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Before One is an EP preceding Ben Klock's debut album One, which will be released at the end of Feburary on Ostgut Ton. This EP features four tracks, of which only one, “Init Two”, will be included on the album. These tracks already give a great impression of where One is heading: Classic Techno with heart and soul.
On an equal footing with eachother, all tracks display an even more complex quality than we already came to expect from Ben. Here, Ben matches his original, bass-heavy Berghain sound with almost tender Acid sequences “Subzero”, the shuffling monster groove of “Napoleon Hill”, a melody in “Before One” that seeps into brains with no fail and an hommage to Berlin/Detroit inspired ambient on “Init Two”. This is a perfect record; for us, for self-respecting Techno DJs, for everyone.
The Lower Upside Down (Surgeon Remix)Another Wedged Chicken (Martyn's 131 Remix)
Released: 23 March 2009
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Two years after Who Needs Action|Violet Nick Höppner returns to Ostgut Ton with a new solo release. Similar to his label debut the MyMy member pays tribute to his residencies both at Panorama Bar and Berghain, meaning there's the rather housey “Makeover” and the deep Techno of “Foundling”, two tracks which are universally useful.
Here, his reference to the sound of Berghain is not as distinct as in the tracks by his colleagues Marcel Dettmann and Ben Klock, although they share a certain and generous handling of space and the use of basic grooves and arrangements. Nick's tracks bear a strong connection to what he likes to play as a DJ, they are warm, smooth and match many purposes.
“Makeover” dives deep into a mood oscillating between peaktime and afterhour sensibilities, contemporary House and timeless voodoo making it one of Höppner's strongest efforts to date. “Foundling” ups the ante by deploying huge, dubby sound characteristics which work any Techno floor to a lasting effect.
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Following the huge success of Marcel Dettmann, Ostgut Ton brings you Berghain 03 by Len Faki at the end of April 2009. Before the CD hits the shop, the label releases two 12"es featuring the exclusive material of Len's mix, which, of course, is too good to keep it from DJs all over. In Detail, Berghain 03|Part I (O-TON 22) contains tracks by Tony Lionni and Radio Slave, Berghain 03|Part II (O-TON 23) comes with tracks by Edit-Select and Len Faki himself.
Without a doubt, Tony Lionni is one of last year's shooting stars. His tracks on Mule Electronic, Versatile and Aesthetic Audio have been among 2008's freshest productions which effortlessly tapped into Detroit Techno, House and his very own euphoric touch. Although Lionni has taken up producing not too long ago, he already is a seasoned pro as a DJ as he regularly plays clubs and bars in Manchester since a few years. In all its ardour (let's not forget the generous use of that piano riff!) “Found A Place” is reminiscent of Mark Kinchen's best efforts or even early Basement Jaxx.
Radio Slave provides the aptly titled “Neverending……” on B. Wether he refers to his at times endlessly long tracks with this, or wether he refers to certain party tactics eludes our knowledge. The tracks itself, though, most certainly is one steam roller of a Dub Techno track with Radio Slave written all over it: a dry and precise kick, a smacking bassline and slow, but consistently modulating stabs complete “Neverending……” to be the perfect soundtrack to anyone's excessive extra time.
Edit-Select is both label and music project of Scottish DJ Tony Scott, who might also be known for his releases as Percy X on Soma since the mid 90s. Two years ago, he spectacularly managed to reinvent himself as Edit-Select. Nearly all of his new minimal Techno tracks have been played and charted by respected DJs such as Luciano, Ben Klock and Richie Hawtin. His exclusive contribution “Bauer” to Berghain 03 features a stoic rhythm, sparse, but very effective sci-fi tricks and a stretched, standing pad turning the track into a hypnotic monster tool for the wee hours.
Of course Len Faki would not miss the chance to contribute an exclusive track to his own mix CD. “BX 3” is one of those typical Faki productions, which, after a tension building prelude, draws on an abundance of resources: alarm sirens, white noise, a massive kick drum. One can literally feel Faki's awe-inspiring, baroque joy of exploiting what’s possible.
The next Ostgut Ton is coming from Luke Slater. The Brit released his first record exactly 20 years ago and has been working as an ambitious artist under numerous pseudonyms producing a broad range of electronic music ever since. Be it tough Detroit Techno, obscure Electronica, Ambient, or conceptual Electro – Slater has definitely left his stamp on the last two decades as a DJ and a producer. After contributing a gorgeous Ambient piece as The 7th Plain to our ballet CD Shut Up And Dance! Updated, Luke now is returning to Ostgut Ton under his legendary techno pseudonym as Planetary Assault Systems. The Temporary Suspension EP is a taster for his forthcoming, eponymously titled album on Ostgut Ton. “Planetary has always been about going forward, music and mind states working together, pushing movements and alpha waves on the dancefloor,” says Slater. With this two-tracker he shows how Techno with a healthy dose of toughness should be done in 2009. Both “Temporary Suspension” and “Mark Me” are uncompromising DJ tools for the peaktime transporting the P.A.S. spirit into the present.
Deuce – Marcel Dettmann and René Pawlowitz aka Shed could not have found a name more apt for their first collaborative effort ever. There's the tennis reference – two players meeting at the same eye level in a healthy competition. There's the gambling reference – taking risks and having fun. And there's the mytholgical reference – the devil. Both Shed and Dettmann have been swapping musical ideas amicably for a while now. A lot of times, they play each other their newest production first. Due to Marcel's status as an in demand DJ he often gets the chance to test both his own and Shed's unreleased material's sound and impact on dancefloors worldwide. Sometimes Shed is there as well, on the dancefloor, ears pricked making notes in his mind on how to imrpove their latest work. It was just a logical step for them to bundle their individual efforts and to come up with a mutual project. Both being colleagues and partners during the day at the Hard Wax record store and during the night at the Berghain club has been the perfect starting point for their collaboration.
“Twerp Wiz” is unadulterated peaktime techno: Its nagging sequence modulates insistently, the metalic percussion rustles and swishes incessantly, lastingly etching the track into the listener's mind. Here, Marcel's party knowledge and Shed's sonic expertise form a truly fruitful coalition. “Guttering” subsequently takes the tempo down a notch working with an unusual, but fresh sounding, rhythmic emphasis of the first beat of a bar. It is a massive track dunking dancers into deep concentration. Finally, a slamming reminiscence to Chicago named “Cue Ed” completes this EP perfectly.
After Ben Klock's debut album One has been welcomed warmly by Techno land earlier this year, we now proudly present a breath taking remix package expanding Ben's spectrum to include even more nuances. The cast of Robert Hood, Regis & Function and Kenny Larkin truly leaves nothing to be desired.
Detroit master of Minimal Techno Rob Hood injects his very own sound into “Goodly Sin”: Here, a huge kick drum cheers for ultra accurate, crystal clear synth stabs and fragments of Elif Biçer voice, turning the song oriented original into a massive Techno stomper with swiveling hips – first class a-side material.
On the flip, Regis & Function (aka Sandwell District) prove once again that they are the first choice when it comes to rhythmically challenging Techno. Their rework of “Subzero”, originally released on Klock's Before One EP, clearly shows the duo is one of the links between Techno and Dubstep at the moment. Their take on surgical, crisp and cold latenight Techno also stands in the tradition of the old Chain Reaction and Downwards school.
Last but not least, Kenny Larkin has gone for the other Klock track featuring Elif Biçer's voice, “OK”. Compared to the original, his remix goes into the thick of things. The bulky beat and dramtically longing strings are caressed by sweet piano patterns making for the quiet centre of this outstanding track. As far as we’re concerned, Mr. Larkin delivers once again.
Released: 24 August 2009
Since 2007 Marcel Fengler has released one record per year, making Twisted Bleach his third 12" ever only – quality over quantity. With such an economic release policy it also always remains exciting which direction the Berghain resident took this time.
Accordingly, “Twisted Bleach” is quite a surprise as Fengler delivers a fresh and convincing Dance-Mania update, infusing his hommage to a dirty Chicago sound with a House swing and dry humour. This is insanely funky and it fills the gap between Traxmen and Sound Stream effortlessly.
“Gridlock” on the flip has been a staple in Marcel's set for a while now and has already earned the label ‘Berghain-approved’. This heavily atmospheric track pretends a certain immovability, yet it moves alomst unnoticed, building dense tension from behind.
Like “Yaki” on Marcel's last Ostgut Ton release, “Chi Twine” sees him experimenting with broken rhythms once again. Here, he pays tribute to his HipHop past by fusing Electro beats with Techno qualities making for an atmospheric scifi track for the wee hours.
Before Tama Sumo presents her „Panorama Bar 02“ mix (Ostgutcd10) to the world on oct 19th, we will release a two part vinyl set including four exclusive tracks which feature on the cd. Tama Sumos proves to have the right touch by chosing here recent favourite producers: All tracks are spot on House killers. True originals, all worthy of an a-side.
Tama Sumo about Basic Soul UnitStuart’s productions are are a staple in my sets for a while now. I discovered him through his work for Versatile. His tracks are energetic, yet down to earth, deep, hypnotic and funky. I like his catchy basslines and hooks combined with rattling grooves and chirping acid sounds
Basic Soul Unit über „Things Pass“Actually, „Things Pass“ was really just trying to keep it simple and concentrate on the groove. A Fingers-esque bassline, a simple beat progressing and building into the pads and synths. Somewhere between Chicago and Detroit deep house via Toronto.
Tama Sumo über LerosaI have disocvered Lerosa two or three years ago. He is one of the new Deephouse heroes for me. I love his records for their warmth and emotinality on the hand hand, and their raw and dirty appeal on the other. He occasionally uses jazz elemnts, broken beats and loops which I’m really into.
Lerosa about „Plesso“Plesso is a new track I wrote after Kerstin contacted me. I wanted to give her something new and unreleased as I liked her EP with Prosumer very much and generally I'm also a fan of Ostgut Ton's recent output. The track is a fusion of my love for the eerie atmospheres created by artists like Theo Parrish, Omar-S and older producers like Stasis who had an incredible knack for deep tunes and groovy breakbeats.
Tama Sumo about Levon VincentI’ve come across Levon Vincent onlyrecently, but his music has impressed me lastingly. I just had to get in touch to ask him for a piece. I really like his rough approach to music; the deep sub bass, his dubby touch and his epic, hypnotic arrangements. It all sounds very edgy and dirty. I love it!
Levon Vincent about „Late Night Jam“„Late Night Jam“ is a track where I just can’t help but laugh a little when playing it for a bigger room, it has enough ups and downs that it is almost comical. I have seen how the people react however, and it is good; so when Tama Sumo contacted me and said she wanted a special track, I knew this would be the one.
Tama Sumo about SteffiI like Steffi’s sensitivity for music. I’ve been really kenn to include on of her tracks to my cd. Since she moved to Berlin we are sharing a lot on both private and musical levels. We promote the „5€ Admission“ night together with Prosumer and we both love similar, deep vibes. Our friendship and adorable music have lead to her contribution.
Steffi über „24 Hours“„24 Hours“ is a track that I especially made for Tama. In the end there was very little time and i asked her to move on without my input for this mix but she would not take no for an answer! I literally had 24 hours to finish a song. I am thankfull that she did push me to stay awake and motivate me to finish this piece. We share the love for deep and melodic music.
U&I feat. Elif BiçerThe Jam
One year after their Serenity 12“ including a Soundstream remix it is high time for some new material by Cologne-Berlin based duo Prosumer & Murat Tepeli.
“U&I” is the result of an extensive jam at Prosumer's studio. This is a trend resistent deephouse song It brimming with their unmistakable signature sound. It has sounds of dancing horses, an adorable old school and a bassline Lary Heard would be proud of. Once again, Prosumer shares vocal duties with Elif Biçer both telling touching stories about night clubbing and human relations.
“The Jam” on the flip side is – quite apparently – exactly that: a jam. It is based on the recordings for “U&I” but also caters for a more upbeat dancefloor. It is the more Techno oriented, instrumental side of the same coin and Prosumer & Murat Tepeli's most energetic effort to date.
Released: 23 November 2009
Following the Planetary Assault Systems long player (Temporary Suspension, OSTGUTCD09), the most recent ouput from veteran electronic music figurehead Luke Slater's most prominent alias, we continue the exploration into the outer limits with remixes by Al Tourettes & Appleblim, and Deuce.
Perveyors of the UK Dubstep / Techno hybrid, Bristol's Al Tourettes and Appleblim contort and re-form “X Speaks To X” into a devious, hot-footed celebration of dark and intense broken-beat electronics. Tight, tensile and direct, the pair intwine suggestions of melody, thick synth patterns and shuddering sub-sonic bass lines around the heavy, morphing groove.
Deuce (or Berghain residents Shed and Marcel Dettmann for those in the know) turn in their relentless yet smoothly rounded version of “Hold It” by building upon the same foundations that shaped their bass-heavy, purist debut on the label. Droning and phasing to the point of hypnosis, this reduced and pumping tool sums up the energy that drives both Shed and Dettmann during their appearances at Berghain. Honouring the original for its insight and clout, Deuce let the bass energy flow in abundace as their instictive arrangement unfolds.
