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Already played & supported by Laurent Garnier, Patrik Skoog, Marko Nastic, Jamie Behan, Patrick Lindsey, Martin Landsky, Ramon Tapia,

Orbis X is a sublabel of Orbis Records and will be mainly focusing on softer yet often usable as DJ material for the broader mass interested in Electronic music. This sublabel is an extension of Orbis Records' softer, more melodical and experimental side. Music will be ranging from house, dub, chicago over melodic acid and even breaks. Not any track makes it to this sublabel if it can't stand on its own and stand the test of time!

Maik Richter was born 02.02.1987 in Karl-Marx-Stadt / Chemnitz / Germany. He lives in Switzerland since 6 years.
In 2005 Maik Richter gets his first appearances as Live-Act... Professional Music Production is the order of Maik R. The project is going to professional song composition but in which live performance will remain further a component. The sound of Maik R budges to minimalistical domains - the contrary to beginning of its musical representation. Gentleless and deep pressure sounds are significant for Maik's musical interpretation - the music should be stimulating you for dreaming. For new inspirations Maik R. leaves himself by other artists and external influences (e.g. society, nature) to enrich.

Known from his debut on Orbis Records, Grg is back with his typical warm & analog sound, we appreciate very much!
Born and raised in the GDR, today East Germany, Grg started making music in '94 using analog Equipment.
early 1995, he already played live-sets with 2 friends as Ensemble Acid Paul and later as "grg" on his own. He released on TeKknik Experimental and EAP records.
Still producing with the amazing MPC3k, he never focused on one single Genre. "it's just Electronic Music" he told us. A modest guy.

This EP contains a full side of each Artist.
The A-Side, by Maik, shows you how beautiful and wide dub can be. If you're fan of dreamy dub, you'll love this for sure!
The B-side is a melodic beauty. No words needed. Grg pur sang!
"Leidenschaft" is very dreamy soundscape based on smooth dub rhythm. Gentle, Subtle. Amazing. An ideal track to open or close the dancefloor. A secret weapon for laid-back moments with friends and a good glass of red wine.
"Klangbaum" feels like a statement. Deep, Dark, Swiss dub. Great stuff if you like the deeper side of dubby tracks.
On the B-side, "Chroma": a track that starts as a very basic yet surprising arrangement evolves in a very clean and sharp gentle melodic danceable track. Works on the floor as well in the background having dinner with openminded and electronic enthusiastic friends.
The second track "Fuer Pe Mi" could be categorized under trance, but it isn't. It's just an amazing track full of warm feelings. A track Grg wrote to celebrate the love between his and his wife. We're very honored he's willing to share this track with the rest of the world. Big respect.

After teasing its release at SXSW recently, Kaytranada presents his highly anticipated debut album '99.9%' via XL Recordings. The album finds the Haitian born, Montreal raised producer delivering on the promise of his early self-released EPs and remixes. Since the age of fourteen, when he first began to DJ and when his brother introduced him to music production software, his output has been relentless. He explains, after he showed me the basics, from that day on I couldn't stop making beats,' pumping out a handful of tracks per day for the next couple of years.
Single releases like 'Drive Me Crazy' with Vic Mensa and 'Leave Me Alone' with Shay Lia soon spread his name like wildfire. With that release Kaytranada cemented his reputation and his sound, an undeniable swing of the drums comparable to Dilla's, a signature soulful touch in the melodies and a healthy dose of funky basslines.'99.9%' continues that tradition and new track 'Bus Ride', which features acclaimed percussionist / producer Karriem Riggins as well as rising Toronto vocalist River Tiber, demonstrates that Kaytranada has stayed within his canon while demonstrating growth on the new album.

'Back' is the first single from Cassy's debut album, Donna. Co-produced by her 'soul brother ' King Britt and comes complete with remixes from ItaloJohnson & k Mr Top Hat & Art Alfie

Toms Due is talented duo from Etruria Beat crew , they re now back once again on their home label with two bangers ' Urania ' and ' Caliope ' and two remixes . One from Nina Kraviz´s Trip label young protégé Nikita Zabelin , the second from Micol Danieli , italian newcomer artist and owner of 030´s vinyl record label. On the A side sit the two original tracks . Urania is composed of a powerful techno groove on a simple but strong chord fitting perfectly on the climax of the middle of the track . Second comes ' Calliope ' , a Toms Due signature heavy rhythm with a happy techno synth melody , a must try for all dancefloors . On B side , Nikita Zabellin shows once again his minimal approach , pure analogue sounds with a bit of darkness. Mico Danieli´s chose to use a never ending rhythm that won´t ever leave you alone , a very elaborate arrangement . Keep an eye on this Italian lady producer !

4 solid techno tracks from Paty Pat. Joined by the Nighttripper himself on Unknown Synth.

cult Italo post-wave group CRISTALLI LIQUIDI are back with another 12" maxi single. This time the production was carried out by the godfather of Italian electronic music Alexander Robotnick with some mysterious intervention from Bottin. SCIAME (Italian for swarm) hits harder on the dancefloor then their previous releases, without losing a single drop of the italo lyrical magic.

Berg Jaar is the new add on the ARTS roster, Hard Hitting Pounding Music that hits you in the body/brain like nothing else, POWER.

After 3 releases on Tresor records, this collaboration between Roman Poncet and Dj Deep comes out on Deeply Rooted.

For the Seventh output through Stranger's Self Reflektion Imprint the Rotterdam based label welcomes fellow dutch artists ''Moving Thoughts" to the label roster. ''Forward Motion EP'' proves to be a perfect showcase of Moving Thoughts' household style which revolves around thight packed textures, thriving drum patterns and mindblowing taints of mechanic sounds and extravagant synthesis.

DimDj has no control over his life. Machines, records and noise boxes took over years ago. This is more than confirmed by this 5-track journey from acid techno to the old-school electro and further to Kuno's dystopia, who delivers a complete acidic rework over PTN1.

All tracks produced by DimDJ.
A3 - Vocals by Trenton Chase
B1 - Remixed by Kuno
B2 - Additional synth work by Wirenightmare Music

Run your everyday marathon with the new Rubini's creation: from the frantic streets of Tokyo to the illusory stillness of Paraná's riverside. If you can't get physical, treat yourself with a sonic race.

blue marbled vinyl with handmade stamps and free sticker, inspired by jules verne`s "20.000 leagues under the sea"... deap-sea monsters and fear of the dark side ! vinyl only - no digital release or promo !

Traxx Underground present the man from Basel, Switzerland, Shaka. After an great EP on Chez Damier label's, Balance Recordings, we are proud to release 3 very deep tracks plus fantastic remix from M.ono & Luveless.

Gone beyond. That's what they say when an (astro) pilot crashes to earth and takes the journey into the big sky.

When Juan Trippe took that last flight little did he know that his re-incarnated self would be an electronic pioneer. In tandem with his co-pilot Guido Zen (his own father also a pilot) and Kyle Martin (from the Land Of Light) they formed Brain Machine and scaled the highest Peaks to bring back music both unearthly and intensely human.

Are we all not stardust anyway This music proves it, takes you out flips you over and rolls you in stardust. Don't try and think it through, make sense of it, grasp it - just wander in wonder and bask in beauty.
Get lost again.

In the music, such as in the life, musn't exist infrastructures which could block or limit feeling transmission and irrationality in thought.,,Beautifull and retrospective sound theories from Cobo, K Alexi and Gari Romalis.,,
Each track here is different from the last, and each remixes is a refreshing proposition, from two House Masters, of a Chicago sexy tune. Dont miss Flamingo Hipanema

Wiederveröffentlichung von Mobys fünftem Studio-Album als Doppel-LP-Set mit 180g schwerem Vinyl. Ursprünglich 1999 veröffentlicht, wurde es zum erfolgreichsten Indie-Album des Jahres und in über 20 Ländern mit Platin ausgezeichnet. Mit "Play" änderte Moby seine Arbeitsweise ein weiteres Mal. Er nahm Samples aus Folk und Gospel - viele davon entstammen aus dem Archiv von Alan Lomax - und verbindet diese mit seinen elektronischen Klanglandschaften. Dabei schneidet er aus den Samples Schleifen, die er endlos wiederholt: Bessie Jones "Sometimes" wird in "Honey" über 20 Mal wiederholt und so entfaltet er den hypnotischen Sog, der diesen Song zum Hit machte. Bei Erscheinen wendeten sich viele Moby-Fans, die ein Techno-Album erwartet hatten, ab und das Album schaffte es nicht bedeutend in den Charts aufzutauchen. Es sollte überzehn Monate dauern, bis sich das Blatt wendete und das Album sich doch noch zum absoluten Hit mauserte. Mit 9 (!) Single-Auskopplungen und unzähligen Lizensierungen an TV-Shows, Filme und Werbespots entwickelte sich das Album zum Dauerbrenner und hat bis heute weit über 12 Millionen Einheiten abgesetzt.

Exploring the boundaries between Grime, IDM and Dubstep, this four-track EP is a worldwide first: The first vinyl release of Japanese Grime.

Stefan Robbers is one of the most known and respected non-U.K.-based European techno producers, and (along with Speedy J) one of the only Dutch techno artists to reach a wide audience outside of Holland. Recording as Terrace, Florence, and under his own name, Robbers has been responsible for some of the most memorable moments in experimental dance music in the last few years, from the first release on the now-commanding D-Jax label (Terrace's 1990 EP 916 Beuna Avenue) to recent Terrace and Florence full-lengths released on his own Eevo Lute imprint. Although tracks have appeared through GPR and New Electronica as well, his focus since 1994 has been on Eevo Lute, likely in an effort to raise awareness about Dutch techno artists and which also prompted the astablishment (by Robbers and Speedy J's Jochem Paap) of a Dutch remix network. Most often cited in connection with the sort of "listening techno" associated with the Warp, GPR, and New Electronica labels, Robbers' recent releases have moved increasingly toward the incorporation of du jour electronica hybrids such as trip-hop and ambient jungle, although his trademark mixture of intricate, off-kilter rhythms and sweet melodies has remained. Along with Robbers' own releases, Eevo Lute has also issued material from David Caron, Max 404, and Wladimir M., as well as two label compilations (Agenda 21 and Agenda 22). A remixed version of Terrace's 1996 Konnekt LP, entitled Re-Konnekt, was released in 1996, featuring Speedy J, Global Communication, Sean Deason, Kirk Digiorgio, Orlando Voorn, and Thomas Heckmann.

Those disco specialists at To Rack & Ruin are back in business, kicking off their 2016 campaign with an absolute scorcher from Moscovite producer Phil Gerus. After making waves with a string of releases for the likes of Futureboogie and Sonar Kollektiv, Gerus arrives at the Mancunian edit institution in fine form, ready to take over the world with a quartet of fully loaded floor movers for all you dancing fools.
Going hard and heavy from the off, Phil introduces himself with the tumbling toms and zero gravity sequences of 'Delicious Wishes', a neon tinged reshape of an Angelic original. Working the loops and FX like a pro, the Russian sprinkles space dust all over this camp cosmic classic, packing a whole host of extra oomph in the warp drive! "Bossy Lady" Phil turns his attention to Italo, setting pulses racing and feet stomping with the space age sound of . Playing free and easy with the pitch control, the Moscow magician conjures up a space disco body mover complete with tripped out vocals, chunky guitar and nebulous synth lines. Sticking with the moods and grooves of the Mediterranean,
Over on the flip we have "Stop! Let's Slow Down" powering into the peak time in a shimmer of sequins as it supercharges a boogie vintage for the modern DJ. The finest floor shaking boogie reheat since Tiger & Woods last hit a hole in one, this is gonna raise the temperature at any party worth its salt. Phil takes us home with a spaced out version of an all time Italo classic. Reworking the percussion and looping up that low slung baseline, our host supercharges the groove for modern club deployment, rounding off another essential release from your favourite edit imprint.

Pressed on Black Vinyl with hand stamped logo & info

Unshakable integrity, adamant dedication and multi-faceted creativity are all characteristics that define the personality of french electronic artist Marcelus. Following an already fluent relationship with music and a string of single releases on Tresor Records, Marcelus - given name Cedric Bros - thought it would be the opportune moment to dive into his most intimate inspirations and produce Vibrations, his debut album.

This full length project naturally comes at a pivotal moment for Marcelus, his experiences and knowledge coming together to create a homogenous body of work reflective of his expertise as a musician so far. Vibrations is purposefully techno oriented. It is a personal journey through his proficiency in the genre, travelling from techno to house inspired dub techno to futuristic and experimental by the end of the three vinyls.

To calculate the dark, nonetheless melancholic energy of the record, mathematical datas of Pi and Phi were deliberately measured into some parts of the composition of each track. The result is an ever-evolving web of rhythms that redefines pre-established structures.
Through its rich sonic journey Vibrations proves, from A to F, that Marcelus is undoubtedly one of today's most interesting and dexterous producer in the genre, and pertinently lands on Tresor's 25th Anniversary calendar

We've had our eyes on Obas Nenor for a while and after his disco-meets-Detroit affair on 'Mahogani', and some great releases on his newly started own label 'Nenorian music' and 'Sol Power', we're happy to share his work for Heist with you. 'The Ceaper Buing EP" features 4 original cuts and a remix by Swedish "Mr. Tophat" that navigates somewhere between really weird, and really groovy. If you've seen any of his studio videos, you'll see he's has a great mix between live instrumentation, and sampling on his MPC, and each track on this EP has so many great elements working together, that it will be hard to pick a favourite. "The doors" has a great filtered funk loop going on with some roughed up disco percussion, whereas the Tophat remix twists and turns the original into somewhat of a tribal(ish) drum workout that is probably best enjoyed in a really really dark room. "Glimpse of light" has some really interesting sampling going on with a feel that is almost 'rock', but gets more and more disco with some lovely synth work as the track progresses. As a counterpart to the first part of the EP, 'Wacky' slows things down to give you a summery, afro inspired track that we forced him to send us after we saw a short clip online of him jamming away on his Korg x-911. UV lights is a somewhat special track for us that you wouldn't expect on Heist at first, but makes for a great addition to our musical world. It's perfect 'hands-in-the-air' end of the night material, with a serene and emotional vibe that is really hard not to love. Altogether, it's a great EP that we're really happy to share with you. Sincerely yours, Lars & Maarten

Andy Hart returns after an almost two-year hiatus from the studio to release his first EP on the Voyage imprint. Following on from Urulu's Greetings From Namek, Mistress In Your Mind is the sixth release and adds to a growing collection that already includes releases from Harvey Sutherland, M5K and CTEPEO '57.

Mistress in your Mind loosely stems from the intertwining influences of a love-induced delusion broken down over four tracks. Hart draws sentiment from several aspects of his record collection, giving subtle nods to break beat, soul, acid and space-laden house.

Our sixth release marks the closing of a circle: Lucky Charmz—the man of our first release, Follow Me To Flottbeck Falls'-EP—returns to deliver his second full length effort. LHLT006 is the U Still Coming Over'-EP, a long overdue follow up to his first EP: More than anything else, it's a fresh slice of summer groovers. Opener Faceless Goat' instantly delights with it's majestic opening chords, only to unleash a smashing grandeur of sample fun and lustful grooves. It's a no-vocals-required anthem, rich in texture and yet subtly enchanting. While Faceless Goat is probably best enjoyed blasted out to vast, scenic landscapes on mediterranean costs from the terrace of a ancient estate, it is also tried and tested for Vorzech', houseparties and—of course—any club scenario (it won't fail you). We cannot help but to notice that Latency Jam''s stoic groove recalls the jungle books's march of the elephants, it's spacey synth madness points to outer space and, well, did we mention that It's super funky Yes, it's a funky spacewalk towards jupiter with your awesome, intergalactic elephant friends. Sonically charming with it's rapid fire hi-hat's, bubblegumspongecake melodies and zapping space laser's, that've all trickled out of a Nord Lead Young Lucky once laid hands on, Latency Jam' will also never let you down. On the flip we find Waffle Cut', yet another sun-oozing Lucky Charmz tune. Captivating trickle-down arpeggios radiate warmth, while soft pads sooth you into hypnosis. It's a bit like staring at the big yellow in the sky for too long—you get all frizzy, drizzy and a little silly.

Raime's second album, Tooth, arrives June 10, 2016 on 2xLP, CD and digital formats. The widescreen melancholia of their 2012 debut, Quarter Turns Over A Living Line, gives way to an urgent and focussed futurism, in the shape of eight fiercely uptempo, minimal, meticulously crafted electro-acoustic rhythm tracks. The DNA of dub-techno, garage/grime and post-hardcore rock music spliced into sleek and predatory new forms.

No let-up, no hesitation. Needlepoint guitar, deftly junglist drum programming, brooding synths and lethal sub-bass drive the engine. The production is immaculate, high definition. No hiss, no obscuring drones or extraneous noise: the music of Tooth is wide-open and exposed. The seeds of its supple dancehall biomechanics can be found in the self-titled 2013 EP by Raime side-project Moin, an ahead-of-its-time synthesis of art-rock and soundsystem sensibilities, but Tooth pushes the template further, binding the disparate elements together so tightly that they become indistinguishable from one another.

If Quarter Turns was an album that confronted total loss and self-destruction, even longed for it, then Tooth is the sound of resistance and counter-attack: cunning, quick, resolute, calling upon stealth as much as brute-force. At a time when so many pay lip service to experimentation without ever fully committing themselves or their work to it, Raime return from three years of deep, dedicated studio research with a bold and original new music: staunch, rude, and way out in front.

Hunting down the coolest sounds around the globe, the wewantsounds crew have curated another special mix for your Lazy Sundays. Dishing out a tasteful mix of new tracks from under the radar, this selection features a string of sunny pop, indie grooves, chilled electro and relaxed disco, the whole seasoned with a couple of leftfield cult classics and classy jazz tracks for good measure. Sunday Mixtape is the perfect sonic brew that will bring you back to life after a long night or hard partying. Many of the tracks in this selection have barely been heard outside of the underground circles and feature young artists who have just sprung out to life with the exception of UK soul diva ALA.Ni and the recent success of her melancholic jazzy album and L'Impératrice, the next disco big thing out of France, whose buzz is getting louder.
Here you'll find new French nouvelle vague singer Laure Briard, US groovy duet Bones & Beeker, minimal house producers Roscius and Shigeto as well as Domenique Dumont with a buzzing balearic beat.
Sunday Mixtape also features a few cult classics such as Mock & Toof's 'Farewell to Wendo', Louie Austen's 'Hoping' and Justine & The Victorian Punks' 'Still You', a sought after NY avant disco 1979 tune led by French expat fashionista Justine and saxophonist (and frequent Arthur Russell collaborator) Peter Gordon.

Separate disc of the POLEGROUP 5YRS vinyl box.

Favorite Recordings proudly presents this new official album reissue of Shine the Light of Love by Googie & Tom Coppola: A beautiful soaring soul album sublimely produced with a sweet LA groove!

Thomas Wilkinson Coppola (aka Tom Coppola) is a pianist and arranger, known for being a principal member of the funky prog-jazz group Air (not to be confused with the French duo). He began working as a musician in Manhattan in the 1960s, where he met Carolyn Brooks (aka Googie Coppola). If they only released one self-titled album with Air in 1970, and Shine the Light of Love as a duo in 1980, these two amazing talents have collaborated with artists such as Herbie Mann, Lenny White, Flora Purim, Ray Barreto or Jeremy Steig to name just a few.

Shine the Light of Love was also released in 1980 on Columbia, after the couple left Air to become born-again Christian. A real lack of promotion from the label caused the record to disappear, however it was, in many ways, years ahead of their contemporaries. Googie's vocals are an absolute delight - with a Minnie Riperton-esque sort of feeling - and the overall album's got some nice jazzy touches and a sublime, sophisticated approach to the overall sound, while never falling into commercial.

An underrated masterpiece that definitely deserved more attention, which is why Favorite Recordings is deeply honored today to present it in a fully remastered version, housed in a fine gatefold sleeve including original notes.

When Kompakt came across Amsterdam-based Harm Coolen and Merijn Schotte Albers aka WEVAL back in 2014, we were blown away when we heard their slow-burning, darkly emotive tracks.

Their debut EP 'Half Age' on Atomnation featured painfully intimate and surprisingly kinetic electronic chamber pop that convinced us they were a perfect fit in Kompakt's family. Following two widely acclaimed EPs for Kompakt and playing numerous festivals including DGTL, Reeperbahn, Iceland Airwaves and Piknic Electronik, we now see the two tackle their self-titled debut full-length WEVAL. What you have before you is not a mere collection of tracks, but a complete listening experience with organic flow, emotional heft and a narrative thread.
Smitten with WEVAL's uniquely personal and catchy approach to producing dark electronic music, it didn't take much to win us over... and so came WEVAL's acclaimed 2014 label debut EASIER EP (KOMPAKT 318), followed by the bold and beautiful 2015 offering IT'LL BE JUST FINE / GROW UP (KOMPAKT 344) which saw the two soundsmiths digging deeper into the granularities of electronic funk than ever before. However, Harm and Merijn's music - while astonishingly fully-formed even in its earliest stages - always seemed destined for more, a bigger format, more space to explore the nooks and crannies of their rapidly evolving sound cosmos. Simply put, they needed to think about an album and their beloved living room studio wasn't cutting it anymore.
An old school building became WEVAL's new home, repurposed to house small creative businesses - but in the summer of 2015, it was abandoned most of the time, with everybody out in the sun while our heroes turned the building's attic into a sweet spot to make some noise, have 24-hour access and lose track of time. And apart from a sketchy tenant being evicted, the occasional soccer game with friends and live gigs across Europe, there really was no interruption to the focussed vibe. It's not like they were looking for distraction anyway: "working on the album all by ourselves in this bloody hot attic was all we had on our mind", the artists admit. And they decided that their album shouldn't sound too clean: "We try to find the beauty in imperfection. It makes things sound more human".
Weval draw their inspirations from no single genre of music but a cumulation of music that inspires them. The results present an astonishingly coherent vision - cuts like the dramatic THE BATTLE, bass growler I DON'T NEED IT or the trippy epic MADNESS share the same DNA of zestful nostalgia, a knack for immersive sound-sculpting and that certain kink in the groove. They also feed on deeply personal experiences and moods, as exemplified by the haunting electronic ballad YOU'RE MINE, the carefully layered, polaroid-tinted JUST IN CASE or the beautifully voiced closer YEARS TO BUILD. And sometimes, it's just an old, out-of-tune piano that stands in the hallway: "Whenever I'd pass by it, I couldn't resist playing it", says Merijn, "so Harm decided to start recording and it became an integral part of YOU MADE IT (PART I)". No doubt about it: this is WEVAL's most powerful and organic material yet - which means a lot, considering the amount of skill already on display in their small, but weighty portfolio.
(de) Als sich 2014 in Amsterdam Kompakts Wege mit denen von Harm Coolen und Merijn Schotte Albers aka WEVAL kreuzten, waren wir sofort Feuer und Flamme für ihre schwelenden, emotional aufgeladenen Tracks. Ihre Debüt-EP "Half Age" auf Atomnation präsentierte intimen und überraschend kinetischen, elektronischen Kammer-Pop, der wie angegossen zu Kompakt zu passen schien. Nach zwei vielbeachteten EPs auf dem Label und einer Reihe von Festvialgigs (inklusive DGTL, Reeperbahn Festival, Iceland Airwaves und Piknic Electronik) nehmen Weval nun mit dem gleichnamigen Release ihr erstes Album in Angriff. Und legen dabei nicht einfach nur eine Ansammlung von Tracks vor, sondern kreieren eine komplette Hörerfahrung mit organischem Flow, emotionalem Gewicht und einm roten Faden.
Angetan vom einzigartig persönlichen und mitreissend düsteren Klang WEVALs brauchte es nicht viel um uns zu überzeugen... und so kam es 2014 zum gefeierten Labeldebüt EASIER EP (KOMPAKT 318), gefolgt vom kühnen und wunderschönen 2015er Release IT'LL BE JUST FINE / GROW UP (KOMPAKT 344), für das die beiden Soundtüftler tiefer denn je in die Granularitäten des elektronischen Funks abtauchten. Nichtsdestotrotz - und obwohl sie schon von Anfang an ausgereift klang - schien die Musik von Harm und Merijn auf dem 12"-Format stets bestimmt für mehr: mehr Freiraum um auch die äussersten Winkel ihres rapide expandierenden Soundkosmos zu erkunden. Sie mussten schlichtweg zum Langspielformat wechseln, und ihr heissgeliebtes Wohnzimmerstudio konnte da nicht mehr mithalten.
Ein altes Schulgebäude wurde schliesslich WEVALs neues Zuhause, umfunktioniert für kleine Kreativunternehmen - doch im heissen Sommer 2015 stand es zumeist leer, da alle draussen in der Sonne badeten, während unsere Helden im Schweisse ihres Angesichts das Kellergeschoss in ein lärmfestes Aufnahmestudio verwandelten. Mit Studiozugang rund um die Uhr liess es sich bestens die Zeit vergessen. Und abgesehen von der Räumung eines zwielichtigen Nebenmieters, dem gelegentlichen Fussballspiel mit Freunden und natürlich Live-Gigs in ganz Europa, gab es auch keine Ablenkungen vom hochkonzentrierten Kreativfluss. Ablenkungen, die das Duo ohnehin nicht suchte: "ganz allein in diesem verdammt heissen Keller am Album arbeiten war alles, was wir im Sinn hatten", geben die Künstler zu. Und sie entschieden sich, dass ihr Album nicht zu sauber klingen sollte: "Wir versuchen die Schönheit im Makel zu finden. Es lässt die Dinge einfach menschlicher wirken."
Weval beziehen ihre Inspiration nicht aus einem einzelnen musikalischen Genre, sondern eher aus einer Akkumulation von Musik, die sie inspiriert. Die Ergebnisse zeichnet eine beeindruckend kohärente Vision aus - Aufnahmen wie das dramatische THE BATTLE, der Bassknurrer I DON'T NEED IT oder die Trip-Saga MADNESS teilen diesselbe DNA aus schwungvoller Nostalgie, einer Schwäche für immersive Klangschnitzerei und einer gewissen Delle im Groove. Sie nähren sich auch aus zutiefst persönlichen Erfahrungen und Stimmungen, wie zum Beispiel bei der eindringlichen elektronischen Ballade YOU'RE MINE, dem vorsichtig geschichteten, polaroid-gefärbten JUST IN CASE oder dem wunderschön gesungenen Schlussakt YEARS TO BUILD. Und manchmal ist es nur ein altes, verstimmtes Klavier, das im Flur herumsteht: "Immer wenn ich dran vorbei lief, musste ich darauf herumklimpern", erklärt Merijn, "also wurde es ein zentraler Bestandteil von YOU MADE IT (PART I)". Kein Zweifel: dies ist WEVAL's stärkstes und organischstes Material bisher - was durchaus was bedeutet, wenn man das Talent bedenkt welches bereits in schmalen, doch gewichtigen Portfolio der Band steckt.

Not one to be pigeonholed, highly respected DJ and producer WILL SAUL has always run the gamut of electronic dance music: from deep house to techno and UK bass, his sets and tracks like to rock the boat of any given genre, taking in contemporary impulses as well as classic inspirations. As label honcho for iconic imprints like Simple or Aus Music, he further honed his ear for the perfect groove and was invited to bring his expert selection to the revered DJ Kicks mix series in 2014. A remix collaboration with fellow UK producer October for Michael Mayer's MANTASY REMIXE 2 (KOMPAKT 272) turned out to be a fine first foray into Kompakt territory - now to be succeded by the LOST IN TIME EP, for which he teamed up with Bristol-based soundsmith KOMON. Komon & Will have been collaborating for many years, resulting in tracks on Will's DJ Kicks and remixes for labels such as Ninja Tunes (Kelis) and Houndstooth (Throwing Snow). Komon has been a mainstay on Will's Aus Music imprint, with solo releases and regular collaborations with Appleblim. For Kompakt, they turn in a swooping trio of floor-versed cuts that are no strangers to atmosphere and experimentation, but like to keep the crowd in check with outbursts of pressurized funk. Leading the pack is the title cut featuring quality vocals from BEN WESTBEECH (aka Breach), flanked by the introspective DRONE and immersive mover DIGITAL PARADISE - a versatile and powerful outing from two artists that know perfectly well how to set the scene.
(de) Als einer, der sich nie leicht kategorisieren ließ, hat der hochrespektierte DJ und Produzent WILL SAUL stets die gesamte Bandbreite der elektronischen Tanzmusik zum Thema gemacht: von Deep House zu Techno und UK Bass findet alles den Weg in seine Sets und Tracks, jenseits von Genregrenzen und gerne inspiriert von zeitgenössischen wie klassischen Impulsen. Der Macher hinter gefeierten Labels wie Simple oder Aus Music ist bekannt für sein feines Ohr am Groove der Zeit und hat seine Expertise in 2014 für die berühmte DJ Kicks Mix-Reihe zum Einsatz gebracht. Eine Remix-Kollaboration mit dem befreundeten Klangschmied October für Michael Mayer's MANTASY REMIXE 2 (KOMPAKT 272) entpuppte sich als grossartiger erster Ausflug in Kompakt-Gefilde - nun der Schritt zum eigenen Release mit der LOST IN TIME EP, für die er sich mit dem Bristol-Produzenten KOMON zusammengetan hat. Komon & Will arbeiten seit vielen Jahren zusammen, was bereits zu Tracks auf Will's DJ Kicks and Remixen für Labels wie Ninja Tunes (Kelis) und Houndstooth (Throwing Sbow) geführt hat. Dank seiner Solo-Releases und der Kollaborationen mit Applebim ist Komon ein gern gesehener Gast auf Will's Aus Music. Für Kompakt liefern die beiden ein bissfestes, tanzflur-erprobtes Track-trio ab, das gerne in experimenteller Atmosphähre badet, den Tänzern aber auch gerne mit Hochdruck-Funk Beine macht. Der Titeltrack brilliert mit wundervollen Vocals von BEN WESTBEECH (aka Breach), flankiert vom introspektiven DRONE und dem mitreissenden Schieber DIGITAL PARADISE - eine vielschichtige und kraftvolle Darbietung von zwei Künstlern, die ganz genau wissen wie man den Beat in Szene setzt.