Cerca:justin

Mouse on Mars' Andi Toma and Jan St. Werner return with their most
inventive album to date, Dimensional People. The electronic music pioneers
have been critically acclaimed for their playful and inventive sound and
production techniques on releases spanning from the early '90s to now. In
demand from a surprising array of artists their most recent contributions are
featured on the Grammy award winning album Sleep Well Beast by The
National.
The duo are joined on Dimensional People by an impressive list of guests
: Justin Vernon (Bon Iver), Aaron and Bryce Dessner (The National), Zach
Condon (Beirut), Spank Rock, Swamp Dogg, Eric D. Clarke, Lisa Hannigan,
Amanda Blank, Sam Amidon, Ensemble Musikfabrik, and about 20 more
musical collaborators. The cast of characters are as unique as they are vast,
clearly a rich quarry for the prodigious duo.
Dimensional People is by it's nature a collaborative album. Originally
premiering as a spatial composition using object-based mixing technology
playing with the possibilities of sonic design (4D Sound) and collective
musicianship, the recording expands upon these ideas. Dimensional People
expresses itself as a dynamic 50-piece orchestra, telling a story in sound.
Mouse on Mars offer sound as a means to encourage open-minded societies,
aided by cutting-edge technology including their own MoMinstruments
music software or a spatial mixing technique called object based mixing,
with which a spatial version of the work was created. It is a conceptual
puzzle composed around one harmonic spectrum within one rhythmic
scheme, mostly in the tempo of 145bpm (inspired by Chicago footwork,
so the dance oor is not entirely absent). Looking ahead, Dimensional
People will also be realized through installation, presenting the work as an
immersive listening experience, as well as performance.

Pioneers of the electronic music scene, Music Producer and Finiflex Studio Owner, John Vick and DJ, Davie Miller are working together on a new project . . . . FINIFLEX

Bonus Freaks is the second single to be released from the much anticipated forthcoming album SUILVEN, slated for release in May 2018.

FINIFLEX have been playing the new material live since the end of 2016 with gigs in Edinburgh (Neu Reekie), Glasgow (Let's Go Way Back) Skye (Non Stop Easter Weekender) Barcelona (Kosmopolis), Dundee (Carnival 56) and the TA TA OO HA Single Launch Party (TRANSMISSION) in Glasgow.
The show itself is an immersive experience featuring lights, live projections and video graphics, basically a super slick production rammed with back to back bangers.

These new releases may by the first in 20 years but in reality it's not been such a long period of silence. The almost a secret FINIFLEX Studio Complex (FINIFLEX HQ) based in Leith, Edinburgh has continued to work away with some of the best in the genre including the likes of Justin Robertson, Lord Of The Isles, DJ Rolando, Andrew Weatherall, Sparks, Billy McKenzie, John Pleased Wimmin, Paul Oakenfold, Dave Ball (Soft Cell) to name a few.
It's a given that their past assures their pedigree within the electronic music arena but with this NEW release 'Bonus Freaks'. . . . . FINIFLEX brings it all rushing into the future. . . . . .

Ghanaian music legend Ebo Taylor returns with perhaps his finest album to date.
But don't take our word for it. That's coming straight from the man himself.
And he should know after more than 60 years in the business.
The 81-year-old composer, arranger, guitarist and vocalist has been a key figure in the evolving afro-funk sound since the Seventies, working with the likes of Apagya Show Band, CK Mann and Pat Thomas.
Famously, he rubbed shoulders with Fela Kuti while studying in London in the Sixties, before going on to lead the Ghana Black Star Band (featuring Osei and Sol Amarfio from Osibisa) and later the Uhuru Dance Band back in Ghana. Like Fela, he is always pushing forward, constantly reconceptualising his sound and
attuning it for a new generation. Part teacher, part messenger.
Listen to Yen Ara and you will not only hear the high-energy afrobeat, sweet highlife, jazz and konkoma influences that he's famous for. There is also a disco pulse and hard-hitting percussive edge to the tracks, which were produced by Justin Adams (Tinariwen, Rachid Taha, Robert Plant) and recorded in the live room at Electric Monkey Studio in Amsterdam. An Ebo Taylor for these times, you might say.
His group, the Saltpond City Band, are all handpicked local musicians featuring two of his sons. An appropriate line-up on an album whose titles means we'.
And they are on fine form, ripping through tracks such as 'Krumandey' (a surefire party starter) and 'Mind Your Own Business' (a simple message delivered over a frenetic drum rhythm).
Elsewhere, 'Aboa Kyirbin' will please fans of tough afrobeat grooves, while Taylor could well be inciting a riot at his next gig with 'Mumudey Mumudey', We hear him calling for 'preshaaah' and leading us into a call and response as the trumpet takes us higher. And the lift of those horns on 'Ankoma'm' evokes some
of his finest work such as 'Love & Death' and 'Come Along', the latter recorded with the Pelikans and featured on a recent Mr Bongo reissue.

Dark Entries present the debut album from Bézier titled 'Parler Musique'. Bézier is Taiwanese-American musician Robert Yang who is also part of the Honey Soundsystem crew. A multi-instrumentalist, Robert grew up in Southern California then planted his roots in San Francisco in 2005. Over the years in SF he has built an impressive analog synth-based studio, which also serves as the creative hub for his riveting live performances.

Parler Musique clocks in at over 52 minutes with 8 tracks are spread across four sides for maximum loudness. The album title is a French transliteration on the phrase Parlor Music' and is evening music for a meeting of minds in a drawing room or a literary salon. To 'talk about music', the actual translation of the title, the album is a hotbed of ideas. Different genres are crisscrossed: punk, synthpop, jungle, new romantic, industrial and new wave. Airy melodies, surging arpeggios and symphonic breakdowns counterpoint cold digital drum sounds to convey beauty within inescapable and impending daily processes. The track titles for 'Parler Musique' zoom in on Romantic preoccupations with mystery, unknowns, depths--where themes combine to form an occult revelatory experience.

All songs have been mixed by Mark Pistel (Meat Beat Manifesto, Consolidated) at Room 5, San Francisco and EQed for vinyl by George Horn at Fantasy Studios. The vinyl comes housed in a jacket featuring a surreal circuit board pattern with pink bubbles flickering on an abstract horizon of water designed by Eloise Leigh. Each copy includes a postcard risograph-printed in fluorescent pink and dark blue with Dadaist text by Justin Aulis Long.

Is the drum the successor of human sacrifice or does it still sound the command to kill' Adorno, Motifs (1951)

Mouse on Mars is recognised as one of Germany's most defning and versatile electronic music projects. With their
anarchic mixture of sound that oscillates between uncontrollable chaos and meticulously arranged structures,
Jan St. Werner and Andi Toma have forged a unique musical language, which is readily decomposed by the
unpredictability of its myriad mutations. Free from schools of thought, genre conventions, and from the constraints
of the music establishment, they have worked under the Mouse on Mars alias for 24 years, mapping their own
idiosyncratic trajectory through a no man's land between pop, art, club music, and the avant-garde. - Jan Rohlf
Idiology takes the acoustic experiments of Niun Niggung even further, and it's this combination of electronic
and 'traditional' music -- melding keyboards and synthesizers with french horns and guitars and trumpets into a
seamless whole -- that points the way through the dead-ends of most electronica.'
- PopMatters
Andi Toma and Jan St. Werner continue to create soundscapes that blur the line between programming and live
musicianship, and sometimes between Earth and outer space.' - The A.V. Club
On April 13th Mouse on Mars will release Dimensional People,
their brand new studio album on Thrill Jockey.
The album features Werner and Toma joined by a number of
prolifc guests: Justin Vernon (Bon Iver), Zach Condon (Beirut),
Spank Rock, Aaron and Bryce Dessner (The National), Swamp
Dogg, Eric D. Clarke, Lisa Hannigan, Amanda Blank, Sam
Amidon, Ensemble Musikfabrik, and about 20 more musical
collaborators.
After a series of notorious dance oor releases, Dimensional
People reveals them working deep within their own vernacular,
digging into fertile terrain of their inexhaustible vault of digital
and acoustic experimentation, and charismatically making
elemental components new again. This album makes clear how
their craft is of discovery, of fnding new contexts for places,
sounds, memories, sensations, ambiences, technologies,
relationships, and of course, people.

Closer To Stranger is the new solo album by Pakistani-born dream-folk musician Ilyas Ahmed. Drawing on a wide range of influences, his songs incorporate classic singer-songwriter gestures alongside more experimental leanings. Recorded to tape in the studio by Justin Higgins in the fall of 2016 and finished in the spring of 2017, Ahmed's instrumental palette includes: acoustic and electric 6 and 12-string guitars, Fender Rhodes, multiple keyboards, tanpura, and percussion. Closer To Stranger stands as a meditation on uneasy identity politics during times of unreason, seeking peace amidst chaos.Jonathan Sielaff (of Thrill Jockey ambient duo Golden Retriever) cameos with guest saxophone on Zero For Below' but otherwise the album is a solo affair, alternately feverish, tense, hazed, hypnotic, and narcotic. A slowly unfolding inward journey of late night lullabies and contemplative electric drift.

A split single featuring Washington, D.C.'s Escape-Ism and Light Beams. The digital
download in- cludes an extra track by each band.

Escape-ism is called "the found-sound-dream-drama," "the grieving widow of rock 'n' roll" , the "press play and run away group", the strrrripped down sound machine starring Ian Svenonius, star of Chain & the Gang, singer in The Make Up, author of 'Supernatural Strategies for Making a Rock 'n' Roll Group.' Its a single occupancy combo, a one banana bunch, the gestural rock 'n' roll provocation which combines cave person poetry with beats and melody translated incorrectly from hieroglyphs found in arch-pharaoh Cheops' triangle shaped record collection. Escape-ism is a bid at inciting long- ing for a past behind an IRON CURTAIN, and hope for a future in flames. Escape-ism -- hear it, fear it, cheer it.'

Light Beams began in 2015 when Justin Moyer (Puff Pieces) -- influenced by 80s-era freestyle music and Sheila E. -- started playing sampler and timbales with Sam Lavine, the longtime drummer of D.C. hip-hop mainstays the Cornel West Theory. With the addition of bassist Arthur Noll the result- ing polyrhythmic melange, sometimes called "zap-tone" or "block rock," reinvents late-20th century dance-pop using the tools of the 21st.

TBD, the decade-old project from Doug Lee (An-i) and Justin Van Der Volgen, is back!.

Known for their set-defining big room monster jams, 'Below' sees them on a deep, heavy and very trippy analogue tip.
Synths wheeze and bubble while a thick syncopated bass and a giant kick drum keep the proceedings firmly locked to the dance floor.

On the flip, legendary Japanese DJ and producer DJ Kent steps up on remix duty under his The Backwoods alias .
Building off the original, he adds sharp percussion and tastefully refocuses the track, creating a perfect complimentary mix to the A-side.

Excise Records' 2nd vinyl release is a celebration of both Northern and Southern Californian techno. Oakland's Milkplant has been making heady dancefloor bombs for 2 decades, and Los Angeles icon Developer jumps in with a beautiful retro-hypnotic remix of Far Star. Milkplant's Dust Cloud is a 10 minute epic build with dreamy synth work shattered complex metallic percussion and anchored by a shockingly weighty bassline. The original Far Star is a wild romp with psyched out synth arps and relentless spit-fire hi hats.

Artist biography:

US based artist, Milkplant (real name Justin William Pennell) is originally from Milwaukee,Wisconsin; but has resided in Oakland, California since 2010. He relocated to the West Coast in 2004, lived in Seattle for six years, and started the internationally recognized Techno label and artist collective, From 0-1; with fellow artist, Sone. Schooled in the Midwest and developed on the West Coast, his work encompasses over 30 years of combined DJ/production experience, and 9 years of record label operations.

In autumn 2014 he released 'Time Dilation', a four track 12" EP on From 0-1. Charted by Gary Beck, Paul Mac, and Ben Sims at #2, #1, and #26 in their November 2014 Juno charts, this was a turning point for him. Since then he has released on Planet Rhythm, Wall Music, Dark Net, Etichetta Nera, From 0-1, and Excise. His productions have drawn critical acclaim from many notable artists; showing up in mixes and charts by Ben Sims, Jerome Sydenham, Bryan Zentz, Joachim Spieth, Tommy Four Seven, Submerge, Tadeo, Mattias Fridell, Mr. Jones, Electric Indigo, David Meiser, Samuli Kemppi, Arnaud Le Texier, Abstract Division, DJ T-1000, and many others.

As a DJ he can be found playing a combination of vinyl and CDJs. He has played in various cities across the US, most notably in Detroit at the Blank Code - Droid Interface/Scene party for Movement 2016. His mixes have been featured on Droid's D-Node podcast, the Warsaw Torture Boyz podcast, Blank Code podcast, Drone podcast, and Error Sessions. Regarding upcoming releases: 'The Distance' vinyl EP arrives autumn 2017 on San Francisco based label, Excise; his remix of Sone's 'Australis' arrives on vinyl late 2017 via From 0-1.

Newly launced Samo Records is setting out to explore the depths of the dancefloor by celebrating the darker, moodier facets of electronic music.The NYC label's first release comes from Pixelife (Sean Dack), a highly accomplished visual artist and veteran of NYC's underground. In addition to releasing on such respected labels as Throne of Blood, Horn Wax, and Let's Play House, he also makes up half of GHOST COP, a band known for its textured synths, iconic vocals, dissonant beats, and captivating live sets. Incorporating the same expert sonic-layering techniques he employs in his live analog sets, he's created a dynamic EP that's both intimate in feel and broad in scope.'Omega Block' stomps out of the gate, all driving rhythms and throbbing basslines with an underlying element of frenetic foreboding — aptly reflecting these geopolitically tense times, while still remaining suitable for losing yourself on the dancefloor. The track gets the remix treatment by Bristol, U.K.-born, Berlin-based Antoni Maiovvi, a self-described 'electrodisco horror mindmelt DJ/live performer/film composer' who heads up Giallo Disco Records with Vercetti Technicolor. Here, he trades his trademark horror elements for successions of staccato beats and a stripped-down sensibility that successfully translates to perfect late-night-at-a-warehouse vibes.Chimeras in the Matrix' soars with gorgeous dystopian melodies overlaying squelchy undertones, revealing labyrinthine layers and anxious crescendos before building to a full-on acid frenzy. Producer/remixer/DJ Tronik Youth (who, like Maiovvi, also hails from the U.K. and currently lives in Berlin) is co-head of the prolific (averaging nearly a release a week in 2016) NEIN Records, which he founded five years ago with Ian Considine; the label has released music from the likes of Rodion, Curses, In Flagranti, Heretic, Man Power, Daniele Baldelli, The Emperor Machine, and Moscoman, to name but a few. He is also a member of Permanent Wave, a spooky, pitched-down, dark-wave-inspired disco project with French singer Justine. He brings a chuggy, bleepy edge to his take on 'Chimeras in the Matrix' with bouncy rhythms, multiple breakdowns, and echoing robo-vocals, taking the original's intensity down while upping the dancefloor quotient.

Tale Of 2 Cities (or T.O.2.C for short) is the culmination of what was just a whim of an idea from label owners Mike & Justin. It's the first of its kind for us & anyone who knows anything about Kolour LTD should know that we shall leave no stone un-turned on a release of this magnitude. This 14 track, 3x12 vinyl compilation is a smooth journey throughout the realms of deep house, mid-tempo grooves, funk/soul, with an edit (or two) for good measure.Disc #1 features the incomparable talents of Jimpster (under his Franc Spangler alias), Admin, Ugly Drums & Lady BlackTronika, Henry Wu, and The Hue ft. Kissy Asplund.
Disc #2 features the FOUK boys, Frank Booker, Vincenzo de Bull & Halve Soul, & Inkswel.
Disc #3 features the talents of Eddie C, Napoleon, Sleazy McQueen & VinylAddicted, Patchworks, and LeBlanc.
3 x LP in a Trifold sleeve & Poster.

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.

- A collect phone call is a form of communication based on the understanding that the receiver pays the cost of the message sent
- A collection agency buys debt at a fraction of its balance based on the reduced likeliness of the debt being recouped
- To collect is to gather, to source and to inventory


18+ return with their thirteen-track second second album, 'Collect', which explores the duo's aggressive evolution as musicians. Frequently radical and genre-defying, together Justin and Samia have produced their most ambitious and powerful work to date. On 'Collect', the duo explore the relationship of public vs private in a more invasive style, exemplified by the sampling of phone calls and personal field recordings intertwined between tracks.

Recorded collaboratively between Justin and Samia's respective Berlin and Honolulu residences, the album is a product of their physical geographical distance and autobiographical individual growth: the fragmented meeting of displaced minds, reflecting on the way we now interact in a variety of contexts, from platonic, to professional, to economic.

When I was a child, I spoke to Helen.

Helen is a pop group from Oregon. Liz Harris (vocals/lead guitar), Jed Bindeman (drums/tambourine), Scott Simmons (bass/guitar), and Helen (back up vocals).

Originally started with the intention of being a thrash band, it turned into something else entirely. The Original Faces was recorded over a period of several years in Portland by the band members, their friends Nick, Chris and, largely, Justin Higgins. Written together, some songs based on Liz and Scott's demos.

To anyone with even a passing interest in the weirder end of good-time party-ready house music, Freaks should need little introduction. Luke Solomon and Justin Harris have been keeping our preferred kind of dancefloor vibrating to the cheekiest manifestations of house music since the mid- 90s, never letting up and moving in the same oscillations as the good ship Circus Company. From first emerging on Phono through to setting up their Music For Freaks label, stopping by Playhouse, Wash House and Rebirth amongst countless other labels along the way, the UK duo have constantly given the traditions of house music a tickle in the ribs without losing that fundamental funk that makes a record great to dance to. We were thrilled to welcome Luke and Justin to remix Dave Aju's 'Nu Threads' at the end of last year, and now we follow up on that connection with a special EP of gems from the extensive Freaks archives. On 'Shrunken Heads (One Pro Mix)' the rock solid foundations of filter house music collide with flamboyant synth noodlings for a truly cosmic end result, while 'Absolut Zero' finds solace in a slower, deeper groove peppered with oddball effects tweaking and disembodied vocal samples. Heading further into loose-fit, slippery territory, 'Funk You (Who Do You Trust Dub)' lets soulful sample licks wriggle and writhe through a decidedly laid-back atmosphere that shows off the range Freaks have always sported in their output since day one. In many ways this coming together of Circus Company and Freaks feels like a logical development for two bastions of the oddball house music community, not to mention a great opportunity to hear tracks that otherwise might never have seen the light of day.

BACK IN STOCK NOW!! "Volume One is the debut album. It was the only album recorded with original guitarist Justin Marler, before he became an Orthodox monk. Volume One showcases a darker sound and stronger doom metal influence than Sleep's later work. The image featured on the cover is taken from the Salvador Dali painting "Soft Self-Portrait with Fried Bacon".
Their only album as a four piece of Al Cisneros, Matt Pike, Justin Marler and Chris Haikus

LP repressed for first time in many years.

allmusic
"For all their budding, precocious talent, Sleep's 1991 debut, Volume One, quickly betrays their still quite heavy debt to doom metal forefathers like Black Sabbath, Witchfinder, and Saint Vitus. Driven by Matt Pike and Justin Marler's lumbering mass of low-tuned guitar riffs, Al Cisneros' (still going as Luke here) serpentine bass and ragged screams, and drummer Chris Haikus' cyclopean kit pummeling, occasional highlights such as "The Suffering," "Nebuchadnezzar's Dream," and "The Wall of Yawn" prove less memorable than they are sensorially overwhelming. And yet, ironically, Sleep's rhythm guitars would never again be kept as under control, nor would their leads sound quite as refined as they do here (see the cleaner harmonies employed to good use on "Numb" and "Catatonic," for example). This was probably due to the onetime involvement of the significantly less stoned Marler, who would soon exchange the group for a monastery where he would study to become a monk. Fittingly enough, however, losing the versatility of a second guitarist was exactly what Sleep needed to focus their singular power into a crushing force, and the remaining trio would flourish immediately behind the sheer physicality of Pike's six-string style, as proven by 1993's superlative sophomore LP, Sleep's Holy Mountain."

'Psych', the long-awaited Freaks album released in 2014 gets a re-release in 2015 with some brand new remixes.
Freaks, a musical partnership between Luke Solomon and Justin Harris that's spanned twenty years and includes the Music For Freaks label, four albums, and an avalanche of singles on the likes of Playhouse and Hot Creations to Crosstown Rebels, News and International Deejay Gigolos. The album was released to rave reviews and featured a much awaited gathering of material from the late 00s onwards, including collaborations with Robert Owens, Stella Attar and Diz Washington.
This 12" includes interpretations from Dave Aju, Jamie 3:26 and Freaks.For over a decade, San Francisco innovator and a vital part of Circus Company, Dave Aju has been producing and performing his unique brand of electronic dance music, a consistently fresh and expressive sound.
His remix of 'Situations' makes no exception, a strong piece of jacking house music with bubbling sub bass, strong raw percussive beats, and an effective use of Diz' vocals and the flute sound. On the B Side 'Misfits' is reworked by Chicago's master Jamie 3:26 who turns the tune into an acid house monster and by Freaks themselves who extend their Original version for dance floor action. A strong package...and more to come !

Seattle/San Francisco based Techno label, From 0-1 issue "Time Dilation", a 12" vinyl/digital EP by label director, and co-owner Milkplant (Justin Pennell) of the San Francisco Bay Area. Andrei Morant and From 0-1 co-owner Sone join in as remixers. Including an endless groove and two locked grooves, this piece of vinyl is meant to be as utilitarian for the vinyl DJ as possible. 'Dimension 4' starts off the EP with a classic big room percussive Techno vibe, closing in an endless groove. Following is Andrei Morant's absolutely punishing treatment of Dimension 4, a tearing lead, and searing percussion point to the main room. Two locked grooves, one percussive, the other synth based close out side '0'. On the flip side Milkplant's 'Spherical' reps a tight "future-retro" vibe; elements of old Motor City Techno dominate with a bit of grit to keep it dirty. Sone dials in a perfect toned down, more expansive and hypnotic interpretation of Spherical showcasing slowly evolving filters and modulation fit for the wee hours of the morning. 'Plasmic' is included only as a digital extra in this release- tough, noisy, and a little tripped out with a bit of swing to keep them on the floor.


All12" vinyl jackets are custom screen printed by Bloom Press in Oakland, California, with design curation by label art director, Rubidium. Mastering and distribution by Dietrich Schoenemann of Complete USA. Marketing and promotions by Pullproxy Berlin.

Their release on Kompakt at the tail end of last year was a big record for me and this follow-up has been getting incredible reactions in my sets. We're excited to bring it to you on Systematic as our #99 and keep a look out for the limited white transparent vinyl. Enjoy." - Marc Romboy

Monika Kruse - 'Rainer and Namito are two of the nicest guys in this business plus good producers! Well done again! Will play all.'

Kiki - 'Machine funk freakout! Should be a big one, as the last one!'

Huxley - 'Zick is a flipping MONSTER!! AHHH YESSSSS!!!!'

Claude VonStroke - 'it's a great record. I've been playing it for like 10months already.'

ZDS (Zombie Disco Squad) - 'Zack sounds like a chilled out Vitalic. I like it and will be giving it a spin.'

Sinden - 'These are fun tracks, also really liked their Kompakt release. Can't wait to play these.'

Tom Findlay (Groove Armada) - 'Well I absolutely love both cuts.....its everything you'd ever want from a Systematic release and more.'

Justin Martin - 'Zack definitely sounds like a fun track to me.. Looking forward to trying this one!'

Three cover versions glaring with love and respect to Justin Vernon, Prince Rogers Nelson, and Terence Trent Howard.

REPRESSED !!
Detroit veteran Len Bartush (Mutate) returns to advance the series that began with the now classic Circle 1. A full round kick and jack style upbeats are all that's necessary to support the deep, modulated synth lines that travel through lush plates of reverb. Alberto Pascual hits a homerun with his remix that will move any club, festival, or warehouse party. Project 313's remix supplies moving synth lines are stripped down and replaced with driving rhythms and pulsating bass making this a superb techno offering. The Plankton remix turns up the tension with warehouse style percussion and intertwining rhythms complimented by science- fictionesque stabs and pounding bass.

The 'Circle 2' EP is an essential piece of Detroit minimalism. Detroit veteran Len Bartush (Mutate) returns to advance the series that began with the now classic 'Circle 1'.

The EP starts off with Mutate's 'Circle 2' (Machined) original. A full round kick and jack style upbeats are all that are necessary to support the deep, modulated synth lines
that travel through lush plates of reverb, creating an atmosphere perfect for any techno desire from dance floor, to living room, to headphones.

Alberto Pascual hits a homerun with a remix that will move any club, festival, or warehouse party. Big room percussion, moving sub bass, and funky rim shots compliment the dark synths from the original.

Project 313's remix delivers with an interpretation that celebrates the true spirit of the original. Moving synth lines are stripped down and replaced with driving rhythms and pulsating bass, making this a superb techno offering.

The Plankton remix turns up the tension with warehouse style percussion and intertwining rhythms, complimented by science-fictionesque stabs and pounding bass.



DJ's Supporting release:


A.Trebor, Alberto Pascual, Altstadt Echo, Angel Alanis, Anthony Jimenez, Audio Injection , Brendon Moeller, Bruno Ledesma, Chris Liebing, Claude Young, Dadub, Daegon, DCibel, Developer, Drumcell, DVS1, Erphun, Exium - Hector, Exium - Valentin, Felix Lorusso, Hyperactive, Jeff Derringer, Joachim Spieth, Joel Morgan, Justin James, MADA Cedric, Mas Teeveh, Material Object, Measure Divide, Memnok , Monocraft, Morgan Thomas, Octave, Onoffon, Project 313, Rene Walther, Ricardo Garduno, Sigha, Sone, Submerge, Tommy Four Seven, Tony Kasper

Kaspi & Stride is a new project from Justin Tripp, best known as one half of the Georgia equation. Leanings has its origins in rigorous yet laid back studio sessions, dual personal practice sensibilities that seem to get at Tripp’s creative ethos as well as any descriptors might. The material here was born out of collaborative studio sessions with multi-instrumentalist Jimy Seitang (Conga Square/Stygian Stride) - the “Stride” of K&S. The music from these sessions has been reworked and recontextualized by Tripp to form the eight tracks found on the record. These compositions are heady and diverse, anchored by infectious drum patterns and intricate electronics, capably occupying a somewhat hard to define space between “club ready” and “home listening.”

“Vishing” throbs with a wide-eyed intensity, infused with the type of deceptively rudimentary synth stabs and bass swells that wouldn’t be out of place on an early Hype Williams record. With contributions from Mary Lattimore and Jon Leland, “Kaptoxa” charts a more ethereal, if no less dizzying, course. Indeed, this is an album that navigates dense, tactile passages and airy, celestial planes with aplomb, making a case for Tripp’s prowess as both composer and arranger with equal priority. The most important thing is to keep moving.