNine) 05:21

We have been playing techno with drums, bass and guitar for 15 years. During this time we
have released ten albums, seven EPs and various singles and remixes. We have played
around 500 concerts at clubs and festivals around the world. For a lot of releases and shows
we have had the opportunity to collaborate with great like-minded musicians. Some of these
collaborations have been recorded but have not been available to the public until now. Some
of our most eclectic yet danceable tracks recorded as a trio also haven’t found their way to
our audience yet. Although we usually focus on searching for new sounds in the future we
now allow ourselves to find them in our past.
This is a compilation of “lost tracks” that have been waiting on our harddrives to be
rediscovered and finally made available to you - Enjoy!

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Special remarks: LP

Tracklist:
1. Hymner 02:00
2. Prototyp 04:20
3. Spiral 05:21
4. Manfrotto 04:27
5. Okra 05:04
6. Teleporter 06:25
7. Acapulco 05:05
8. Omega 02.28

Elektro Guzzi from Vienna are back with their new, their ninth album »Triangle«. Since their
first, self-titled album in 2010, Elektro Guzzi have been working on a variety of techno that is
not programmed on a computer or sequencer, but rather analogously performed by using
electric bass (Jakob Schneidewind), drums (Bernhard Breuer) and electric guitar (Bernhard
Hammer) and it is techno-music, that arises in the moment of interaction - a music that often
develops in the direction of cosmic music. On »Triangle«, Elektro Guzzi overcame the
natural, »learned« sound of their instruments. The futuristic concept of techno shines
through all the more as a role model - that there is precisely this clear idea of transcending
the present by playing a hypnotic, interlocking music of the future. »Triangle« is the logical
next step for a band that is always looking for »more«, for departure, for consistency. The
forced break of the lockdowns 2020/2021 and the restrictions in the context of the crisis
made the band move closer together; on »Triangle«, Elektro Guzzi increased their efficiency
to the unbelievable.

Recording & Mix: Elektro Guzzi
Master: Paul Movahedi
Drawing: Inga Hehn
Artwork: Nik Thoenen
® & © 2022
PALAZZO RECORDINGS

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Special remarks: 2LP Vinyl + Downloadcode / - First vinyl album on Palazzo Recordings

Genre: Techno

Tracklist LP:

1. Rabazz 14:59
2. Essig 06:12
3. Horst ( Dub) 09:12
4. Rotor 05:36
5. Eskalator 11:21
6. Bogota 10:50
7. Exit 06:26

Short Info:
For their upcoming album TRIP (their first trio album since 2017) Elektro Guzzi return to their core competence of creating driving techno on the spot. Through their impulsiv interplay and the heavy use of effect circuits they create an energetic and unique form of dance music. More directly than ever before, all tracks on this album capture Elektro Guzzi's live sound and energy.
TRIP will be the first vinyl release on their very own Palazzo imprint and it will be the purest
Elektro Guzzi record so far.

Vital Sales Points:
- Releases on Macro, Pomelo, Denovali
- Extended Tour in the Months of October-December


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Tracklist:
Tracks: 1. Room, 2. Voix, 3. Slowfox, 4. Element, 5. Wood, 6. Blue Eyes Wink, 7. Merge, 8. Pillow, 9. Loop, 10. Coda

Literary all the Granny Smith apple trees grown today, from Uruguay to Hokaido, are CLONES from Mrs. Smith's original tree in Sydney. Bananas, oranges, watermelons, garlic & other fruits of daily delight are routinely replicated without any input of external ideas - i.e., they are cloned. There is no general ethical or aesthetic decision to be formed about CLONES, since you have already imbibed them ever since your first bite. Thus, you are not in a neutral or otherwise preliminary position, but already involved, kneedeep.

It may not be a coincidence that the first mammals, warm-blooded egg-layers and small marsupials, date almost exactly to the period of the first flowers, evolving some 125 million years ago. Quick-thinking, vegetable eating mammals provide a most striking example of cooperation in evolution, as their interest in plant foods led them to become well-fed. A bond has been formed. Seedless plants, like banana and oranges, have made a most remarkable dispersal strategy: season after season, human growers CLONE them. The plants are perpetuated because they taste so good.

And that's about it. Much has been said about Elektro Guzzi's aptitude in transcending their instrumental sources towards techno of unlikely beauty, pristine consistency and razor-sharp definition. It tastes good, and thus they have decided to CLONE themselves. Elektro Guzzi plow through their own fertile ground of ideas and sprout structures, textures and gestures into a dizzying array of new offerings. Yet the tunnel vision of the singular point of origin of all tracks makes it smack even more. Because there's never too much of a great thing.



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Tracklist:
Tracks: 1. Room, 2. Voix, 3. Slowfox, 4. Element, 5. Wood, 6. Blue Eyes Wink, 7. Merge, 8. Pillow, 9. Loop, 10. Coda

Literary all the Granny Smith apple trees grown today, from Uruguay to Hokaido, are CLONES from Mrs. Smith's original tree in Sydney. Bananas, oranges, watermelons, garlic & other fruits of daily delight are routinely replicated without any input of external ideas - i.e., they are cloned. There is no general ethical or aesthetic decision to be formed about CLONES, since you have already imbibed them ever since your first bite. Thus, you are not in a neutral or otherwise preliminary position, but already involved, kneedeep.

It may not be a coincidence that the first mammals, warm-blooded egg-layers and small marsupials, date almost exactly to the period of the first flowers, evolving some 125 million years ago. Quick-thinking, vegetable eating mammals provide a most striking example of cooperation in evolution, as their interest in plant foods led them to become well-fed. A bond has been formed. Seedless plants, like banana and oranges, have made a most remarkable dispersal strategy: season after season, human growers CLONE them. The plants are perpetuated because they taste so good.

And that's about it. Much has been said about Elektro Guzzi's aptitude in transcending their instrumental sources towards techno of unlikely beauty, pristine consistency and razor-sharp definition. It tastes good, and thus they have decided to CLONE themselves. Elektro Guzzi plow through their own fertile ground of ideas and sprout structures, textures and gestures into a dizzying array of new offerings. Yet the tunnel vision of the singular point of origin of all tracks makes it smack even more. Because there's never too much of a great thing.





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Tracklist: 1. Circle One / 2. Circle Two / 3. Acid Bonus
Biography:
ELEKTRO GUZZI have been called many names: man-machine, clockwork, techno organism. It is truly one like no other. By now, the 3 Austrian wizards have become the preeminent techno band. A trio of guitar, bass and drums, they play murder beats with the drive of a machine that got possession of the sonic detail only physical instruments are capable producing. The unparalleled appeal of matching sound and performance vision in real time - you see how every sound is created, right there, on the spot - have made them a primary choice for cutting edge festivals like Roskilde, Sónar (2x official programm), Mutek, Melt!, Stop Making Sense, C/O Pop, Eurosonic, Extrema, Airwaves, Sziget, Dancity, Spring Festival and a long list of others across Europe, North and Latin America and Japan. In parallel they have conquered the club circuit from Berghain to Fabric to Arma17.
The album:
Originally recorded for a Tapeworm cassette release, Austrian techno wonder Elektro Guzzi locks into two "circles" + one essential addition. Tight as ever, but this time the usual restrictions to track durations and vinyl sides are completely abandoned in favour of deep explorations of the long form. Rich on texture, all the little timbral strokes add up to a continuous push down the bass-heavy techno rabbit hole. The result is nowhere close to a loose jam, but renders a concentrated display of musical swarm logic. Intimate, thrusting, circular.



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UPC: 827170143326 Release Date: May 26, 2014

Tracklist: 1. Rough Tide / 2. Acid Camouflage / 3. Alaska Flip / 4. Trojan Robot / 5. Undulata / 6. Atlas / 7. Threshold People / 8. The Grist

Live "techno-tanzband" trio Elektro Guzzi are set to release their new studio album 'Observatory' via Berlin based record label Macro. From their 2010 s/t debut album ("hauntingly beautiful" - Resident Advisor) and 2011 follow up 'Parquet' ("hypnotic, near kosmische reverberations" - Clash) Elektro Guzzi have taken their man-machine live show of bass, guitar, drums around the world, from landmark clubs like Fabric and Berghain to major festivals Roskilde, Sónar and Mutek.
With 'Observatory', Bernhard Hammer, Jakob Schneidewind and Bernhard Breuer shift everything anyone could expect from a live band. Tellingly, instrument credits have been wiped off the record sleeve. Still a string and a drum skin at the source, the sound emanating from the speakers seems to have travelled light years. Utterly alien, 'Observatory' unfolds into a paradigm for both the performance of music and the music performed.
Despite advances in software, ironically it is this live band that initiates a redesign of how techno could leap into the future. There is nothing retro about it. No citations of historic moments. The album resembles a party on the edge of the solar system, with scraps of distant sound memories - a shocking abandonment of anything an instrument was supposed to do. The recordings' warmth is at a stark contrast to the music's Skynet thrust: a time capsule of techno projected into the dark unknown. Metallic and human at the same time, a love cry miles from home...

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UPC: 827170541467 Release Date: May 26, 2014
Tracklist: 1. Rough Tide / 2. Acid Camouflage / 3. Alaska Flip / 4. Trojan Robot / 5. Undulata / 6. Atlas / 7. Threshold People / 8. The Grist

Live "techno-tanzband" trio Elektro Guzzi are set to release their new studio album 'Observatory' via Berlin based record label Macro. From their 2010 s/t debut album ("hauntingly beautiful" - Resident Advisor) and 2011 follow up 'Parquet' ("hypnotic, near kosmische reverberations" - Clash) Elektro Guzzi have taken their man-machine live show of bass, guitar, drums around the world, from landmark clubs like Fabric and Berghain to major festivals Roskilde, Sónar and Mutek.
With 'Observatory', Bernhard Hammer, Jakob Schneidewind and Bernhard Breuer shift everything anyone could expect from a live band. Tellingly, instrument credits have been wiped off the record sleeve. Still a string and a drum skin at the source, the sound emanating from the speakers seems to have travelled light years. Utterly alien, 'Observatory' unfolds into a paradigm for both the performance of music and the music performed.
Despite advances in software, ironically it is this live band that initiates a redesign of how techno could leap into the future. There is nothing retro about it. No citations of historic moments. The album resembles a party on the edge of the solar system, with scraps of distant sound memories - a shocking abandonment of anything an instrument was supposed to do. The recordings' warmth is at a stark contrast to the music's Skynet thrust: a time capsule of techno projected into the dark unknown. Metallic and human at the same time, a love cry miles from home...

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Elektro Guzzi deliver one of the most thrilling live performance models for techno and an innovative leap in the art of band performance at the very same time. It's almost the antithesis to what a band is supposed to be. While they use guitar, bass and drums only, they take the most unusual playing techniques and put them together into a rigid mechanical form where it all makes instant, evident sense. Yet, if they had not performed live extensively, becoming audience favourites from Mutek to Sónar or Berghain to Fabric, it would be hard to believe this is really how the music is created. That said, everyone who saw them deemed it impossible they could go even further into the man-machine direction. Yet it is exactly what they did.
Parquet, their second studio album sees them in an unprecedented monomaniacal techno mode. Throughout the 9 tracks the distinctions between instruments and roles are totally vaporized. While their instrumental approach is at the core of their aesthetics, it really doesn't matter anymore if one sound comes from a guitar or bass or drum - it has all been merged into one sonic unit and all there is, is the music as a unified entity. While all the qualities of live performance are at hand - real time interaction, visual plausibility, instant miniscule adaptations - it is a radical break with what group performances have been about so far.
Parquet is as much a straight up club music record as it is rich of nuances and details. Astonishingly, while being their most rigid and dance-centered work to date, it also holds outbursts of beauty with tonal lines, ringing overtones and warm resonances. The rhythms are stripped down to the core and structured for affecting longer stretches of perception. Every track comes with a distinctive, almost "branding" feature - like the hypnotic meter-shifting line of Affumicato, the gated chords of Pentagonia or the abridged rhythm of Absorber. Actually, it all was recorded directly to analog tape. No edits, no overdubs. It's the man-machine in real time and a hint at the love Elektro Guzzi put in the process. You probably have to be as dedicated as Bernhard Hammer, Jakob Schneidewind and Bernhard Breuer to take things that deep.
Tracklisting:
1 Affumicato
2 Pentagonia
3 Absorber
4 Panier
5 Vertical Axis
6 Redford
7 Reserva
8 Moskito
9 Slide Dandy

Salespoint:
" Elektro Guzzi is the leading Techno live band: big topic in music press & beyond worldwide

" two promotional video clips for viral PR! Professional production.

" producer Patrick Pulsinger has seen huge media coverage for Hercules & Love Affair

" huge crossover potential: attractive to fans of techno/electronic, indie and experimental styles alike.

" Massive live presence already at festivals and clubs incl SONÁR, c/o Pop, Mutek, Dancity, Urban Art Forms, Robot ... - several festivals in France, Italy, Austria, Germany, Switzerland, Spain, Belgium, USA, Canada, Eastern Europe … club gigs at BERGHAIN Berlin, FABRIC London und TROUW Amsterdam.

" Constantly growing international fanbase due to extensive worldwide touring

" Additional promotion to DJs - club and radio! One of the few techno live acts to be actually played out by DJs





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PRODUCED BY ELEKTRO GUZZI AND PATRICK PULSINGER RECORDED DIRECTLY TO ANALOG TAPE. NO EDITS. NO OVERDUBS.
Elektro Guzzi redefined the meaning of performing techno live. With just guitar, bass and drums, they take the most unusual playing techniques and put them together into a rigid mechanical form where everything makes instant, evident sense. If they had not performed live extensively, becoming audience favourites from Mutek to Sónar and from Berghain to Fabric, it would have been hard to believe this is really how the music is created. That said, it seemed impossible they could go even further in this direction. Yet that's exactly what they did.
Parquet, their second studio album sees them in monomaniacal, claustrophobic techno mode. Throughout the nine tracks the distinctions between instruments and roles are totally vaporized. While their instrumental approach is at the core of their aesthetics, it really doesn't matter anymore if one sound comes from a guitar or bass or drum - it has all been merged into one sonic unit and all there is, is the music as a unified entity. In its quality and appeal "it shouldn't matter if it is played or produced electronically", say Elektro Guzzi. While all the qualities of live performance are at hand - real time interaction, visual plausibility, instant miniscule adaptations - it is a radical break with what group performances have been about so far.
Parquet is as much a straight up club music record as it is rich of nuances and details. Astonishingly, while being their most rigid and danceable work to date, it also holds outbursts of beauty with tonal lines, ringing overtones and warm resonances. The rhythms are stripped down to the core and structured for affecting longer stretches of perception. Every track comes with a distinctive, almost "branding" feature - like the hypnotic meter-shifting line of Affumicato, the gated chords of Pentagonia or the abridged rhythm of Absorber. You probably have to be as dedicated as Bernhard Hammer, Jakob Schneidewind and Bernhard Breuer to take things that deep.


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The story: Techno live: With more and more artists competing for attention, live presentation has become the most important ressource. A growing number of electronic artists are incorporating live instruments into their sound – but only Vienna’s Elektro Guzzi actually play 100% live: no laptops, no loops, no programming. Their unparalleled live success made them the leader in the field: Sónar, Mutek, Berghain, Fabric, Amsterdam Dance Event, Time Warp + dozens more appearances at top festivals and clubs. Elektro Guzzi had the biggest headstart on the circuit of 2010.
This has always been considered the main advantage of having a band on stage: you can see and feel what you hear. And in techno this is only really true for Elektro Guzzi. What sounded incredible in their debut album “Elektro Guzzi”, works wonders live (and they don’t depend on visuals to excite their crowds). They did not only made most laptop acts sound rather dull, but they have been in fast-forward evolution mode, too.
The album: “Live P.A.” captures the latest state of Elektro Guzzi’s incredible live sound, recorded in London with the outstanding mixing capabilities of Brendon ‘Octave’ Harding, the trusted engineer of dub legend Lee ‘Scratch’ Perry.
The set captures Elektro Guzzi’s raw live side, turning out dark grooves with an almost indie edge – probably their most appealing material to date. This set had been originally recorded for Resident Advisor. Now, the CD version has been newly mixed by their producer Patrick Pulsinger (Hercules & Love Affair) and is available in full resolution for the very first time.
Huge crossover potential: attractive to fans of techno/electronic, indie and experimental styles alike. Massive live presence at festivals and clubs. SONÁR (Barcelona), TIME WARP 2010, Spring 10 (Graz), Amsterdam Dance Event, Mutek (Montreal) + several festivals in France, Italy, Austria, Germany, Switzerland, Canada, Eastern Europe.



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7 track mini album / EP

Track list vinyl:
A1. Gips, A2. Baka, A3. Trampa
B1. In and Out, B2. Okka, B3. Duman, B4. Trese

Info:
Impérieux (aka Alper Durmush) is a beatmaker extraordinaire hailing from Kircaali / Kardjali: since antiquity a hub of mythical music, located at the crossroads of Bulgaria, Turkey and Greece.
After conquering the hearts and feet of the scene with his stunning debut album Rezil and the follow-up Fena EP, Impérieux caps off his stellar year with a seven track mini album on Macro. Its effortlessly mesmerizing tracks consolidate the outlines of
forward-leaning club music.
Experimentation is a well-established facet of Impérieux’ approach to the adventurous techno (left)field, but the In and Out EP brings to the table his most condensed dance floor material so far. Holistically captivating hooks, bass lines and rolling rhythms: The next step after several years of exploration and refinement.
Unpredictability, bound together by a consistent, modernist glint. From the raw jacking of Gips to the warm euphoria of Baka, from the darbuka frenzy of Duman to the cutting friction of Trese – a triumph.

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Track list CD:
1.Chimera, 2. Big Drop, 3. Gnomon A, 4. Extension 1, 5. Études Spectrales I, 6. Études Spectrales II,
7. Études Spectrales III

Info:
Stefan Goldmann’s 'Input' translates electronic music into performance formats for human players of acoustic instruments. The standard remix process is thus inverted, by providing the electronics first. Then composers backwards-engineer what they hear into scores for ensemble. The original, synthesized version isn’t available for the audience: Its hidden shape can only be guessed at through its acoustic translations.
By collaborating with multiple composers, the process of direct auditory comparison allows for multidimensional insights. It reveals common traits in unlikely places and highlights differences
between individual approaches. Ambiguities of sound/score relations, emergent parallelisms and unexpected congruencies become part of the sensory and cognitive experience.
The three versions in this release – by Daniel Chernov, Adrian Pavlov and Lukas Tobiassen – were recorded at Sofia's 180 Degrees Festival and performed by the stellar group of musicians from
Bulgaria, France and Switzerland which came together in Ensemble 180°. The live recordings were further processed by Stefan Goldmann and now represent a stunning sonic hall of mirrors, with
multiple vectors of transformation embedded in this dialogue.

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Track list CD:
1. Onset Trajectory, 2. Qanath, 3. Vilayet, 4. Tefter, 5. Hard Palate, 6. Anaphora, 7. Builders, 8. Arda, 9. Healer

Info:
"Live at Borusan" follows in the tradition of Stefan Goldmann's recordings of concerts at the Philharmonie Berlin and the Honen-in Temple in Kyoto, with a music program that is just as tailored to the location and its characteristics as his other site-specific formats, such as for the LACMA in Los
Angeles or the CCK of Buenos Aires.
The Borusan Music House is located in the densely built-up Pera district, the old Christian quarter of Istanbul. It is a 19th century brownstone that has been carefully converted into a minimalist, multistorey exhibition and concert venue. While Goldmann was a fellow at the Tarabya Cultural Academy
for an extended summer in 2023, the idea for this concert was born and scheduled to be part of the Noise Istanbul festival organized by Borusan in November 2024.
The palimpsest-like character of the city with its multiple cultural layers is reflected in the structure of this concert and expressed in the language of electroacoustic composition. Accordingly, what should be a collision-ridden, restlessly advancing sequence through a multitude of references to earlier works and projects such as Veiki, Alluvium, Sfera and Furnace, instead leads us on a surprisingly relatable sonic arc.

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Track list CD:
1. Fo Pio, 2. Objectify, 3. Deliro, 4. Gider, 5. Sword Fight, 6. Rezil, 7. Imana, 8. Almost Had It, 9. Phase Rotation, 10. Young

Info:
Impérieux (aka Alper Durmush) is a beatmaker extraordinaire hailing from Kircaali / Kardjali: since antiquity a hub of mythical music, located at the crossroads of Bulgaria, Turkey and Greece.
Rezil is his stunning debut album, built on the ground cleared by his head-turning earlier releases for KiNK's Sofia Records and DJ Koze's Pampa. Its effortlessly mesmerizing 10 tracks consolidate the outlines of forward-leaning club music.
Experimentation is a well-established facet of Impérieux’ approach to the adventurous techno (left)field, but more than ever on Rezil he seizes the opportunity
to thrill with holistically captivating hooks, bass lines and rolling rhythms: A culmination of several years of exploration and refinement. Unpredictability lies at the heart of all this music, bound together by a consistent modernist glint.
From the warped wobble of Sword Fight to the unhinged dairé excess of Imana, from the drunken Casio bliss of Rezil to the hopeful euphoria of Young: a triumph.

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Track list 12“:
A: Marbles
B: Marbles (Stefan Goldmann Version)

Info:
Marbles is the legendary 1970 proto punk / dance classic from John McLaughlin’s US debut album 'De?otion', recorded at the time in which he played on Miles Davis' Bitches Brew and taped the Record Plant session with Jimi Hendrix.
Marbles didn't just deliver jazz rock's most danceable 4/4 beat, played by Band of Gypsies / Electric Flag drummer Buddy Miles. It is also centered with a once-in-ageneration bass line performed by Billy Rich. Larry Young's otherworldly Hammond textures predate a lot of what synthesizers were about to do much later, and the blowtorch energy emanating from John McLaughlin's cranked amp went beyond what most would had dared during the defining era of heavy rock guitar. An apex achievement at the intersection of jazz rock, guitar rock and dance music without parallel, before or since.
Background: John McLaughlin arrived in New York in 1969 to join Tony Williams' new group Lifetime which also featured Larry Young and eventually Jack Bruce (of Cream). On the second day in town he found himself in the studio with Miles Davis, recording 'In a Silent Way.' His playing would also take center stage in Bitches Brew, Jack Johnson, On The Corner and several other Davis key works of his much beloved first electric era. In between a busy schedule with Lifetime and Davis, McLaughlin also recorded two solo albums in 1970, 'De?otion' with an all-electric group and ‚'My Goa|’s B?y?nd' as its acoustic counterpart. By the time he formed his group Mahavishnu Orchestra in 1972, John McLaughlin was firmly established as the most important practitioner of his instrument of his generation within and well beyond the emerging jazz rock / fusion genre, and he has continued to evolve and surprise until today.
Here, a thorough remaster is supplemented by a new and throbbing techno version by Stefan Goldmann.

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Tracklist CD: 1. Axios, 2. Helicon, 3. Yantra, 4. Scylax, 5. Drilon, 6. Magoras, 7. Tyros, 8. Struma, 9.
Arda, 10. Hebros, 11. Ropotamo, 12. Scamander

Info:
Layered asymmetry: With Alluvium, Stefan Goldmann explores new structural paths for machine
rhythm in irregular metres. Throughout the album, different non-binary patterns run simultaneously,
interlocking into twelve offerings of jagged polyrhythmic magic. Such a framework may juxtapose 11
on one axis, against 7 on another and 5 on a third – building stunningly iridescent edifices of
multidimensional time.
This is the third album in a series of "first principles" research of metric asymmetry. Veiki (2019) laid
the foundation for "real broken beat". Then, Vector Rituals (2022) explored the bending of grids in
order to yield idiosyncratic forms of organising time. Alluvium takes these two approaches and
expands them beyond their initial reach: Irregular patterns moving along parallel timelines within one
unifying grid.

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Tracklist CD - Mix CD:

01. Acustica (Part 1)
02. Acustica (Part 2)
03. Acustica (Part 3)
04. Acustica (Part 4)
05. Acustica (Part 5)
06. Acustica (Part 6)
07. Acustica (Part 7)
08. Acustica (Part 8)
09. Acustica (Part 9)
10. Acustica (Part 10)
11. Acustica (Part 11)
12. Acustica (Part 12)
13. Acustica (Part 13)
14. Acustica (Part 14)
15. Acustica (Part 15)
16. Acustica (Part 16)
17. Acustica (Part 17)
18. Acustica (Part 18)
19. Acustica (Part 19)
20. Acustica (Part 20)
21. Acustica (Part 21)
22. Acustica (Part 22)
23. Acustica (Part 23)
24. Acustica (Part 14)


Info:
Acustica: For this acoustic sources-only mix, Stefan Goldmann cut up a vast library of recorded
interpretations of 20th century avant-garde compositions. Layered segments of individual instrumental
and chamber performances form emergent orchestral opulence – just to spill over into actual
orchestral segments. Goldmann has tackled acoustic archives before with his edit of multiple
recordings of Igor Stravinsky's 'Le Sacre du Printemps'. However, this mix traverses the disparities
and convergences of seven decades of score-based music with impressively results. A meta-level
polystylistic work that explores vast potentials of integration, interaction and interference. An antidote
to the prevailing practice of sounding compositions in scattered, sterile isolation. Here, opposing
concepts of music are channeled into one continuous flow, with a coherent DJ performance as the
vehicle.

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Track list CD:
1. Stay, 2. Of Silence, 3. Memoir, 4. Solemn, 5. Don't Go Away So Easily, 6. Temporary, 7. Show Me,
8. Everyday, 9. Afterdance, 10. Home, 11. Taking My Breath, 12. I'll Hold You

Info:
Less is more – the motto applies to Luxembourg's most intriguing newcomer Arthur Clees, whose
approach is minimalist, rich, hypnotic. Clees is a young prodigy drummer / percussionist / vocalist with
a multitude of performances and sessions under his belt. The 21-year-old musician manages to inspire
very different people with his tracks. No Wonder: There's both depth and a tremendous upward pull at
the same time.
In his debut album, "Stay, Temporary Home" influences from techno to electronica to the avant-garde
are paired with a distinctive feeling for melodies and a signature treatment of percussion. Soul and
R&B songs often appear as sonically distant yet emotionally close mirages. In addition, slightly altered
vocals, hearty yet reductionist beats and a detuned piano reminiscent of your favourite aunt's Sunday
cookies come in – a mixture that an incredible number of people can agree on at the moment.


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Track list CD: 1. Jagged, 2. Chalk, 3. Overlaps, 4. Freeze, 5. Serpentines, 6. Isotopes, 7. Brash, 8.
Pending, 9. Absence, 10. Diffraction, 11. Particular Interest, 12. Speculation

Info:
Insight Piano: Within just a few years Tom Schneider moved the scope of the sampler as an
instrument into entirely unexpected zones of expression. On keyboards with pioneering cut-up pop
band KUF he developed a key-triggered vocal style that features no singers on stage. With trio Loom
& Thread he devised a new wave of digital improv where the sampler amplified the piano and
engaged the acoustic musicians in some sort of multidimensional musical chess.
'Isotopes' is Schneider's first solo album and witnesses him being an astonishingly sensitive and
imaginative pianist. The album's material was developed and recorded in an intimate session at Bauer
Studios of Ludwigsburg – a site laden with the history of some of the most significant recordings of
contemporary jazz. Yet things don't stop at bringing just another piano solo effort.
Schneider's approaches to the instrument, which range from tender hesitance to eruptive, clustered
attacks, merely set the starting point. These utterances are sampled and mirrored back, ultimately
rendering a unified performance which combines the depth of intricately executed composition with the
urgent immediacy of free improvisation.
Over the past decade we have witnessed a resurgence of apparently opposed trends: repetitive,
minimalistic sensitivity and dashing, complex virtuosity. The linear thinking that defines these
approaches as polar opposites turns out to be entirely useless when facing 'Isotopes.' Both, the
uninhibited speed of granular clouds of tones and the dense texture of multiple layered phrases fired
off all at once, require a complete reconceptualisation of the meaning of complexity in music. Yet
Schneider offers less of a tongue in cheek critique of the pretense usually inherent in virtuosic display
– instead, the playing field is being thoroughly leveled: Now, and really for the first time, a singular
tone potentially carries exactly as much weight as the peaks of physiological sophistication.
This is not at all what the axe-wielding avant-gardes of the past were after. What we are witnessing
here is a thorough de-ideologisation of the instrument: Neither traditions need to be shattered nor
innovation kept at the gates. In a world of zero-sum thinking (‘if you get to eat I must go hungry’), here
we find an integrative approach that shows that we can indeed lift up without simultaneously pulling
down.

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Tracklist CD: 1. Mazoron, 2. Raphalut, 3. Calax, 4. Taminon, 5. Qanath, 6. Piron, 7. Margaleth, 8.Ignis, 9. Alboreus, 10. Dameth, 11. Belgalic

release info:
Death Ambient: Lucaslavia operates on the outer rings of metal, melting its constituent elements into
vicious torrents of fury. 'Furnace' resembles a field recording from the sixth circle of hell. Despite its
deceptively calm initial form, ancient hatreds seem to rage in violent currents just below the leaden
surface. Disembodied voices range from whispered malediction to screams of utmost anger, stretched
into purgatorial eternities. Gargantuan sonic fortification walls composed of drums, ripping sheets of
distorted guitar, hissing residue of steel and stone blasted apart build threatening levels of intensity.
The only deceptive respite comes from what appears to be the faint mechanical creaking emanating
from the inexorable and towering installations found in the engine rooms of boundless pain.

about Stefan Goldmann:
Lucaslavia was written and produced by Stefan Goldmann and mastered by Rashad Becker.
Stefan Goldmann has performed electronic music in 45 countries across six continents, with formats
ranging from DJ sets to a four-hour opera with ensemble and a room-spanning installation. He has
developed special formats for Berghain in Berlin, LACMA in Los Angeles and Kyoto's Honen-in
Temple and is currently artistic director of the Berlin Philharmonic's Strom Festival.

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Tracklist:
A. In Aggregate
B. Carob

about:
One of techno's most joyous experimentators delivers two intriguing uptempo tracks. Instead of hitting
hard and heavy 'In Aggregate' and 'Carob' float delicately, with explosive detail blooming freely and
high above what feels rather like a bass-ladden undercurrent than a persistent kick drum foundation.
Both tracks expand on Stefan Goldmann's extensive polyrhythmic research and integrate tonal and
metric functions within the same units of sound. Somewhat radically, the central sound of 'Carob' is all
in one: beat, bassline and single-note melody. By contrast, 'In Aggregate' unfolds lush layers of
exuberant percussion, countered by rounded drops of bass and an occasional vocal snippet
ricocheting off of claustrophobia-inducing walls of glass.
As future-forward as they are organic, these offerings come with appropriately idiosyncratic artwork by
Jorinde Voigt. Printed on inside-out heavy paper cover + a printed inner sleeve.

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Track list Vinyl:
A1. Patterns, A2. Seem To Take, A3. Ah Oh, B1. Oho Oho, B2. Pears, B3. Swim, C1. Aaa, C2.
Glucose, C3. Unless It Rains, D1. 0%, D2. 9, D3. Long Before

Info:
KUF create emotion-laden dialogues across layers of time and dimensions of sound. With three
albums the Berlin trio pioneered an astonishing inversion of the typical electronic band set up, by
pairing a plethora of disembodied, sampled voices with acoustic real-time interaction on bass, drums
and keys.
'Yield', their fourth album, presents a shift in focus. Less weight on the vocal core – lots of new
integrations of sampling, synthesis and band action in different constellations. This diversification of
sources pulls the conceptual stops out and yields a dazzling array of magical instrumentalism. Bold.
Catchy. Flourishing.
From 'Gold' to 'Universe', KUF solidified an irresistible marriage of android vocal cords and highly
energetic beats. Their third album 'Re:Re:Re' applied the concept to remix/cover version hybrids of
classics from Macro's stellar back catalog, tackling originals by the likes of rRoxymore, KiNK, Patrick
Cowley, Santiago Salazar and Stefan Goldmann. With proof that the concept could be applied with
supremely gratifying results to such diverse contexts, time was ripe to go back to the drawing board
and reimagine the perimeter.
Now 'Yield' breathes the freedom of playful reassembly of the main ingredients. A sampler's cut-up
capabilities triggered by frisky fingers. Persistent bass. Adamant drums. Rough soul, intertwined by
improvised outbursts and shaped with the aesthetics of raw MPC-based chunky techno. Twelve slices
of hyper-integrated realtime magic.

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Tracklist CD: 1. Island Grammar, 2. Copy & Praise, 3. Entropie, 4. O**ne*, 5. New&&&, 6. Thistles, 7.
Fureur et Capitel, 8. P#, 9. M(((, 10. Causal Ambiguity, 11. Structure et Repetition

info text:
Loom & Thread appear to present a take on this most classical of springboards of improvised music:
the piano trio. Indeed, Daniel Klein on drums and Tobias Fröhlich on double bass forge that highly
engaging, interlocking framework, set in complex juxtaposition to what emanates from the corner of
Tom Schneider on keys. This would be a superbly satisfying triangle of planar relational wonder on its
own. Imaginative re-adaptation of unexpected shifts, re-grouped into coherent streams of musical
thought. Superb clarity despite the pressurised density of form, the emergence of intricate order from
spontaneous play.
And yet this would be an utterly incomplete description. Because a dozen directions and dimensions
and interdependent layers open like trap doors all around, shattering any first impression of a familiar
context within just a few seconds of listening. What appears to be piano improvisation in the post-bop
tradition soon exhibits abrupt disruptions, impossible shifts, improbable repetitions, movements in
frequency and dynamics beyond the physical capabilities of a fixed-pitch instrument deemed so
familiar.
How so? Tom Schneider samples his own playing and continuously feeds it back into the ongoing
collective stream of the trio. Assigning starting points to the sampled phrases, these are then treated
as independent musical events just like the individual tones they contain: a second order of access is
created. Signifier and signified in the hands of the same musician, thus driving a two-pronged plane of
immanence.
This meta-improvisation is thrown at the other two players who now find themselves embroiled in
some kind of three dimensional chess game: fending off simulacra and responding to both,
idiosyncratic primary phrases of tones and a vibrant multitude of sampled variants. Reflexivity: the
piano/sampler continuum with its multi-layered access points to improvisational mapping is then
attacking and soothing and further teasing the appropriately angular rhythm section. A wondrous
dissolution of the divide between experiencing now and accessing memory.

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LP plus Free Digital Download included


Tracklist:
A1. Nayba
A2. Oyotung
A3. Lorino
A4. Yukagir
B1. Tiksi
B2. Ayon
B3. Valkumey

The Album:
Proprietary rhythm: Vector Rituals sees techno polymath Stefan Goldmann constructing polymetric rites of percussion. Synthesized from the ground up, timbral characteristics, metric properties, dynamic
expression and microrhythmic phrasing are shaped by the interactions of layered control voltage functions. The result is an assembly of abstract dances ranging from the intricate to the powerful.
Near-humanoid behaviour emerges from liquid patterns, laid out and brought to life by the freewheeling encounter of modular waveforms and snappy envelopes. Sounds evoke metallic textures
– ringing, scraping – and group into virtual shapes from tiny spikes to vast surfaces.
Some of the parametric relationships employed are as loose as to imply chance drifts. Others lock in with strict regularity as found in the 13 vs. 17 polymeter pattern of opening track 'Nayba'. By contrast,
in the strictly repetitive yet highly asymmetrical sequence of 'Yukagir' each metric step has its own uniquely irregular duration. The center piece of this collection is 'Ayon' with multiple autonomous and
highly agile timelines. Its constituent layers break away in radial fashion and fall back together at widely spaced points of congregation.
All compositions herein present powerful proof of the unlimited capacity of electronic music to yield new principles of organisation and to solidify their expression into clear-cut gestalt.

The Record:
Vector Rituals comes on 180g vinyl with artwork by highly acclaimed visual artist Jorinde Voigt, printed onto the inside-out cover sleeve and continued on the inner jacket.

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Format: 7”

Tracklist:
E. Singing Wire
F. Geared

About:
This is the fnal chapter in a series of three 7" records which see Stefan Goldmann probing the upper
temporal reaches of techno. Clocking in at 150 bpm, these tracks are bold and blazing signals for a
collective return to highly energised club experiences. 'Singing Wire' is playfully swinging and feels
surprisingly natural and decelerated for what it is – while taking you decisively and rapidly to its farend destination. 'Geared' is raw voltage with all the sparks fying. More bouncy than harsh, these
tracks show impressively how diferent tempos allow for their own variety of joyful expression.
Beautifully packaged, all three 7"es come in a thick matte-black outer sleeve with front side cut outs
and refective-lacquer details, with individual colour-coded inner sleeves. Comes with download card.

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GIACINTO SCELSI • STEFAN GOLDMANN • JEREMIAS SCHWARZER:
“SFERA”

Tracklist CD:
1. Instauratio, 2. Maknongan, 3. Cepstrum, 4.-6. Tre Pezzi (I-III), 7. Sfera, 8. Ave Maria,
9. Alleluja,10. Baïr, 11. Anaphora, 12. Mantram

Info Text:
Giacinto Scelsi (1905-1988) was an Italian composer and rather unusual pioneer of electronic music.
His works are neither based on traditional techniques nor do they resemble concepts of the 'new
music' avant-garde. He recorded improvisations on the ondiola (an early electronic instrument) to
magnetic tape, often in multiple layers. These recordings were then transcribed into scores by his
assistants – constituting the first attempt at sounding electronic music through acoustic instruments
and their players instead of loudspeakers.
SFERA is a dialogue between Jeremias Schwarzer's performances of some of Scelsi's most focused
and striking pieces for solo instruments and new electronic works by Stefan Goldmann. The two
groups of works exhibit polar opposition and unusual metaphorical proximity at the same time.
Goldmann's multi-faceted music exhibits shape-shifting capabilities as liquid as Scelsi's pieces for
ensembles or orchestra (such as Anahit or Uaxuctum). However, they make full use of the morphing
capabilities of contemporary synthesis, constructing multidimensional movements across a vast
parametric space.
Jeremias Schwarzer adapted most of Scelsi's works in this album for different kinds of recorder for the
first time. They form a baseline for Stefan Goldmann's overflowing electronics, which seem to grow out
of and fold back into it as if breathing. Thus a conceptual full circle is formed whose two tangents are
mirroring each other.

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Format: 7”

Tracklist:
C. Danke Dingo
D. Iron Hive

About:
This is the second instalment in a series of three 7" records which see Stefan Goldmann probing the
upper temporal reaches of techno. Clocking in at 150 bpm, these tracks are bold and blazing signals
for a collective return to highly energised club experiences. 'Danke Dingo' pierces through a
stroboscopic grid of chords – 'Iron Hive' is one assertive rhythmic manifestation of menacingly
metallic swarms. More bouncy than harsh, these tracks show impressively how different tempos allow
for their own variety of joyful expression.
Beautifully packaged, all three 7"es come in a thick matte-black outer sleeve with front side cut outs
and reflective-lacquer details, with individual colour-coded inner sleeves. A card with a download code
is included. Round three of the trilogy will be released in February 2022. Happy New Year!

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2024 Repress

Territories: World excl. UK

FORMAT 12" vinyl, generic sleeve, dl card

TRACKLIST
1. / A1 Cogitor 06:27
2. / A2 Sexual Tension 06:05
3. / B1 Fragment 04:17
4. / B2 Solar 05:11
5. / B3 Gargk 04:30
4. / DX Wallon (Digital Bonus) 05:49

Writing about techno is quite difficult without falling into cliché: there are only so many ways that you can say
something about a music whose core elements are forged on deliberate repetition; where real talent is attributed
to those who can find the perfect groove where nothing needs added or subtracted to hold the listener’s attention for upwards of five minutes.
Such tracks are the hallmark of Tresor’s catalogue, and this joy in repetition can be found in works from Detroit,
Berlin, Birmingham, Edinburgh, and more. And it is through this lens that Parisian artist, UFO95, focuses his
output, resulting in Backward Improvement, an EP that sits perfectly in the spectrum of techno found in the
Tresor chronology.
The title itself makes an abstract reference to the influence of the classics of the genre, inspiring him to take a
distinct less-is-more approach to production for this collection of stripped-down yet unrelenting techno chiselled
from the live set which has fixed UFO95 as one of the next holdfasts for the future of the scene.
Perhaps it is the fact the UFO95 only performs live that had led to such crisp and focussed studio productions.;
each of the tracks showcase the artist’s burgeoning talent for creating the essential foundations of techno;
perfect, looping, instinctual grooves that are counterbalanced by an apprehensive tension from off-key tones.
Backward Improvement marks the addition of a new name in the list of techno’s best producers and proves that
while the genre may now be in its 40th year there are yet sonic explorations to be made and variations that are
worth unearthing.

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2024 repress


The First Authorised, Official Re Edition of this Electronic, New Wave, Cold Wave, Pop, Synth, Post-Punk Classic, Personally Overseen by Stephan Eicher, Everything Original: Art, Tracklist, Cut on 45 rpm - Printed on 350 GSM Paperstock incl. Sticker!

WRWTFWW Records is very honored to announce the official reissue of Grauzone’s essential 1981 maxi single with timeless classic "Eisbär", proto-techno beast "FILM 2", and romantic synth ballad "Ich Lieb Sie", just in time for the 40th anniversary of the Swiss band’s formation. The three-track vinyl is sourced from the original reels, cut at 45rpm, and comes with its iconic artwork on a 350gsm sleeve.

Tracklisting:
A1. Eisbär
B1. FILM 2
B2. Ich Lieb Sie

Info:
WRWTFWW Records is very honored to announce the official reissue of Grauzone’s essential 1981 maxi single with timeless classic "Eisbär", proto-techno beast "FILM 2", and romantic synth ballad "Ich Lieb Sie", just in time for the 40th anniversary of the Swiss band’s formation. The three-track vinyl is sourced from the original reels, cut at 45rpm, and comes with its iconic artwork on a 350gsm sleeve.

Ich möchte ein Eisbär sein…Written by Martin Eicher after a nightmare in which he saw talking polar bears on the walls, and with music by the Grauzone crew consisting of Martin and his brother Stephan Eicher, Marco Repetto, Christian "GT" Trüssel, and Claudine Chirac (on saxophone), "Eisbär" is the most recognizable title from the band, a sublime mix of ingredients reflecting the transitional era it comes from - the raw energy of punk music still palpable, combined with the audacity of early electronics, the warm groove of a disco gem, beautifully fragile lyrics, and one of the best basslines ever. It became a mega hit, totally unplanned, but how could you resist such a track?

"FILM 2" is the ultimate b-side monster, a menacing all-instrumental pre-techno masterpiece, slowly building to a magnetizing frenzy. An instant underground favorite, it was famously heard played at both speeds depending on the scenes and DJs you were frequenting, 45rpm as it was first intended, and 33rpm for the cosmic experience (search Daniele Baldelli’s Cosmic C75 1982 mixtape online for a great example of this).

The maxi single ends with "Ich Lieb Sie", a synth-pop meets doo-wop ballad, a true love song oozing with innocence. Simple, stylish, and just right.

At the crossroads of post-punk, new wave, pop, and electronic experimentation, the Eisbär maxi offers three songs that are technically different but hold the same spirit, the perfect embodiment of Grauzone’s music - wild, unpredictable, and youthful, yet sophisticated, catchy, and ingenious. The magic recipe for the good stuff.

Stephan Eicher went on to be, arguably, the most successful Swiss musician ever, with an international career extending from pop chanson to experimental escapades and collaborations with Moondog, artists Sophie Calle and John Armleder, and author Martin Suter among many other luminaries. Marco Repetto flourished as a techno and ambient producer, releasing multiple projects including releases on Aphex Twin’s Rephlex label.

Grauzone and WRWTFWW will continue to collaborate on the band’s 40th anniversary reissue campaign, with numerous projects planned for the year, including a vast selection of music, visuals, and literature never available before.


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Format 12” (Vinyl Only)

Tracklist:

A1) Yo Yo Disco
B1) Yo Yo Disco (Extended)

Short info:

Text

ALARM. Wolfi & Josh take you to the Disco. ALARM




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Format: Vinyl 12” (Limited 180 gr. Blue Vinyl - Special Cut Out Sleeve - Printed Inner sleeve)

Track list:

A1 Crackazat - Alfa
A2 Andy Hart - Epsilon Girls
A3 Makèz - Different Planets
B1 Kassian - 8th Movement
B2 Nachtbraker - Hamdi

Release Info:

The Dam Swindle curated compilation Heist Classics Vol. 02 delivers even more of the label’s biggest hits in a beautiful limited-edition package.

It’s safe to say that in it’s 10 years of existence, Heist Recordings has given us plenty of amazing music and has cemented itself as one of the key labels in today’s house scene. The first 3 compilations of this year have had an amazing response with radio and club tastemakers (re)discovering some of the best music that has come out on Heist. With support from Paul Woolford, Luke Slater, Antal, James Zabiela, Nightmares on Wax, a 10/10 in Faze Mag and various radio plays on BBC R1 with Pete Tong, Annie Mac and more, it’s safe to say that everyone has been loving these releases. Now, Dam Swindle conclude their 10-year anniversary releases with Classics vol. 2: a limited-edition collection with hits from Crackazat, Andy Hart, Kassian, Makèz and Nachtbraker.

The release kicks off with ‘Alfa’: Crackazat’s biggest hit to date (and that’s saying something, coming from a producer that has delivered jam upon jam in his career). It’s a signature Crackazat song with an off-kilter live key loop, shuffling percussion and pumping low end.
Andy Hart’s ‘Epsilon Girls’ was originally released in 2014 and has helped cement the artist and label’s position in the house music landscape. A vintage Barbara St. Clair loop gives the track a lovely human touch, which is countered by layers upon layers of glimmering electronics.

Different Planets is the track that really kickstarted the career of the talented duo Makèz. Released in 2019, the track has everything we’ve come to love from their recognizable sound: lively drums, catchy hooks and warm & jazzy chords. UK duo Kassian are represented on this package with their track ‘8th Movement’. Their sound has progressed towards techno in recent years which has given them support from artists across the board such as Ben UFO, Special Request and many more. Their Heist classic ‘8th Movement’ - still housey in its core - already has hints of their newfound style in its sound design and rolling energy.

We end the record with what might be Nachtbraker’s biggest track of his career: ‘Hamdi’. You’ll find him currently at work with artists such as Shanti Celeste where he recently released his Capichone EP, but the sound he developed in the early part of his career had Heist written all over it. ‘Hamdi’ is a proper anthem, with African drums, an ecstatic vocal sample and a killer groove.

The vinyl release of Heist Classics Vol. 02 is printed on colored 180grams heavyweight vinyl and is limited to 1000 records with a special design by our Art Director Bas Koopmans (Wellness.)

Enjoy the music and play it loud!

Lars & Maarten

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Delfonic & Kapote are finally back with the 7th release of their "Illegal Jazz" Series. Four Disco-Jazz Tunes reworked for the dancefloor…

A1 Groove Head Rejam
A2 Power Journey Rejam
B1 Imparable Rejam
B2 I Like Music Rejam


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Repress

Special Remarks:

Tracklist 2x12":

A1 Jaas Func Haus
A2 The Body Move (Album Version)
B1 Brasiliko
B2 The Nose (Album Version)
C1 Salvation (Album Version)
C2 Fuck Music (Album Version)
D1 Fusion 79
D2 Get Down Brother (Album Version)
D3 L.O.V.E. (Album Version)

Release Info:
Toy Tonics brings back the Kapote album. 10 dancefloor tracks originally released 2019 on the „What it is“ album. Now reworked, re edited and with 2 new tracks.

House music, but with a heavy jazz-funk, brasil, lofi - influence. A mood that reminds early Moodymann, Kerri Chandler or 1990ies Paris stuff. Loft Disco and Indie House.
When this album came out originally 3 years ago it caught the attention of many great DJs. DJ Harvey was playing „Jaas Func Haus“ a lot at Pike in Ibiza and Gerd Janson, Motor City Drum Ensemble, Kenny Dope and Blessed Madonna were filmed playing other tracks from the album.

Kapote doesn’t release much music as he is mainly involved in the Toy Tonics label development, creative direction and is also in many productions of other artists that release on Toy Tonics. Originally a piano and art student, he later discovered DJing, nightlife, electronic music and by now is doing what he does with Toy Tonics with a couple of friends and like-minded producers.

Kapote’s real name is Mathias Modica and if you google this you will find out he has been doing music before Toy Tonics under the name of Munk. Doing another label called Gomma Records. Where he and some friends already created a little universe based on electronic music, street art, DIY culture, shirt design, underground exhibitions. Mathias aka Kapote aka Munk has produced and released records with artists like Peaches, James Muprhy and Nancy Whang of LCD Soundsystem, The Rammellzee and WhoMadeWho. This is the past. The future will be new Kapote stuff currently in the making with Cody Currie and Sam Ruffillo. Meanwhile check out WHAT IT IS – 2nd VERSION.



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Tracklist 12":

A1) Danza Organica (Musumeci Remix) (5:33)
A2) Perfetta Cosi (Gome Remix) (4:45)

B1) Es Buena (Extended Mix) (5:44)
B2) Perfetta Cosi (Extended Mix) (4:58)

Release Info:
It’s Italian time! Sam Ruffillo is back. Sicilian producer doing smooth Balearic disco with Italian vocals. The direction is clear: Sam Ruffillo's music brings us back into the Italian riviera and the hippy days of Ibiza in the late 1970ies. Even his way of production is similar to how the early days disco producers in Italia used to work: No samples needed. Instead a few guest musicians come to jam over Sam's beats in his Italian studio space. Guitar, bass, percussions. Sam later makes the production and added keyboard solos and put together the vibes into what is this new EP.

The girl voice comes from NINFA. It’s the classic studio story: Ninfa is a singer and DJ and friend of Sam. She was hanging at the studio while Sam was finishing these tracks. She stated to sing along... the words came up spontaneously… so they decided to record her and finally decided to keep them. The vibe was too good. Why talk English if u can do it better: in Italian! :)

This is second for Toy Tonics after his Sport House EP from last year. Sam also appeared on the solo record of Joel Holmes on Toy Tonics. Together with Kapote Modica he co-produced and made the beats on that record. Now Sam is back with this pure Italian EP. Inclusive remixes by new German artists Gome and Italian Musemeci - known to many from his fabulous Italo-trance releases on Diynamic records.




















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Tracklist 12":

A1) Higher
A2) Bump Into You
B1) Work 2 It
B2) The Rock

Release Info:

Toy Tonics presents a new producer team: Sound Support consists of two enthusiastic synth and house aficionados that everybody knows (in the scene): Lars Dales from Dam Swindle and Lorenz Rhode (keyboard wizard and producer genius).
Together they are doing extremely groovy, jazz infected dance music that connects the good things of 1990ies house with the indie disco of the 2000s.

Lars Dales & Lorenz Rhode connected through their mutual love for all things musically unusual. After years of having worked together on several projects, such as the Dam Swindle live show, they finally got around to making music together. The result has been nothing less than an avalanche of tracks, mostly made in 4 day coffee fueled studio sessions in Lorenz’ studio in Cologne. All reminding the big funk house tracks of the early 2000s. Yes a lot of Daft Punk is here, A lot of NYC disco influences. Larry Levan and Laurent Garnier, DJ Harvey and Masters at Work.. all influences on this record.

After their first two Sound Support EP’s on Prins Thomas’ label, Internasjonal, they’ve ventured out to House of Disco and other labels with a wide array of immensely enjoyable synth heavy tracks. 2023 sees these two venture more into house territory with releases on AUS music and Toy Tonics, two labels that have cemented themselves deeply into the underground scene. In any case, it’s clear that Sound Support have found its signature sound and there is much more of that to look forward to. Toy Tonics is the key label for the wildstyle house scene and Sound Support fit perfectly. Welcome!























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2023 repress


Tracklist:
A1. It’ll all be over 03:55min
A2. Satyricon 04:58min
B It’ll all be over (DJ Koze remix) 05:01min

Release Info:
A heaven-made match is now complete with Gerry Read’s debut EP for Pampa Records. The British producer’s distinctively twisted, lo-fi sound, combined with Pampa’s deep-vein instinct for quality quirks, ushers in a new phase for two of house music’s most celebrated names.
The opening bars of “It’ll All Be Over” are immediately evocative, hinting at the patchwork style to come. Twangy banjo strings and a foot-stomp beat seem to herald a folksy arrangement, but that isn’t to be. Soft floaty pads rise up to form an unlikely partnership, softening sharp edges and adding sophisticated melodic expression. Once a compressed vocal sample is introduced, the entire structure reveals itself and begins to spin and loop in the style of iconic French house productions. Propelled further along by the endearing drama of flooded bass drum kicks, falsetto voices and xylophone pings, “It’ll All Be Over” is immediately memorable and expertly architectured.
Read’s second cut, “Satyricon,” is woven in the spirit of micro-house. Sharp waveform cuts, timely pauses, loops of noodling keys and hints of percussion shakers combine for a low-slung psychedelic effect. With the sunniness of a vintage folk-pop sample and sultry snatches of Spanish dialogue added atop a deep mid-tempo shuffle, Read secures his place alongside the Bradocks and Leclairs who came before him.
On the flipside, Pampa’s figurehead takes an expert turn at the controls of “It’ll All Be Over (DJ Koze remix).” The original’s jagged edges are buffed out, and shined up into a gleaming disco house anthem. With its artfully timed strumming breakdowns and cowbell accents, it is an appetising teaser of the forthcoming summer.





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Territories: World excl. UK

2025 Repress

FORMAT: 12" 180g vinyl, generic sleeve, dl card

TRACKLIST
1. / A1 M-87 04:02
2. / A2 M-90 04:32
3. / B1 M-99 06:08
4. / B2 M-00 04:45


Juan Mendez aka Silent Servant is a figure in techno history that needs little introduction. As a member of the Sandwell District collective and the label’s art director he collaborated on works that were responsible for a global focal shift in the genre as their label adapted and challenged the paradigm of minimal techno, taking influence from other sources such as dub, post-punk, and even classical minimalism.

But Mendez’s relationship with music goes back much further than these seminal releases. With In Memoriam, Silent Servant’s latest release on Tresor Records, Mendez writes a deeply personal memoir of a 30-plus year career spent exploring and absorbing the shadowy side of music; a carefully crafted elegy to people, places, and times past and the lasting effect they have on the present.

Across the four tracks, Mendez pays tribute to the earliest Detroit techno and electro, the Belgian EBM movement and the wave music that followed, the monumental dub techno sound from Berlin, and the harder, abrasive sound of the UK at the turn of the last millennium; exploring and referencing the genres that informed his later work. Each track name gives a hint to the timeframe he is revisiting and re-contextualising as the E.P. repurposes the styles that exerted an influence on him.

This E.P. represents a pure distillation of Mendez’s memories whilst also cementing his place in the current and future sound of 21st century techno; aware of where we came from but focused on where we are heading.

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2023 Repress


Tracklist:
A. Jelly Legs 6:59
B1 El Point 7:41
B2 Chicama 7:46


Release Info:
A crackling fire is burning under the bridge.
BANG! the brow hits against the steel drum, Hey!
I only bowed down! BOING! The elbow jabs into the door of an abandoned ragtop, To lash the laces! CRACK! the knee strikes the rusty trash can, Of my brand new black sneakers!

RASP! YAWP! SCREEECH! The gang rabbles on the dancefloor. Metallic sounds blaze out of the speakers. A rustle, a chatter, a rattle, a flapper. Cops troop in gazing in wonder while converting into liquid coppers. A warm kicking bass sets in. A voice from down below. Though, right next to your ear. The floor is demanding a sacrifice.
Jog your head, swing your hip. Wave your hands, and shake a leg: Tighten up, and then let go, for this Dance aboulic!

Producer and DJ Dave DK with his new »Chicama« EP on Pampa. Three kicking, bumping tracks for all day and all of the night. Euphoric percussive floorkillers with a hint towards an alluring gloominess.






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House

Tracklist:
A.1 Detective Chimp
A.2 King Conga
B.1 Orangotango
B.2 Grape Ape

Short Info:

Stockholm label Studio Barnhus welcomes Ari Bald and CJ Scott, two local house heads whose “Dance Monkey Dance” EP builds on the brilliancies heard on their previous releases on some of Stockholm's most prominent underground labels: Karlovak, Velvet Pony, Västkransen Records, Bigges District Limited...

From the infinitely rising disco euphoria of opener “Detective Chimp”, to the bittersweet-but-bouncy finale of “Grape Ape”, this record is chock-full of partystarting moments set to turn worldwide dancefloors upside down. No fuss, no frills – just pure, guilt-free and locally sourced house music goodness to enhance your dance. You know you need it!

12'' vinyl and digital release designed by Eliot Axelsson arrives May 12 on Studio Barnhus.

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