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'We Start Over' arrived on the desks at International Feel and it felt perfect for us. Deep electronics, a lovely mood, forward thinking and a gorgeous vocal from Trudie Dawn Smith. Lots to play with from a remix perspective and a great original track in itself. Steve Cobby is a British producer, musician, composer, and DJ, based in Kingston-upon-Hull, Yorkshire. He co-founded Fila Brazillia in 1990 and released 10 critically acclaimed LP's and produced over 70 remixes for artists as diverse as Radiohead, Busta Rhymes, Black Uhuru and A Certain Ratio. Cobby now releases music via his own label Déclassé label. His latest and third solo LP 'Saudade' was released in March 2014 and received considerable critical acclaim.

The first 12" consists of the original version and on the flip a remix by Apiento & Lx (their first track together since the underground classic 'The Orange Place' ). The remix is slow trance in its purest sense, made for lasers and dark nightclubs. It's already receiving club play and has been named by Andrew Weatherall and Sean Johnston's ALFOS as "one of the records of the summer". High praise.

On the second 12" the reins have been handed to Gerd Janson & Phillip Lauer a.k.a Tuff City Kids - two people making some of the finest house at their at the moment with Janson also getting massively known globally for his DJing. Their remixes are made for the clubs. The 'Garage Dub' is classic New York house that is as deep as you like and one of those hooky ones that does everything perfectly. The other, 'Private Acid Mix ' goes heavy on the beats and drops the 303 in a fine style with the vocal looped and twisted.

As you would expect from International Feel this is classy and classic club music covered from all angles from a balearic original, a deep chug remix from Apiento & Lx and the Tuff City Kids bringing the house vibe. Deep deep deep.

Recorded in 2014, Stranger Than You marks a conscious return to the sounds and styles explored on their debut album Swimming in 1982. There's a strong element of reconnection,' explains singer/songwriter (and bassist) Michel Sordinia. Yet at the same time it's also about developing your own legitimate strangeness, just as the great Surrealist poet Rene Char invited his readers to do. A new mystery singing in your bones.'

Michel and guitarist Marc Deprez are joined by new members Laurent Loddewyckx (drums) and Christophe Boulenger (keyboards and piano). Stand-out tracks include the dynamic title track, Kids On Fire and quickfire Boy With A Gun, as well as more contemplative, elegiac numbers such as Lights and My Angel of Death.

The cover art is an original painting by long term Names associate Benoit Hennebert, celebrated for his work as design director for Les Disques du Crepuscule, with portrait photography by Peter Staessens. The double vinyl edition is housed in a deluxe gatefold sleeve and includes a free digital download code.

This is the story of C POWERS. To understand OYSTERS, you must understand the man behind it all...
THE UNITED STATES TERRITORY OF GUAM, ca. 1989
Abandoned at the island nation's only beachfront techno club as an infant, young Christoph (C POWERS) was adopted by the club's owner, Geraldo Powers. During Geraldo's time as a naval officer, he traveled the world throughout rave's formative years, secretly going to the underground parties when arriving to European ports after having originally fallen in love with early house music as a teenager in his native Chicago via roller-rink parties and the legendary Music Box headed by Ron Hardy. Rear Admiral Geraldo, outed as a gay homosexual during the discriminatory days of Ronald Reagan's U.S. military, was forced to retire, but spared a dishonorable discharge thanks to his roster of medals earning during his exemplary leadership for the invasion of Grenada in 1983.
Throughout his three year stay at the local naval base, the now 30-something Gerry Powers had been struck by the natural beauty and unsettling mysticism of Guam and its peoples and made the choice to permanently set up shop on the island after his unexpected retirement. Taking his partner and newly-crowned Supreme Butch Queen of the New York vogue circuit--Amadeus Lector--with him and financed with $6669.69 in prize money, the new era of DAS POUNDHAUS LTD. was to begin.
In 1990, Gerry founded the notorious Guamanian club DAS POUNDHAUS (the name of which was strongly influenced by a two-week long ecstasy and Polish speed-fueled bender during 1989's inaugural Love Parade in West Berlin). Located inside a decrepit lighthouse originally built during Spain's reign over the island, the club played host to a steady stream of closeted, Pacific-touring U.S. military personnel and later, the party-craving barons of the dot com bubble. Outed in private usenet circles for its off-the-charts hedonism, the club's infamous parties would inevitably lead to its perilous demise, and the eventual deportation of Gerry Powers and his family to the mainland.
But there was one thing that could never be taken away from them...
...synesthesia...
You see, young Christoph was diagnosed with the "disorder" as a pre-teen after having been exposed to nearly a decade of DAS POUNDHAUS first-hand and at such a young age. The youngster was like a fish in water during his childhood in Guam, but when the family was deported in 1999, he began to show signs of anxiety and depression. His ability to hear colors and see sounds had simply turned into a stream of incomprehensible, uncontrolled static. He was now a pariah among his peers. Shunned and admonished. Assigned to sit by himself during school lunch. One of "those" kids.
By this time, his two dads' relationship was on the rocks and would quickly unravel. Amadeus, frustrated with Gerry's incessant ramblings about bunkering in Montana because of the Clinton-Illuminati conspiracy to enslave the middle-class, decided to leave Gerry in an attempt to become a backup dancer for Madonna during her "Drowned World Tour" in 2001 (which would have provided a significant sum of financial security to the family, considering their life savings had been destroyed thanks to the toppling of the NASDAQ from its peak of 5048 in March of 2000--and thanks to those dot com baron stock tips, the Powers were all-in). However, Amadeus' unflinchingly "authentic" vogue style was considered obsolete, and he would go to die in a Reno Motel 6, a victim of drug abuse and that kind of thing apparently.
>>>>Fast-forward to the year2012ish>>>>

3 Shit hot tracks on MB's debut for Bio Rhythm... What can we say 'The Miracle Sign' hit us by surprise... Title track is a beautiful and epic journey in techno soul quite rare to hear these days, reminding a bit of early nineties Detroit/UK techno and even some of the early Speedy J works, all with nowadays production skills. Stunning contemporary techno the classic way. Then from heaven to hell with '60606', an evil distorted acidic drum track guaranteed to damage kids brains worldwide... But no time to think long anyway cause there's 'We Only Have', an autistic out-of-the-box jack track providing a sneaky tool for the more adventurous dj. This will separate the gurners from the dancers. Top-notch showcase by the unstoppable man-machine that is Marco Bernardi..!

Quality alert: Michael Melchner & Alejandro Vivanco!!!
Welcome the new kid on the block, the Spanish Lukas Simmer Incl. 2 hot remixes by the German Michael Melchner and Chileno Alejandro Vivanco: The Sheikh EP on Bla Bla Nation 003

Dear reader,

since Ramona presented all her disciples work throughout the first Lifesaver compilation in 2013, it's now time for another episode of togetherness. Summoning all of her artists around Frankfurt and those who live around the world, Ramona is now ready to present the Lifesaver Compilation 2. 

Kicked off by one of the Frankfurt young guns, the compilation leans into a melody-driven warm-up with a slight hint of analogue soul - "Digital Revolution" by Orson Wells. Next up is the Italian-born and now Berlin-based Massimiliano Pagliara. His contribution "Phasing Down The Sea" enriches the second Lifesaver installment with some of his signature synth-lines paired with a classic chicago-driven beat. The secret weapon from Kilianstädten also known as Mr. Melody, who goes by the name of Lauer, delivers a dark-italo and wave-ish piece topped off with the famous Lauer-craziness called "Language". Roman Flügel, the man of the hour, reinvents classic UK bleep-techno with Tender Hooligan". Another member of the young-guns-club, Chinaski, brings his certain level of synthesizer-love to the table with a track called Futuresex". Portable, one of Ramona's most delicate flowers, teamed up with Lcio again - together they created a hieroglyphic and deep-driven piece of music: "Dive In". TCB, also known as the only member of The Citizen's Band, delivers "Byrdmap", a solid piece of spheric deep and broken music. "Brainwashed" by Benedikt Frey marks the end of the compilation and simultaneously shows his dimension of futuristic dark-disco acid-madness. 

The Lifesaver compilation will be released as a double 12"-vinyl. Additionally Live At Robert Johnson will release an Extension-10"-vinyl containing two brand new tracks by the infamous Hotel Lauer and Tuff City Kids end of March 2015.

Be prepared,
Ramona

Requiem for a dreamstate. It's possibly somewhere between heaven, hell and high water, down the Thames Delta towards Eden. It may involve techno and a distorted state or simply mates sat listening to music together, drifting on the open sea of their minds. This is Jon Hopkins' world, not so much joining the dots as colouring the whole damn picture in.

After releasing his debut album 'Opalescent' at the rookie age of 21 in 1999, he's gone on to work with Brian Eno and David Holmes, produced King Creosote and via Eno, worked on three Coldplay albums. He released the breakthrough album 'Immunity' in 2013, which was nominated for the Mercury Prize.

The story arc with which Hopkins succeeded on 'Immunity' makes its appearance on Late Night Tales too with a perfectly sculpted excursion on this widescreen mix. . Opening with the unreleased 'Sleepers Beat Theme' by composer Ben Lukas Boysen, ghostly pianos skip elegantly hither and thither, among rising strings, as on Darkstar's 'Hold Me Down'. Nils Frahm is here, his sonic palette perfect for the job, while labelmate A Winged Victory For The Sullen contribute 'Requiem For The Static King Part I'. Sigur Ros offshoot Jónsi & Alex's heroic 'Daniell In The Sea' sends us forth towards the Baltic with tears streaming.

Beats occasionally appear, as on the Grace Jones-sampling 'Yr Love' by Holy Other or the pair of Black Country acts Bibio and Letherette, whose 'After Dawn' is almost spry in comparison to the minor key symphonies on display here. The perfect contrast to this comes from Alela Diane's wistful 'Lady Divine' or even Four Tet's mesmerising 'Gillie Amma I Love You', with its enchanting kids' choir. Exclusive to this release, Jon Hopkins provides a startlingly vulnerable new piano version of Yeasayer's 'I Remember'.

Poet and fellow Brian Eno collaborator (their joint album 'Drums Between The Bells' was released by Warp in 2011) Rick Holland narrates the exclusive spoken word closer 'I Remember', underpinned with additional sound design by Hopkins.

"Putting this album together was a unique opportunity for me to present music that I have been listening to for years, free from the constraints of a club setting or from trying to stick to one genre. I chose tracks not just because they have been important to me but because of how they sit together, putting as much thought into the transitions and overall narrative as I did into the track choices. I mixed by key and by texture more than anything else, using original sound design, pivot notes, and often recording new synth or piano parts to link things together in a way that flows as naturally as possible." - Jon Hopkins, December 2014

As Pathway Traxx finds itself embarking on a dawn of maturity the now familiar colourful label welcomes in its 4th vinyl only release.
This bright yellow vinyl 4th installment welcomes on board relative newcomer on the house scene, Amir Maglajlija a.k.a. Espada. Originating from Bosnia & Herzegovina, Espada only began producing in early 2011 but as you will hear on this release his production skills far out weigh his years of experience. Amir delivers a truly sublime A-side with sprinkles of jazz influenced house and funk. He effortlessly intertwines melodic keys with jazzy horns whilst keeping things moving along nicely through his infectious drums and percussion.
The B-side of the EP see's Pathway Traxx return to more familiar ground with a stripped back deep rework by Mannheim native, ManooZ. Having released on the likes of Tomorrow is Now Kid, Swink and ALIVE Recordings to name but a few, its clear to see Manooz is a force to be reckoned with, and a name well-known for quality house productions.
And last, but by certainly no means last, in typical Pathway Traxx style, they've saved the heavy weight banger for the last track on the B-side. This out and out club ripper is delivered by close label friend and well renowned groove maker, Kezla. Expect nothing more and nothing less than Stripped back drums and a bone-shaking baseline!

in the past ten years lots of little and big stories happened in the music culture. house literally disappeared almost from the scene in order to come back as strong as never before. 

minimal morphed back into techno while leaving the question mark why the term minimal ever got invented. some originators like frankie knuckles or romanthony passed away, while others like larry heard just stopped to perform. 

in-between countless new artists appeared, twisted dance music with new perspectives on the old, and released their fresh ideas on even more countless labels out there in the void called music market. 

one of the rare platforms that stayed solid as a rock in all these years is mule musiq, the tokyo based label that spreads miscellaneous sound vibes that long from jazz to disco, house, and unobtrusive ambient since 2004. 

with a versatile artist roster consisting of producers such as henrik schwarz, lawrence, dj sprinkles, dj jus-ed, kuniyuki, eddie c, roedelius, or new kids on the blog like barnt or lord of the isles the japan based record company developed a status of her own for being one of the most free spirited organisations in contemporary music. 

'if the music is good, any kind of music is welcome. i don't like labels which release one style music.' 

mule musiq's mastermind toshiya kawasaki once said in a rare interview. now he celebrates a ten years of freedom jubilee with the sixth instalment of his famed 'i'm starting to feel ok' compilation serial.  a real massive international anniversary celebration that is ventilating all what happened in the past ten years in order to form something that travels right into the future. and that is where mule musiq tries to be since a decade to tell some unheard musical stories that stay for good even when the future is long past.

For the second instalment from Quantum Entanglement we delve into the misty past, a time when moving parts ruled the dance, when the power of the night rested on a needle and a bassline, and before CDJs calculated the bpm for you...you had to touch things, buy things, and the bassline ruled over all. Acid Thunder, a classic by Fast Eddie, was the first dance record i ever bought. It was important. The guy who sold it to me, at the time a spotty school kid in his school uniform, was called John Stapleton, and the shop was Sidetrax in Bristol. Mentrix totally gets the kinda NY sluttiness of the original, and brings it right up to date....less of a cover, more of a homage, the entanglement of then and now. Need You is an entanglement of two very unlikely BFFs... John Lee Hooker and Joey Beltram. This isn't really a cover, it's more like the offspring of many things, times, and moments - it's like the grandchild of John Lee Hooker's track dated the nephew of Joey Beltram's track and lived in Neukölln. Again, Direct - 'Techno Gone Mad' on R&S was another of my earliest techno purchases - at the time it was considered 'Dutch Hardcore' but now, it's almost cute.... Quantum Entanglement....recycling other people's good ideas since January 2014

'You become responsible, forever, for what you've tamed", Antoine de Saint-Exupéry writes in his modern fairy tale 'The Little Prince', in which his protagonist travels through various worlds in search of friendship and benevolence. The quote is, no doubt, fitting for Niko Schwind, since the Berlin-based DJ and producer consistently demonstrates a deeply anchored love for and close bond to house music, the art form he himself has tamed. As a DJ, he travels the globe, having played in Europe, Australia, Thailand, Brazil, the US and Mexico, and in his sets he creates a feeling of connectedness between himself and others, as well as within the crowd. On Stil vor Talent, Niko Schwind now presents the fruit of his labour in the from of his third album: 'Grippin' World' captivates the listeners with its versatility and coherence, and kidnaps them to a world of sound, made up of elegantly reduced grooves, organic arrangements and accessible vocal-melodies. With 'Perfect Fit', the first single of the album, we are handed an absolute highlight, as Heartbeat's warm voice and a simple guitar-loop form a flawless musical symbiosis, accentuated by a synthetically creaking bass-line. Niko thus proofs he's more than capable of practicing restrained Minimalism with a pop-impact. 'Perfect Fit' then gets the floor treatment: while Niko turns in a reduced, tool-oriented club cut, the hitherto unknown Proud bursts onto the scene with a dreamy arrangement centred around atmospheric synths on his remix. Grippin'!

#3 Live Act of 2013 at Resident Advisor, one of the most in demand remixers around, a total of 156 gigs in 2013, releases for Rush Hour, Ovum, Macro; booked out months in advance from Berghain to Ibiza to the main electronic festivals ... KiNK: Arguably the world of dance music has not witnessed anyone else rising so clearly from bottom to top just by the centrifugal force of sheer talent. Being based in Sofia, Bulgaria, without a support network, a campaign or any media hype, his music alone - live and in the studio - created a momentum whose end we have yet to see. Lenin said: 'Communism is Soviet power + electrification of the whole country.' Hardly did Lenin suspect what an inspired take on these words could do: post-socialist techno. A child of 80's late socialism, KiNK grew up on the home computers Bulgaria's IT scientists had created by backwards-engineering Western technology. Fueled by nuclear energy on the edge of desaster, a whole generation of kids was trained to hack. Dance music gradually dripping in through early dial-up internet connections, the acoustic fingerprints of distant parties put Eastern producers from KiNK to Nina Kraviz to Vakula under a spell. Yet KiNK spent years of backwards-engineering the sounds of Detroit, Chicago and early Warp.

117 Presents Forbidden Codes.
This compilation project is compiled and envisioned by DJ Trace, a veteran of UK dance music.New School players Verb and Quartz take on two classics to kick things off.
Mutant and Sonar get a modern and minimal touch up on crystal clear 10" collectors vinyl. Three more 10's continue this sonic experience featuring a group of the finest underground producers in today's scene.Kid Lib, Tim Reaper, Gremlinz & Homemade Weapons, Friske, Fade and Genotype appear over 3 plates.
Artist's on the LP display their 2014 vision which compliments the direction that 117 is heading.This moves far away from the soulless noise that plagues in various electronic dance music genres today. They use in this compilation, modern studio techniques enhanced with a passion and respect for the history of drum&bass.This LP is not to be filed under throwaway music.
Breaks and vibes unite to reminisce the days agone whilst outlining a new blueprint that pushes the boundaries of music technology.The essence of the 117 sound is explored and continues into the 24 digital tracks written by a gifted selection of hand picked talent from around the world.
Now is your turn to be possessed by the sounds of the 'Forbidden Codes' Released 28th April via ST Holdings.Mastered by Beau @ Ten Eight Seven, London.

Baptise & Pierre Colleu
French brothers Baptiste & Pierre Colleu have been making music together since they were children. They spent a chunk of their childhood in Africa, which they say has inspired their work in the studio. That influence is submerged fairly deep on 'Dolphin Kid,' the title track for these two EPs. There's an undercurrent of eerie soulfulness and woody percussion accents running through this oddly alluring cosmic-house seducer, but its roots are more Balearic than Afrobeat.

The five remixes of 'Dolphin Kid' enhance the Colleu brothers' original in incrementally fascinating ways. On 'Coyote's Intense Mix,' the respected UK duo augment the laid-back rhythm with nuanced 303 twangs and boldface the hand percussion to magnify its latent funkiness. L.I.E.S. recording artist Willie Burns slows 'Dolphin Kid''s pace to a majestic, hollowed-out, dub-funk strut. It's unfathomably deep. Seattle tech-house maverick Jon McMillion serves up the most twisted, sinister version here, warping the main synth part into a disorienting swirl of borborygmi while intensifying the rhythmic urgency and expanding the sound palette. The second EP concludes with two masterly remixes by Black Merlin. His 'Romance in the Dark Mix' turns 'Dolphin Kid' into a chilling, Goblin-esque piece of dungeon ambience. But it's Merlin's nearly 13-minute 'Peyote Mix' that really reels in the cinematic magic, as he launches the cut even deeper into the black, adding thrusting, throbbing disco kicks and enough horror/thriller-film soundtrack signifiers to give John Carpenter a perma-grimace. Poor 'Dolphin Kid' has come to a gory, but very exciting end.

This is the year of Peder Mannerfelt's rebirth. After seven years he's laid The Subliminal Kid to rest. With this new 12", the chains have been locked in and the road map has been obliterated. EP1 is focused like a laser etching out intricate patterns in massive, humming machines. Mannerfelt's ideas have been reduced to a razor's edge and he balances these freeform compositions like a master.
This EP could be seen as a prelude to Peder Mannerfelt's debut album under his own name that will be released by Digitalis Industries in February and at the same time is the first part in a ongoing series of self released records by Mannerfelt.
Opener "Hook (end)" crashes like waves from a metallic ocean bearing down on the shore. The bass craters beneath, digging its way to the listener's core. Each idea is stripped down and simplified to the point of near exhaustion, resulting in tracks that are relentless and infecting. "Psalms and Songs and Voices" is propelled forward by crushing kick drums and rhythmic bass pounding. Somehow, though, Mannerfelt works unsuspecting hooks in between the peaks. It's incredible. "With Psalms and Songs and Praises," the final track on this 12", everything is pushed to the limit. This is absolute maximalism; an overload of the senses that cannot be escaped. It's the opposite of everything else on the EP, combining everything into a single, massive escape.
This is the sound of machines humming. This is the sound of the factory floor in rebellion. And yet, this is only the beginning; the first chapter of a novel yet to come. This is the sound of Peder Mannerfelt finding his voice.

Auf dem Album feiern Künstler wie Angelique Kidjo, uestlove (The Roots), M1 (Dead Prez), tUnE-yArDs, Kronos Quartet, Baloji, Spoek Mathambo, Nneka oder Tony Allen in dreizehn grandiosen Neubearbeitungen Fela Kutis musikalisches Vermächtnis. Außer der Compilation veröffentlicht Knitting Factory Records ebenfalls am 15. Oktober die letzten sechs Titel in der Reissue-Serie von Fela Kutis Gesamtwerk, die im März dieses Jahres mit der Compilation "The Best Of The Black President 2" und der ersten Staffel der CDs begonnen hatte.

New Jersey based producer Jorge Velez returns to Echovolt under his brand new guise Bridge & Tunnel Kids with three tripped out, psychedelic journeys of the Detroit kind plus a remix by fellow 'outsider' Willie Burns!

DJ / Press Quotes
2012 was a prolific year for the New Jersey based producer Jorge Velez also know as Professor Genius. He recently spread even more his name with his 'MMT Tape Series' release on Rush Hour Recordings and the blinding sountrack-ish 'Hassan' album on the notorious L.I.E.S. from New York.

Jorge Velez and William Burnett joined their forces in 2009 and their collaboration tracks became the first release on the Echovolt label's catalog. Their debut EP came under the name 'PG&S - Motorik EP' and contained some freaky krautrock electronics.

After four years, Jorge Velez and William Burnett (aka Willie Burns) return to Echovolt. This time Jorge Velez delivers three tripped out, psychedelic journeys of the Detroit kind under his brand new guise Bridge & Tunnel Kids. This fresh Echovolt release is topped off by a remix by fellow 'outsider' Willie Burns with his unique sound signature!

*A pure slab of noise... a ruckus on vinyl! A limited edition piece of wax featuring remixes by the Circus Records superstars Funtcase & Genetix.

*Funtcase has been producing since being inspired by d&b as a kid growing up in Bournemouth. In 2009 he created his dubstep alias Funtcase and released his first single on 4:20 Records. The following year he signed with Circus Records and released the killa 'So Vexxed/Matress Punch'. He is also known for his standout remixes, including mixes for Plan B, Camo & Krooked, The Wideboys & Skizm.

*For this remix Passenger organised Spyda (Pendulum 'Black Tarantula'/Knife Party 'Fire Hive') back into the vocal booth to lay down some fresh vocals for the remix. A former Passenger vinyl buyer, Funtcase is no stranger to the sounds of the label and adds his own nod to its history by flipping some breakbeat twists and turns to proceedings to create what many are saying is his best remix to date!

*The flipside remix is from fellow Circus Records crew members and Bournemouth badmen Genetix. Following a similar path to Funtcase, Matt & Rich started off making d&b before switching the tempo and laying down some filth at 140. With regular appearances on the MistaJam's radio show, guest mixes on KissFm for Hatcha and Crazy D and remixes for the likes of Bassline Smith & Drumsound and Kelly Clarkson, to name a few, these guys are continuing a south coast tradition of bass noise and terror.

*With the label instructions to 'make it as heavy as you can, Genetix took the vocal of Sporty-O, recorded at DJ Lethal's (House Of Pain/Limp Biskit/La Coka Nostra) studio in LA back in 2007, and brought it up to speed with a track that flips from militant dubstep into some proper 808 trap biz.

Six years have passed since the last album by Andi Otto alias Springintgut, ("Park and Ride", City Centre Offices, 2007). In this period, Otto has done nothing less than inventing a new instru- ment: His "Fello" is a cello with movement sensors attached to the bow and a corresponding software. The development has been kicked off at STEIM in Amsterdam already in 2007. Since then, Otto has achieved vital refinements of the system, cooperated with artists of various fields as diverse as choreographers in Macedonia, theatre in Nigeria and Techno DJs in the Berghain Kantine in Berlin or the Fusion Festival. He even played solo with his instrument on different continents. For this third album, "Where We Need No Map" Otto takes the "Fello" to his studio in Hamburg for the first time. He records his instrument which has until today only been presented live on stage. In these Fello Sessions, the bow gestures immediate- ly modulate and process the amplified cello sound. In the subsequent editings he selects and cuts these sessions and merges them with other styles, such as Skweee, House and Jazz. Springintgut's trademark sound, this unique playfulness, is pre- sent throughout, while the live-processed cello adds an unrivaled deepness. The artist's expeditions even add more colour. Two tracks have been recorded in India. The lead voi- ce in "Bangalore Kids" is a field recording of a schoolboy in Cubbon Park, Bangalore. Andi Otto spends three months in Japan as artist- in-residence in the Villa Kamogawa in Kyoto. Du- ring this concentrated period he produces the more contemplative tracks of the album, like "Ka- mogawa Cycling" and "Western Kyoto". In Sri Lan- ka, finally, he meets Sasha Perera, the voice of Berlin's Dub Techno band Jahcoozi. They record two songs together. Especially in "Bullet" one can sense the lazy, muggy, peaceful heat of the after- noons in which this beautiful track has been com- posed. These stories may help to locate the music's orig- ins but still the sound of "Where We Need No Map" points us to unknown territories. The journey itself is the reward, let's listen!

Sechs Jahre sind seit dem letzten Album "Park and Ride" (City Centre Offices, 2007) von Andi Otto alias Springintgut bereits vergangen. Diese Zeit hat der Pingipung-Mitinhaber genutzt, nicht weni- ger als ein eigenes Instrument zu erfinden: das "Fello", ein Cello mit Bewegungssensoren auf dem Bogen und einer dazu gehörigen Soft- ware. Die Grundlagen dafür entstehen bereits 2007 am STEIM in Amsterdam. In der Folgezeit gelingt es Otto, das Instrument immer weiter zu verfeinern, mit unterschiedlichen Künstlern zu kooperieren und international aufzutreten. Für "Where We Need No Map" trägt Otto das Fello erstmals ins Hamburger Studio und nimmt unzählige Sessions auf, in denen die Gesten des Bogens direkt den verstärkten Sound des Cellos verändern und neu formen. Diese Fello-Sitzungen werden anschließend editiert und mit anderen Ein- flüssen vermengt, die von Skweee über House bis hin zum Jazz reichen. Der Markenzeichen-Sound von Springintgut, diese ureigene Verspieltheit, ist weiterhin vorhanden, gewinnt durch das live-pro- zessierte Cello aber eine bisher unerreichte Tiefe. Weitere Farbe erhält das Album durch Ottos zahl- reiche Tourneen in ferne Länder. Zwei Stücke ent- stehen in Indien. Die Stimme von "Bangalore Kids" ist eine Feldaufnahme eines Schuljungen im Cubbon Park in Bangalore. In Japan verbringt Andi Otto drei Monate als "Artist in Residence" in der Villa Kamogawa in Kyoto. Während dieser kon- zentrierten Zeit entstehen die ruhigeren Tracks des Albums wie "Kamogawa Cycling" und "Western Kyoto". In Sri Lanka lernt er dann Sasha Perera kennen, die Stimme von Jahcoozi. Sie nehmen zwei Songs zusammen auf. Vor allem in "Bullet" kann man der faulen Nachmittagshitze nachspü- ren, in der die Stücke entstanden sind. So lassen sich die vielfältigen Entstehungspunk- te von "Where We Need No Map" zwar karto- graphieren, aber der Sound des Albums schickt einen trotzdem in unbekanntes Terrain. "Der Weg ist das Ziel, frag nicht viel, hör mal..."