Tracklist 12":

A1. Eminence
A2. Dancefloor Keeper
A3. Warrant for Arrest
B1. Kunye feat. Kususa
B2. MSC


Short Info:

Shimza, one of South-Africa’s shining talents, makes his return to Cadenza with ‘Eminence’, a burning compound of profound percussions and late-night rapturing synths. This Gauteng-born artist is one of the most celebrated African electronic musicians and has garnered the reputation of the “Effect Master” and “Vinyl Assassin” for his technical prowess and intricate mixing abilities.
The vibrating drums and persistent arpeggios of ‘Eminence’ make for a captivating peak-time anthem, offering the nostalgic essence of Detroit’s late-nineties splendour. As the EP journeys to ‘Dancefloor Keeper’, the slick trance-inspired stabs and permeating bassline expose its ominous nature as it swells to a seismic drop. On the B-side, Shimza expresses his creative flare with ‘Kunye’; a hypnotic cut that blends the spirit of futuristic synthwave with the soul of African tribalism.
‘Warrant For Arrest’ is a charged number, driven by a snappy compressed kick drum and chiming sequences. As its percussive forces fall away to the second break, a monstrous siren and obscure vocal cuts take focus, guiding it to its summit. The penultimate offering ‘MSC’, is a euphoric gem that flows with expressive phrases and evolving synth pads. The EP’s digital-only bonus track ‘Mirrors’ shuffles effortlessly with a funk-tinged riff, maintaining a high voltage pace, closing the EP in an emphatic manner.
Shimza has been on a mission to make 2019 his biggest year to date. Launching his One Man Show concept in Soweto in 2009 to help raise funds for underprivileged children, the project has now matured into an annual event that draws in over 25,000 people each year, hosting some of the country’s most in-demand artists, such as AKA, Black Coffee and Black Motion. The show has seen
international editions in France, Spain and Portugal and has helped position Shimza as one of South Africa’s greatest musical exports.
Catching the attention of Rumor’s boss Guy Gerber, Shimza celebrated his Ibiza debut at Destino’s Closing Party alongside Luciano in 2016, returning to the iconic White Isle venue a further four times. In recent years, he delivered explosive performances at RESISTANCE Cape Town and Boiler Room Johannesburg, and has since extended his pioneering sound to global audiences across New York, London, Paris, Berlin, Amsterdam and Manchester. Receiving high praise for his first release on Cadenza Records in 2017 with ‘Ascendent’, Shimza’s emphatic return to the imprint with ‘Eminence’ only reinforces his stellar production abilities, as he readies fans for a summer of new music and inspiring performances.
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Tracklisting:

A1. Bou Gei
A2. Ruth
B1. Sensu Dub
B2. U-Fonk #04.01

Info:

Argentinian veteran Jorge Savoretti has been djing for more than 20 years, and his first release for
Esperanza Records traces back to 2005. In this time laps he has produced 2 albums, 20 EPs and a
great number of remixes, on labels such as Raum Musik, Visionquest and Ilian Tape. His debut on
Cadenza is a crisp breeze of graceful music for dancing.
Side A starts point-blank with “Bou Gei” bouncing shuffle, driving bass line, lively cymbals,
sparkling band-passed chords, summing-up Jorge´s true dedication to nightclubs and nightlife. With no
reprieve, “Ruth” suspicious pads lurk behind a funky swinging rhythm spruced up by a continuous
surfacing of snare rolls and giggly stabs.
On the B side, “Sensu Dub” explores without hesitation darker textures and resonances,
leaving no concessions to leave the dancefloor. Finally “U-Fonk #04.01” dives into sweating hotblooded
late-time hours, with am hypnotising deep-toned coil, soaked of greasy riffs and gloomy
fumes. More

Tracklist 12":
A. Audion's Backward Melody Remix
B. Moffa X Troxler LSOS LOVE/GOD Mix

Short info:
Originally released in 2014, Luciano's 'The Great Amael' is an enchanting and endearing trip; a lo-fi bubbling groove and dusted Hammond organs that hustle along whilst live percussion cuts through the oceanic atmospherics. Two years on, and Cadenza Music call upon a brace of remixers to provide fresh and unique interpretations of this hidden gem in Luciano's catalogue.

Having recently released his first album in over 10 years, Matthew Dear AKA Audion boldly steps up to the mantle and stamps his intelligent techno sound all over 'Amael' in the first of our remixes. Cutting a sprightly pace from the off, Audion melts stuttering sine waves and bulging tones over concrete beats, tweaking in the original organ riff and fathoms deep pads whilst adding additional vocal refrains as he playfully teases the arrangement before dropping a superb riff in his 'Backward Melody' Remix, which takes a most psychedelic and unexpected twist!

Two other musical heavyweights collaborate on the second of the remixes; Phil Moffa and Seth Troxler are no studio strangers, having released a joint project on the British Hypercolour label last year, and remixed for Tiga a few months back. Their LSOS LOVE/GOD Remix builds from ambient beginnings, save for a rhythm carved out of spongy electronics, a sturdy beat kicking in and setting the controls destination unknown, as the duo steer through breathy vocal cuts and propelling bass, stripping the remix back before leaping back into hyperspace with some adventurous and dubbed out vibes, before coming back down for landing with those unmistakable pads from Luciano's original.

A fitting remix package that brings together four of the electronic music scene's most dynamic talents, Luciano's music is given that extra special touch by respected and like minded individuals that will continue it's work on the more discerning dancefloors this Autumn.
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Tracklist 12":
A1. Venus (Sebastian Mullaert Remix Phaze One)
A2. Venus (Sebastian Mullaert Remix Phaze Two)
B. U Special feat. JAW (Brett Johnson Remix)

Short info:
Swiss DJ & producer, Mirko Loko, continued to indulge in his intergalactic persuasions on last year's long player "Comet Plan". Released on Cadenza, Mirko's second album was enthusiastically received and picked up many fans for its collection of blissfull and wide-eyed electronica and techno sounds. Featured guests on the album included dOP's vocalist, JAW, and Francesco Tristano.

12 months on, and "Comet Plan" gets revisited and remixed by two stellar names from the electronic dance community.

Sebastian Mullaert is well known for partnership with Marcus Henriksson as Minilogue, the Swedish duo responsible for killer albums & singles for the likes of Cocoon, Silver Planet and Wagon Repair. Mullaert plumps for a solo remix of "Venus" of epic proportions, split into two versions; "Phaze One" and "Phaze Two". An organic trip through the cosmos, Mullaert tweaks and teases over two seductively trippy versions, showing us a master class in minimal electronics.

Hailing from Dallas, Brett Johnson has become synonymous with masterful jackin house music via singles for Derrick Carter's Classic, DJ Sneak's Magnetic, Freerange and Visionquest. Brett tackles "U Special" featuring JAW, and turn in a very tasty Remix and Instrumental version. Soulful, spacey and groovy in equal doses, Brett delivers the goods in abundance on these mixes.

A tight remix package that bows respectfully to Mirko's original visions, and a timely reminder, to the uninitiated, to check out the album for further inspection.
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Tracklist 12":
A. Instinct (Original Mix) B. Impulse (Original Mix)
Short info:
Following a three year hiatus from Cadenza, the label is delighted to welcome back Felipe Valenzuela and Dani Casarano for a third release on the Luciano's imprint.
Both producers are respected individually for their prowess in the studio and as DJs, but as a combined force collaborate with magical effect in the studio. Together the pair run Melisma records and considers each other as musical soulmates. The pair's familiarity with dance floors across the world is reflected in these two tracks for Cadenza, continuing the labels rich musical history of electronic dance music fit for all purposes.
'Instinct' opens the release with an instant bubbling groove, supported by a groovy bass melody, crunching claps and shimmering rides, dancing around the tracks core rhythm. Subtle drum edits, reverberating snares and warm pads grab the listener's attention, whilst the tracks central rhythm maintains the pulse and lively feel of this exceptional production. A versatile slice of intricate house music that will find it's way into many sets this Summer.
'Impulse' sees the pair venture into more avant-garde territory; exploring themes of dissonance, syncopation and tension and release. Lo-fi electronics and discordant pianos notes create a unique pallet of sounds responding to each other. Offbeat string arrangements and shimmering synths evolve over the 14+ minutes track duration. Perfect headphone electronics with stacks of detail and fresh touches.
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Six years on from his debut album on Cadenza, Swiss DJ/producer Mirko Loko comes with the follow up to 2009's 'Seventynine' as he catapults us into the techno and electronica galaxy with 'Comet Plan'.

"Un voyage entre toute mes influences," Mirko Loko shares, breaking into his mother tongue to describe the essence of his sophomore longplayer that was conceived in Berlin and later birthed in his hometown of Lausanne after a two-year gestation period.

Literally translated as 'to travel between my influences', it's a fitting summation of an artist whose work has respectfully mined early inspiration from Detroit and Chicago that laid the foundations of the emotion-filled productions that we know of him from today.

In addition to this, Mirko sees his connection with Luciano's Cadenza Music, a relationship that's been in existence since dot one and saw the likes of Ricardo Villalobos, Melchoir, Pedro and Rahdoo make up one of the most innovative crews in dance music, as leaving an indelible imprint on his musical DNA to this day.

It's Mirko's strong sense of musical identity that is at the core of 'Comet Plan', a work that's equally informed by the artist's spiritual connection with the Motor City as his halcyon Cadenza roots.

And one thing's for sure; he knows how to captivate: take 'Venus' whose trickles of melody and syncopated drum rhythms increases in intensity with each bar towards an eerie crescendo. Then there's 'U Special' that builds the kind of subtle party vibes you could imagine Luciano dropping to create one of those moments to a heaving blissed out dancefloor.

'Kolor' - the album's early single (also remixed by Carl Craig as part of an excellent EP package) is sprinkled with a dusting of xylophones, chimes and other bells as the melody is driven forward for a heady trip across the electronic galaxy. A few tracks later 'Timeline' sees Mirko draft in pianist visionary and electronic composer Francesco Tristano for an absorbing piano house jam session with a difference before handing the collaborative baton to dOP vocalist JAW and taking us down a murky, slightly menacing house path with 'Danger'. For the finale, the melody-soaked futurism of 'Coelum Piuzis' pours, wave after wave out of the speakers … se termine le voyage.
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UPC: 827170579767 Release : 08/12/14
Tracklist 2X12": A. Gajapati B. The Demigod's Control C1. The Namuci's Mystery C2. White Noise For James D. Concierto de Aranjuez
https://soundcloud.com/cadenzamusic/sets/eduardo-de-la-calle-the/s-BYn59
Short info:
Returning to Cadenza Records after two previous singles ('The Motorglider' EP and 'Precursors' EP), Eduardo De La Calle drops 'The Methodical Machines EP' this December on Luciano's imprint. Across two pieces of vinyl, and five tracks, Eduardo flexes his unique sound design of minimal and soulful grooves. Heavily indebted to the classic sounds of the Detroit techno visionaries, Eduardo has built up a solid reputation through his Analog Solutions label, and also through his film production career (check the electronic music documentary 'Beatz' for some insight here). A staunch supporter of all things analogue, Eduardo manages to tease out some highly emotive and melancholic music from the machines. The sci-fi vibes of opening 'Gajapati' build gradually over the brooding and spongy production, whilst 'The Namuci's Mistery' is soaked with pitch bending synths and rasping acidic stabs. Eduardo brings into play his jazz influences on 'Concierto De Aranjuez', floating some freestyle keys and wandering waveforms over a body popping beat whilst the sparse beats of 'The Demigod's Control' are brought to life with the stuttering electronics and rising pads, as ever filled with heaps of emotion and soul. Quickly becoming a key player in Luciano's Cadenza stable, Eduardo continues to produce unique and inspiring electronic music, a quality that the label always strives for, and can be found in abundance on 'The Methodical Machines'.
Select DJ reactions
Matt Tolfrey (Leftroom) - Some great tracks here, very trippy
Osunlade (Yoruba) - Digging this vibe, very personal in sound and approach
Eric Cloutier (Bunker NYC) - Another insanely good release from Eduardo
Zak (DSV1) - Eduardo, always dope!
D'Julz (Ovum) - White Noise For James is beautiful
Ryan Crosson (Visionquest) - Love Eduardo's stuff, more goodness here
Mano Le Tough (Innervisions) - Eduardo ist he man, love everything he does
Huxley (Aus) - Been into Eduardo's music for a while, this EP is wicked
Andrew Grant (DC10) - Wow! Always 5/5 for Eduardo
Josh Wink (Ovum) - I dig White Noise For James, a cousin track for Pink Water
Ilario Alicante (Cocoon) - Super!
James What (Crosstown Rebels) - Love Eduardo De La Calle, great stuff once again
Matthew B (Bushwacka) - Weird & wonderful
Ben Westbeach (Breach) - Some really forward tunes here, lovely
Lawrence (DIAL) - Favourite producer, outstanding release!
Claudio Coccoluto - White Noise For James is the one for me, thanks

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UPC:827170145429 Release : 03.11.2014
Tracklist CD
1. Still Waiting 2. Dr. Moon 3. Cristal Clear 4. Dirty Minds 5. Astral 6. Copina II 7. Underwater Lies 8. Forever Loop 9. The Friend I've Lost 10. Hide No More 11. Beluga Dance

Aiming to go somewhat deeper and darker than his debut album, on "Some Kind Of Sign" Ernesto endevours to go beyond the obvious and easily cliched elements of an electronic LP, capturing the world within the spaces, using otherworldly modulars and field recordings to take the listener to the outer reaches of the album's very heart and soul.
"Some Kind Of Sign" is an album full of elasticated beats and liquid electronics, every track built around highly inventive drum programming and micro-samples. Album opener, "Still Waiting", sets the tone with bustling, yet understated, percussion, the soaring strings unfurling at the end of each phrase.
It's a long player filled with colour; "Cristal Clear' feels like a Middle Eastern travelogue, the track awash with an almost street scene like ambience, the purposeful percussion really transporting the listener to another space & time. "Astral" chugs along at almost a skanking pace, the shakers and drum fills keeping it a dancefloor piece whilst the modular synths bend and worm around the kicks.
On tracks like "Underwater Lies" the synths rain down onto a dubbed out & sultry female vocal, whilst the propelling electro beat and huge sub-bass carve out a most enjoyable aural (subaquatic) ride. Ferreyra really shows what he is capable of in the deep melancholy of "The Friend I've Lost", the saddest of pianos riffs grips your heart and gives it a good tight crush, douses you in reverb and pins you up against epic, taut strings…releasing you after its two short minutes to get back to the dance on "Hide No More".

The album closes on "Beluga Dance", a riotous and infectious space ride, and a fitting end to an album that most certainly finds Ferreyra stepping up another level with his highly accomplished and polished original dance music, designed not only for the feet but for the head as well, the true hallmarks of great electronic music.

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UPC:827170564060 Release : 03.11.2014
Tracklist 2LP A1. Dr. Moon A2. Cristal Clear B1. Dirty Minds B2. Astral C1. Forever Loop C2. Hide No More D. Beluga Dance
Info:
Aiming to go somewhat deeper and darker than his debut album, on "Some Kind Of Sign" Ernesto endevours to go beyond the obvious and easily cliched elements of an electronic LP, capturing the world within the spaces, using otherworldly modulars and field recordings to take the listener to the outer reaches of the album's very heart and soul.
"Some Kind Of Sign" is an album full of elasticated beats and liquid electronics, every track built around highly inventive drum programming and micro-samples. Album opener, "Still Waiting", sets the tone with bustling, yet understated, percussion, the soaring strings unfurling at the end of each phrase.
It's a long player filled with colour; "Cristal Clear' feels like a Middle Eastern travelogue, the track awash with an almost street scene like ambience, the purposeful percussion really transporting the listener to another space & time. "Astral" chugs along at almost a skanking pace, the shakers and drum fills keeping it a dancefloor piece whilst the modular synths bend and worm around the kicks.
On tracks like "Underwater Lies" the synths rain down onto a dubbed out & sultry female vocal, whilst the propelling electro beat and huge sub-bass carve out a most enjoyable aural (subaquatic) ride. Ferreyra really shows what he is capable of in the deep melancholy of "The Friend I've Lost", the saddest of pianos riffs grips your heart and gives it a good tight crush, douses you in reverb and pins you up against epic, taut strings…releasing you after its two short minutes to get back to the dance on "Hide No More".

The album closes on "Beluga Dance", a riotous and infectious space ride, and a fitting end to an album that most certainly finds Ferreyra stepping up another level with his highly accomplished and polished original dance music, designed not only for the feet but for the head as well, the true hallmarks of great electronic music.

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UPC: 827170509467 Release : 23.09.2013
Tracklist 12": A. Daybreak (Mirko Loko M?n version) B. Daybreak (Mirko Loko Taiy? version)
Long serving Cadenza recording artist, Mirko Loko, has always worn his Detroit musical influences on his sleeve, counting pioneer Carl Craig as his mentor, and having worked with the likes of Derrick May and Stacey Pullen in the studio. And on Daybreak, Mirko fully indulges in the one genre that seems never to get tarnished, the mechanical and industrial beats working off the deep and soulful strings and melancholic pads, a true hallmark of the classic sounds of the Motor City. Originally released on Outpost Recordings, the label run by Scottish techno don, Funk D'Void, the masterful Original Mix from Takuya Yamashita gets three new versions from Mirko. Takuya, a techno artist from Kobe, Japan has already sparkled on labels like Biotech and Espai, and in his Original version we have a driving and energetic piece of classic techno. Mirko remains ever faithful to the melody and sounds of the original, providing a full beats re-rub on the 'M?n version', and an alternate 'Taiy? version' that's more urgent, with its broken beat. The digital only 'Kanj? no' version dispenses of a backbeat entirely, creating a remix that forever teases with it's percussive elements, building up great anticipation throughout. As Cadenza continues to celebrate its 10th year as a label, it takes delight in backing great music from its artists and associates, and this release is another curveball in the label's eclectic catalogue.
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UPC 827170480766 Rel date 28.01.2013
tracklist:A1. Your Lips, Underwater (Original Mix) B1. Hunter feat. Astrid (Original Mix) B2. Hunter feat. Astrid (Julien Bracht Darkmix)
Cadenza Records kick starts it's 10th year in the game with 'Hunter', a release that balances the warm and cinematic productions of Martin Patino's original mixes, with the dark and powerful remix by young upstart, Julien Bracht. With previous releases and remixes on labels such as Freerange, Suara, Trapez and Rotary Cocktail, Patino is carving out an expansive and eclectic deep house sound, and his talents are perfectly captured on this release. 'Your Lips, Underwater' is a track that's been bubbling under for many months, a percussive and melodic groove wrapped together with heavy analogue bass and teasing jazzy keys. Title track 'Hunter', featuring the vocals of Astrid Hald, is a powerful, brooding production. The house groove develops perfectly, with the melancholic vocal back dropped by the dramatic and haunting pianos and strings, evoking shades of Massive Attack production values. 'Hunter' is a stunning and very original piece. Cadenza's newest signing, Julien Bracht, supplies a remix of 'Hunter', offering up an all-together different shade to the original. Aptly titled the 'Darkmix', Bracht gets busy deconstructing and reconstructing, taking just mangled snippets of the vocal with swathes of rumbling, aquatic bass washing over the reverb soaked, drum heavy routine. Deadly!

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Chile's Felipe Venegas first entered the Cadenza foray in 2009 when he co-produced the magnificent 'Llovizna EP' with Francisco Allendes. It was a magical house EP, full of warm summery grooves like its lead track 'Llovizna', which combined stunning sultry female vocals with a gorgeous deep melody. Venegas followed that up with the solo effort 'I Ching' last September, which featured two very different tracks - one driving mainroom house cut, and one deep and dirty afterparty sleaze bomb, so he is clearly a producer capable of many different shades of house. Now Venegas returns to Cadenza with perhaps his most daring EP yet. The title of the EP and its lead track, 'Ritmical Baco', comes from the name of a band from Santiago, which Venegas was once a part of. As he explains, "I played guitar and keyboards for the band, and our sound was influenced by jazz and funk artists like Miles Davis, Joe Sawinul, Chick Corea, Return to Forever, and Los Jaivas, who were one of our most important influences." You can feel that kind of raw improvisational band way on 'Ritmical Baco'. The groove is free flowing, and its beats flood the spectrum like a river that has burst its banks. Whilst the arrangement seems unbridled and wild at times, it never turns to mud, because Venegas is a skilled conductor at the helm of it all. The different rhythmical elements that he adds to the mix ebb into pleasing waves of harmony and peace. 'Ritmical Baco' is a colourful jungle of club sounds, but it also one that is carefully nurtured. The EP's second track, 'Orumila' is a traditional chant from South America, dressed up a modern structure that some might identify as the Cadenza house style. "The chant is an ode to the black divinity, the god of renovation, hidden forces and change," explains Venegas. The track is rather spooky in places, but it carries enough musical charm and warmth to convince you of its ultimately higher purpose. Transcendental, this could be, with the right, ahem, stimuli. Final track 'Sueño Lucido' is a remarkable track that Venegas made last year in Berlin's winter, and says it is a cut influenced by Philippe Glass minimalism and Eddie Palmieri's music. It's a very brave attempt at electronic music fusion, and Venegas has melded Glass' expansive ideas and reductionist theory to Palmieri's warm salsa and Latin jazz melodies. It certainly sounds like an East-meets-West piece of work, or a very modern world music jam. In the end, 'Sueño Lucido' sounds futuristic, like the music of a brighter, more peaceful world, yet it also sounds like it has been secretly aged, in a bottle, beneath an imposing city and a controlled society. With so much contrast, it's almost impossible to define.
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A1 - Harmonious Funk A2 - Trippin' Over You B1 - The Great Suspenders B2 - Undermine C1 - Last Moon D1 - Send A Pigeon D2 - Boastful

Maayan Nidam's second album New Moon has many different levels. Stylistically, the Berlin-based producer has created an 11 track collection of alternative electronic rhythms that combines everything from blissful broken beat, to surrealist electro, jazzinfluenced moments, acidic house, exploratory techno, and piano interludes. Psychologically though, there is much more going on. Clearly unfazed by constructing a bigger, more audacious picture, Nidam links her many different artist desires on this album through cyclical electronic expressionism. The album is expansive. Disparate influences and eras are joined together through a subtle interplay of contrast and tone. The beats, repetition and some occasional fruity whistle stops make the journey absorbing and multi-dimensional. Beginning with a downtempo treat called On My Street, New Moon immediately captivates you with a dreamy, sun-kissed afternoon feel. Worming its way through soft electro on Harmonious Funk (whose lyrics hint at a possible universal truth) it arrives at the quirky synthesizer jam, Trippin' Over You, which plays out like a strange ode to chemical love. The following
rolling bass-driven house of The Great Suspenders is a loose groovy bumper and perfect for those ever-so-serious after parties. Send A Pigeon then follows, and plays out like an electronic symphony of doom, with its squealing feedback and fluttery distortion evolving subtly, forever on the move. The album then takes you down another unexpected corridor with Undermine, which sees a fun, childlike melody slowly beat a warbled techno loop into submission. Sunday Sunday is its warm piano accompaniment. Disco loops, filters, delays, and a gorgeous vocal then clash on the short and sweet Lies In Love. And then, once again, we find Nidam playing with juxtaposition. She throws the impending unease of Last Moon, its warped vocals and twisted syncopated beats, together with the beautiful drifting electronica of Boastful. The track is hard to pin down - it manages to sound both like vintage pop and futurist electronica at the same time. Finally, Never Forever ends the album on a high note with perhaps a hint or an amalgamation of the album's base ideals: freedom, truth, and the cyclical nature of change. Ultimately, New Moon's wide variety of sounds can be directly traced back to Nidam's disjointed discography. As Miss Fitz, her sleazy hypnotic dance music has touched great European labels like Freak'n'Chic, Contexterrior and Circus Company, and she has also released reductionist woozy house as Laverne Radix on Oslo, its sub-label Love Letters From Oslo and Raum…Musik. It is under her birth name Maayan Nidam however, that she has arguably experimented the most, with releases on such diverse labels as Perlon, Powershovel Audio (who released Nidam's debut album Night Long in 2009), and Wolf + Lamb. More

To Frivolous, dance music is about living life to the full, about acting out all possible human emotions in the eccentric, sweaty arena of a club. Daniel Gardner´s tracks engage the crowds with grooves bursting of life and startling, eerie atmospheres. Exotic samples arranged into improbable yet emotionally charged atmospheres create a very special Frivolous experience: The sounds of a primeval forest encounters a dignified, aristocratic piano, a beautiful Russian Waltz gets twisted into a overturning house groove. Romance turning into contempt, one´s home becoming alien and strange, “Metereology” deals with the experience of emotional extremes. Pulling us away from our pedestrian lives, the subtle compositions with Daniel´s charming voice take us to remote places and distant times. The unconscious realization that you've heard a certain melody or sound before gives the album the qualities of an instant classic. Employing multilayered soundscapes “Metereology” ties in with Cadenza´s earlier releases. Focusing strongly on the rhythmic sides of things, his new album is denser than its predecessors. The grooves have an enhanced inertia. Short melodic sequences create sustainable loops superseding elaborate forms on top. Frivolous merges his seminal genre bending qualities and Jazzy intricacy into grooves that push the house sound as far into the experimental realm as physically possible. The sonic arrangements are fused into one immersive idea that engages the dancers completely. With these sonic landscapes one is never quite sure which objects exist in their immediate environment and which objects are super-imposed. The sounds become a reality of their own, they create imaginary spaces. In an experience as exciting as uncanny everyone on the dancefloor realizes that the other, sonically projected environment is more real than anything else.
In spring 2009, Daniel underwent his Berlin backlash which is an inevitable experience for visitors of the city as well as for longtime inhabitants. He struggled with the unfriendliness of Berlin´s inhabitants and the city´s lack of imagination and romanticism. The harsh neighborhood he lived in and a complicated relationship made Daniel´s life highly dissatisfying. But then an experience that is just an escape for most became reality for him: He had the chance to move to an island in the Pacific Ocean. Daniel packed everything of his studio up into three suitcases and moved to this wonderful place where a very special breed of people dwells: Roasting their own coffee, building their own houses, distilling their own spirits, producing their own soap
these humans live a sophisticated lifestyle in complete connection with nature. Daniel moved to a small cabin on top of a mountain. The frogs croaking him good night was the only sound he would hear. Being exposed to the raw forces of a primeval forest and the sea his creative juices began to flow. He started working on the album, the superiority of the nature and the ocean becoming its subjects. After four month of productivity and regained contentment Daniel´s girl friend was supposed to join him on the island for a final month. But on the day before her expected arrival, she sent an email splitting up with him. From that moment on the residual time on the island became intense: did a two-and-a-half-year-long relationship just resolve into nothingness? Or should he jump on an airplane in a final attempt at gallantry?
The title “Metereology” is related to this emotional rollercoaster: The crazy schizophrenic weather patterns we are currently experiencing makes it the ideal metaphor for the emotional turmoil that Daniel lived through. The album represents a journey with different emotional chapters: disappointment, depression, relief, excitement and exuberance for life. The eleven tracks span the spectrum of existential extremes and all the subtleties of emotional dissonance that exist between them. There is a mystical, idealistic side to “Metereology” relating to the crazy old ancient forests and the amazing landscape on this island. Yet there is the isolated, angry, frightened tone to it as well. The songs explore the whole range of experience from devoted love to detached solitude, from social commitment to radical autarchy. These contradictions separate the music from obliging escapism in order to
express a significant human experience.
Tracklisting:
A - Red Tide
B - Back into the Deep
C - Cinemascopique
D - Ostalgia More

A1 Mil y una Noches A2 Los Domingos vuelo a Casa B1 Cenote Trip B2 Lost C1 Letting go C2 El Paraiso de las Tortugas D1 I Won't Forget D2 Back Pain
In this age of the Easy Jet set, 24/7 wireless connections, and the resulting barrage of tweets, blogs, and increasingly asinine answers to the question “what's on your mind?”, the notion of home can be a difficult one to pin down for many of us. Indeed, if we were to except the prevalent marketing speak, the very idea of going home for the holidays would seem out dated. Why go to the trouble when you can give the family a little face time on iChat or Skype whether you're in Boston or Bangladesh? We are all citizens of the world now, or so were told. But how does one digitize the smell of a home cooked meal or the light of a sunset seen so many times as to blur the memory into a single nostalgic quickening of the heart? For Ernesto Ferreyra, the answers to these questions and many more are to be found in the infinite wisdom of turtles. A company looking for a poster boy for their new globalista product launch could do a lot worse than Ernesto. Born in Cordoba, Argentina, he has since called such diverse locations as Mexico City, Montreal, Berlin, and Ibiza home at one time or another over the past decade. His performance schedule in the last few years alone both as a DJ, solo live act, and as half of the celebrated duo Chic Miniature with Guillaume Coutu-Dumont has been hectic enough to make mere mortals give up in disgust just trying to determine their current time zone. Things aren't likely to slow down anytime soon with Luciano increasingly wanting Ernesto at his side to open or close his own epic sets. Yet despite all these comings and goings, he has somehow, over the last year, managed to craft an album that sound less the soundtrack to some lonely wandering vagabundo's tale, then that of a wise and well-travelled man reflecting on the diverse experiences and places that have shaped him, anchored by an ever present ass moving low end pulse. For Ernesto, El paraíso de las tortugas is a paradise of the mind you see, and what good would paradise be without a little dancing to forget your troubles here and there? From the swirling aerial disco maneuvers of the album's opening and closing (Mil y una noches, El comienzo de todo lo demás), heart wrenching laments to chronic pain and a father lost along with 30 000 others to the Argentinian dictatorship (Back Pain, Acequia), shuffling deep pocket house (Letting go, I wont forget), the peak time bass acrobatics at the album's core (Cenote Trip, Perdido), through the psychedelic jazz meanderings of the title track, Ernesto proves himself to be a master craftsman of both moods and grooves as diverse as the experiences he has lived. If this is what the turtles are partying to in paradise, we'd all do well to find a shell. More

Emptiness isn't a quality you normally associate with electronic dance music. From the crowd on the associate with electronic dance music. From the crowd on the dancefloor to the weight of the bass, it's all about fullness, volume, density.Reboot turns that opposition on its head with his debut album, Shunyata. The title comes from Buddhism and translates loosely as "emptiness." But not just in the negative sense: it speaks also to impermanence, a state of constant flux.It's a great description of Reboot's music, where everything is in constant and kaleidoscopic motion. And it's also a fitting metaphor for the life of the Frankfurt-based musician, aka Frank Heinrich. In just three years, since his first EP's under the Reboot moniker appeared on Cadenza and Below, he's become one of electronic music's hottest properties, releasing not only a slew of singles for labels like Cocoon, Love Letters from Oslo, Ricardo Villalobos' Sei Es Drum and underground cult fave Motivbank, but also a pair of high-profile mix CDs for Cocoon and Cécille. His live sets and DJ sessions have taken him around the world and then some, several times, playing everywhere from mammoth festival stages to the thatched-roof booth at Ibiza's Ushuaïa. (One look at Reboot's booking schedule, and you can forget about any concept of "emptiness.") "Shunyata describes my way of life pretty well," affirms Heinrich, who just last year left his full-time day job to focus on music. Shunyata might be seen as a response to all that flux. Heinrich took his time with the record, working on musical ideas that extend beyond the limits of a given track. From the sound designs to the grooves to the way the tracks evolve, they all interconnect; intricate polyrhythms wind through the music like ivy, binding the album together.
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Luciano must be feeling generous. Fresh off his premiere release for Cadenza's new digital label Cadenza Lab, featuring the long, languid "La Nuve" and "Amael Drama," our Swiss-Chilean hero returns with a major double-pack for Cadenza proper, featuring four more remarkable tracks that capture his many versatile talents, from driving house tools to psychedelic anthems to bright, melodic, electronica. Making the release even more significant is the fact that this is Luciano's first release under his Lucien-N-Luciano alias since 2004. There's no doubt that lucky Lucien is on a roll. (Put together, the two EPs add up to 79 minutes music-that's more than most albums!)"Somewhere We've Got" is a wide-eyed frolic set to a loping beat and snares that crumple like paper bags. Rhodes and organ walk through the bluesy changes, and the high end moves like a flock of butterflies across numerous, flashing leads. Almost eight minutes long it's the perfect breather, perfect for twisting up the vibe of any set.Despite its unassuming title, "House Tool's House" is an anthem by any other name, with rich chords straddling fifths on the scale, and disembodied female vocals taking the lead; modal glockenspiel melodies and intricately swung Latin percussion lend sparkle and motion. The whoe thing is one long, sustained climax, a plateau of endless grace. At nearly 17 minutes long, "Behinf My Soul" is the longest track here, and it's also the darkest. Darkly EQ'd hand percussion sets the scene with claustrophobic, rain-forest vibes; thundering tympani and wave upon wave of distant bells only reinforce the feeling that the sky is splitting wide open. The first half sucks you in; the second wraps you up in haunted organ solo. By the end, as though flushed of toxins, you feel reborn.Finally, "Melodrama" marks a rare return to Luciano's very earliest sound, with the kind of skittering micro-rhythms and jewel-toned melodies familiar from his Live at Weetamix CD. The title doesn't lie, as Luciano shows himself unafraid to go after big emotion with sweeping string pads and mutating chords. It's one of those special tracks, the kind you keep handy for just the right moment. You don't know when that will be, but you know it's coming. Soon.
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It's always a special event when Cadenza releases an artist album, given their relative rarity. In fact, not counting copious doublepacks, the Cadenza Contemporary 01 mix CD, and Ricardo Villalobos' counterintuitively titled Achso EP, there has only been one so far: Los Updates' First If You Please. Making things even more special, Mirko Loko's Seventynine is both his debut solo album and his first appearance on Cadenza, all adding up to a triply celebratory moment. Not that Mirko is a newcomer: as part of Lazy Fat People, he lapped up accolades for releases on Border Community, Wagon Repair and Carl Craig's Planet E, among others. And no one can forget last year's Family EP, a collaborative effort by Mirko and Luciano, released on Loco Dice and Martin Buttrich's Desolat. Now, with Seventynine, Mirko takes us even deeper into his musical imagination, introducing listeners to a side of him they may not have heard before. At its heart, the album celebrates the communal ideal of dance music with spirited, percussive tracks offering a clear distillation of what could only be described as the Cadenza sound. But Mirko also diverges from the dance floor, ducking into shadowy corners in search of more private emotions. Rather than scattering energy, that tension between moods helps bind the album into a potent, coherent whole. "Sidonia" opens, immediately announcing that this won't be merely business as usual. With its groaning sub-bass and flickering percussive flashes, the track echoes the dubby, drifting melancholy of classic Warp records-always, in truth, a key influence for Cadenza. Bells and voices lend an atmosphere of shimmering energy that's carried over into "Around the Angel," which sails jubilantly forward, propelled by intricate polyrhythms and uplifting female vocals.
"Love Harmonic" returns its attention to a classic, melodic sound inspired equally by Detroit and Sheffield, as lean drum-machine patterns entwine with loping congas, and lush strings color everything delicate shades of yellow and rose. "On Fire" marks a 180-degree turn, pursuing a scorched-earth policy as blasts of white noise fire off slow, rhythmic bursts. Sirens and electronic squeals only add to the tension, culminating in nearly nine minutes of techno intensity. After that, "Astral Vacuum" offers necessary respite via a short, beatless passage of strings and abstract sound, before Mirko takes us once again into the breach with "Bluebook," a lean, focused groove battered by metallic drums and shot through with voices and bleeps ripped from radio transmissions. (So this, you may think, is how it feels to ride a satellite.) "Shadow" is deep and melancholic, with a booming 808 kick underpinning ragged, gleaming chords and frayed strings; its hard, mineral edge provides the perfect setup for the cottony flux of "Takhtok." The children's chant will doubtless draw comparisons to Ricardo Villalobos' "Enfants," but here childlike innocence turns ambiguous, even sinister, as the repetitions rise over a primal beat; scraps of Bulgarian folk song give the track a weirdly timeless quality, strange and familiar all at once. With "Le Monologue d'Orfeu," Mirko returns to one of his endlessly unspooling, headlong grooves. Spinning like a water wheel, limpid tones wash gently over everything, and a long spoken passage in hushed Portuguese falls over the music like a dream's veil. It's just one of the album's many examples of Mirko's talent for simplicity, for stripping back to reveal the essence of a particular feeling. "Altrove" is another cinematic interlude, two minutes of molten strings and electronic birdcall you wish could go on forever. But there's one more dance to be had: "You Know Where," which rises from a wooden, skippy rhythm into a string-laden celebration of techno at its most melodic. Having twice performed at DEMF, "You Know Where" might well refer to the Motor City; in any case, its deep, sung/grunted bassline serves as the warm, pulsing heart for this massive, man/machine mover. It's a glorious finish to an album that never takes its eyes off the horizon, sending it up, over and beyond. Seventynine is ultimately all about the journey, as it travels between Lausanne, Detroit and outlying points on electronic music's map. Mirko's travelogue bridges the gap between a classic Motor City influence and Cadenza's own nomadic aesthetic, firing up dance floors and fueling the imagination.
Tracklisting do12"
A1 Love Harmonic
B1 On Fire
C1 Around The Angel
D1 Takhtok
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