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Well known for her electrifying Panorama Bar sessions, representing her love for all things deep, sensual and musical about house music Steffi's talent has blossomed out of her relationship with the musically entwined cities of Amsterdam and Berlin.
Her touching, classic-jack inspired productions continue to gracefully bubble towards the international surface with this 12". Her debut cut for the label, “24 Hours”, featured on Tama Sumo's Panorama Bar 02 compilation set out her production intentions quite eloquently. “Kill Me” continues the warm, traveling night-time vibes and opens Steffi's signature sound up into a full vocal-led celebration of house.
Besides Steffi's killer chicago inspired throb and moody melodic structure, “Kill Me” features the sultry vocal talents of close friend Elif Biçer, also recording partner of label mates Prosumer and Murat Tepeli. Elif's tender and instinctive story of a love lost and found flows honestly and creatively throughout the vocal version. An instrumental dub is also included for the creative use of the DJ.
Steffi also shows off her skills with the “Crushed Soul” mix, allowing her intuitive, sentimental yet dancefloor tuned chord progressions to flow stronger. Bassline led and focused on clean, precisely measured beats and synth lines to tell the story, this alternative version goes even further to suggest what treats are yet to come from this talented producer.
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In foresight of Marcel Dettmann's debut full-length album, Ostgut Ton presents a remix package of four original tracks, courtesy of Norman Nodge and Wincent Kunth.
During the creative process of recording his forthcoming longplayer, Dettmann's close friends Nodge and Kunth began re-working elements of tracks taken from deep in the acclaimed producer's vaults. The originals may never surface and yet we present four very personal and individual interpretations of the sound of Marcel Dettman, and in turn the sound of Berghain.
From the very first bar of Norman Nodge's remix of “Shift” the tone is set clear and strong. An urgent, pumping charge of bubbling, fizzing and gyrating electricity is let loose, letting the arrangement simply flow and carry you off into the haze. More raw energy powers through with his remix of “Unrest”. Taking a recognisably metallic Dettmann-forged synth pattern, Nodge's frenetic yet respectfully with-held structure guides us sure and steady through the smokescreen.
Wincent Kunth also turns in two powerful versions that lead the listener into more abstract zones, while remaining true to the floor. His take on “Vertigo” introduces thick acidic bass tones and wandering, mesmeric chord layers above a crisp and insistent percussion program. Straight forward, however deceivingly complex, Kunth's heavy drum array and tight mixing skills are also shown off on his remix of “Wound Up”. Snaking and hissing through a dense pool of dub, it takes little more than a raw hi-hat to lift this ode to Marcel's sound design to new heights.
Released: 22 March 2010
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Resident Nick Höppner returns with his third release for Ostgut Ton. After last years' “Makeover” come three new detailed excursions, plus a remix by Lee Jones.
Almost entirely constructed from field recordings taken within the walls of Berghain, “Brush Me Down” is a raw and textural jam, uncontrived and jostling with energy. Jittery, shuffling and shaking, Höppner's love for funky, off-kilter percussion shines through as he pieces together a mysterious audio puzzle of found atmospherics; club nights and concerts otherwise committed only to memory yet now preserved and recycled. It also is a hint at what is to be expected from Ostgut Ton's 5 years anniversary compilation this autumn.
As a close confident and collaborator with Nick as MyMy, Lee Jones also knows a thing or two about the broken beats that unite the pair's musical worlds. Jones' remix of “Brush Me Down” pieces the source sounds together wonderfully in an intricate fragmented Jazz interpretation that brings together club, Dub and 2Step influences to spine tingling effect.
The heavy bass drawl of “Umbrella Pitch” unfolds like a sinister drama, yet promises resolution as a warm and exultant theme slowly emerges and unwinds itself. Spreading positive messages through another beautiful and complex arrangement that allows an intimate view into Höppner's rich musical abilities.
Finally we ascend through dense clouds of drifting, dubbed chords and filtered textures, “Dancing On The Head Of A Pin” confirms the heights Höppner is able to reach in search of the perfect balance. This super-concentrated symphony of countless parts bubbles and floats along in its own celestial realm. Honest, emotional and deeply harmonious, its a stunning conclusion to the EP.
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Berghain / Panorama Bar resident André Galluzzi kick started Ostugt Ton almost five years ago with his pivotal Berghain 01 mix CD. Now he finally returns home alongside close colleague Dana Ruh, with this two track foray into cutting-edge hypnotic territories. Alongside her forthcoming collaborations with Galluzzi, and a new label forged by André, Dana Ruh runs the respected Broquade platform where her elegant inclinations in sound can be explored further.
Traversing the dizzy boundaries between DJ tool and extended moment of elation, both tracks come across like a snapshot in time; a special moment preserved. “Freya” is an understated cut whose attitude lies within the strength of insistent drum patterns, the long rolling arrangement and no-nonsense resolutions. Fluttering vocal utterances and dadaist crescendos characterise this refined ode to percussion.
“Mauersleger” weaves a more urgent path, trailing off deeper into the forest in search of clandestine thrills. Tripping delay effects and a gentle dose of softly voiced manipulations lock the listener into this undulating slice of next wave minimalism.
This is the third release from two of the Panorama Bar's ever charismatic residents, Tama Sumo & Prosumer. After one EP already for the label, and a split on Diamonds & Pearls, this next trip sees the pair journey further into classic analogue territories, and includes a wild, rough and direct remix from Detroit's The Oliverwho Factory.
“Rarified” flows like a classic Chicago cut, reduced, metallic and full of warm bass pressure… while the pretty and proudly left-field melody evokes memories of early Warp electronica, and images of drifting spring-time evenings in Berlin.
Detroit outfit The Oliverwho Factory, whose passionately run Madd Chaise Inc. platform has met much international applause and whose track “Together” recently featured on Tama Sumo's Panorama Bar mix, hand in a wonderful free-form remix that effortlessly flows through Jazz to powerful House and raw, room filling electronics. Charmingly arranged, not overdone, and from the heart like life itself.
“Flow Figure” is another very special machine-jam from the pair. Cut from long flowing passages of analogue sessions, Tama Sumo and Prosumer ride the mix in this freaky, Funk-infected concoction of electricity, human energy and sheer love for those booty shakin' grooves!
This is the first of three samplers (parts I&II on vinyl, part III digital only), showcasing some of the exclusive new tracks chosen for Ben Klock's forthcoming Berghain 04 mix compliation.
Martyn is the Dutch Producer and DJ who since 2005 has graced the electronic world with a heavy and steady stream of genre-defining original productions and remixes. The success of his hybrid Dubstep-Techno sound really came into fruition with last year's long-player Great Lengths on his own 3024 label, and following his hyperactive remix of Shed's “Another Wedged Chicken”, we present “Miniluv”. Stepping around a more solid 4/4 framework, yet typically dubbed, warm elements breeze by as an ethereal theme emerges amongst the lovingly placed dusty grooves.
Berlin based Roman Lindau is one of the central figures behind the illusive and industrious Fachwerk label, whose unique, metallic Dub Techno has enjoyed rather a lot of attention over the last few years. His contribution, in the shape of “Keppra” is a solid, experimentally-edged slice of atmospheric club music. Balancing on the precipice between harmony and dischord, its an imensly powerful recording, conjuring images of industrial works, iron foundries and sunken warehouses at its heart. Purist Techno for 2010 and beyond.
This is the second of three samplers (parts I&II on vinyl, part III digital only), showcasing some of the exclusive new tracks chosen for Ben Klock's forthcoming Berghain 04 mix compliation. Part II features a couple of vertebrae from the backbone of UK Techno today; James Ruskin and Kevin Gorman.
James Ruskin is a name synonymous with pacy, harder-edged club weapons and abstracted electronic loop-tools. As a co-founder of the infamous, still-strong Blueprint label, and a producer since 1997, Ruskin has collected a body of work that has truly defined his sound within the scene today. His contribution, in the form of “Graphic” is a fizzing, reduced exercise in tension, subtraction and hypnosis. Rousing stabs arrive, depart, and then return while a thunderous bottom end holds us all in suspense.
As a leading force in the blurry boundaries between Techno and broken beat bass-music, Kevin Gorman's Mikrowave label has quickly established itself as a beacon of quality in today's busy underground. His deeply rooted “7am Stepper” unfolds across nearly 9 minutes, drawing the listener deeper into a sub-sonic jungle of slowly modulating synthetic textures, sparkling free-form synth licks and dark, early 90s-reminiscent rushes.
Jonas Kopp | Michigan Lake
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Two more special new tracks are available here, taken from Ben Klock's Berghain 04 mix.
Firstly we step into the heavy Dub stream of Brendon Moeller's “Dirt”, which has been specially edited by Klock. The original version was released last year on the NYC based producer's Steadfast label, under his Echologist alias. “Dirt” is a frenetic journey into the deep night, perfectly crafted for larger systems where the bass really comes into its own. Tooly, hypnotic and sturdy, without losing its sentimental value.
Jonas Kopp has been fine tuning his own brand of fuller Techno over the last few years, rewarding us with releases on Spectral Sound, Curle or CMYK. His “Michigan Lake” is a typically tight example of the sound Ben Klock's DJ sets have become well known for. Pumping, revolving and evolving with subtlety and brawn.
After only a handful of productions and remixes under the illusive moniker, British Techno pioneer Luke Slater's L.B. Dub Corp arrives on Ostgut Ton in its latest electronic mutation.
“Take It Down (In Dub)” is a fiery, extended experiment in Dub textures. With powerfully reduced club energy at its core, Slater takes his time in heating up his tight and dynamic onset of sound, slowly unleashing a heavy twisted funnel of steam and metal that resounds throughout.
Seemingly lighter in its approach, “It's What You Feel” strikes a melodic note early on and sustains it with artful presence and classic House vibes. This rare L.B. Dub Corp appearance allows us the chance to enjoy the gracious, esoteric and entrancing end of Luke Slater's creative spectrum.
Released: 13 September 2010
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The pairing of Andreas Baumecker (nd_baumecker) and Sam Barker (Voltek) seemed almost destined to result in some outstanding music. The fruits of a friendship and production partnership closely founded upon their love for more experimental dance sounds, the Candyflip EP introduces the pair's debut output.
Straddling the boundaries between emotional, classically inspired Techno and heavy broken beat electronics, “Candyflip” comes across as a wonderfully analogue sounding tribute to well many spent years on the underground. Echoes of the past resound proudly throughout this touching, moody epic while stark, futuristic elements urge it forwards still.
Stepping into “The Hole”, a darker sound takes precedence, as a deep tripping Techno jam unfolds from the pair's machines. As if recorded within the resonating concrete walls of Berghain itself, the dramatic and richly atmospheric DJ tool is a shining example of contemporary body music.
“Refugee Hipster” lets a heavy Dub inspired theme blow smoke over the grooves in a gorgeous half-speed celebration of machine Funk and absolute love for the genre. Warp's wonder-kid Jimmy Edgar contributes a stunning keyboard solo, while washes of colourful texture, breathtaking subs and endless subtle details make it a perfect conclusion to Barker & Baumecker's first release.
Berghain resident Marcel Fengler is one of the frontmen of raw and forward pushing Techno. Judging by his previous three EPs for the label, it’s clear to see how Fengler's work revolves around a love for tough, angular and edgy tools for the floor. This fourth offering continues the energy with three jacking, factory-forged tracks leading us further down his mysterious path.
Like a hot-headed live jam in a humid Chicago basement, “Rapture” gathers up all the energy of classic house, infuses it with a pacy no-nonsense progression and then throws it into the deepend. Rumbling bass and straight, raw percussion make this a perfectly funky blend of high and low, downstairs and up.
“RazKaz” jumps off the platter with nervous intensity as a warbling synth scape massages itself into our consciousness. Heavy percussion underpins this tender fugue with ear-pleasing texture and grit. The track summises that special place in electronic music where unfamiliar melodic elements play on the emotions, warming and provoking thought, while driving the dance instinct ever forward.
The B side carries the deeper voyage that is “Enigma”. Droning, melancholic tones swirl organically under the heavy barrage of chattering drums and Fengler's trademark fizzing hats. A moment of transience, this powerful recording allows for inner reflection while pinning us to the groove devotedly.
Hot on the heels of his recent Berghain mix, Ben Klock continues his exploration into the many zones and movements within the techno world. “Compression Session 1” was previewed in the mix, segued between other tracks, but now we have the chance to experience its full melancholic beauty, along with two other new tracks.
Climbing synth themes float and swell amongst a thick and fittingly crisp barrage of drums in this rather anthemic yet controlled session from Klock. Collecting together a positive, forward-driving and deeply powerful message, it could well be one of the producer's most timeless moments.
In contrast to the well-pronounced melodies of the lead cut, in “Static Test” Klock concentrates on some really heavy, prominent raw grooves, allowing deep and gentle suggestions of melody to filter through at times.
“Compression Session 2” is another rich and busy jam, that blends warm, analog textures, frenetic tones and accurate, intense drum programing. An essential tool for the early hours, we're curious to see where the 'sessions' lead us next!