17.7.2010 von mk.

A selection of the finest unreleased songs and versions from the excellent album ‘Full Circle’. This album contains never before heard versions of ‘Parallels’, ‘I Forgot You’, ‘Together’, ‘Underlined’ & ‘With You’, not forgetting the unreleased songs ‘This and That’, ‘Short Changed’, & the epic ‘Undergrounded’. The album ‘Full Circle’ took four full years to come together from June 2004 - June 2008 and these tracks are just a handful of the finished unreleased works from that time frame. We feel this album holds many emotions from the creative processes behind the works of Atjazz leading up to the release of the album. Martin wrote these pieces around sunset and in the dark of night to create a deep and coherent collection of musical styles.

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21.6.2010 von mk.

With his 4th studio album „Impassive Skies“ Patrick Pulsinger draws the attention to the dancefloor. After his highly acclaimed adventure into jazz with „Easy to Assemble – Hard to Take Apart“ and the classic „ Dogmatic Sequences Series“ comes an album that extends the unique combination of electronics and recorded instruments even further: synthesizers and hand played drumboxes, not sequenced by the computer, carefully fitted into the musical performances. All the beautiful irregularities of the human groove with its switches and bleeps of the analogue bubble bath melt into a sound scape that reflects both the history of dance music and today’s production techniques. All eight tracks on the album show great diversity in style and musical approach. The analogue recording and mixing process and the wide dynamic range give the material a continuity that makes Impassive Skies such an intense and visionary listening experience, fostered by the original release in double vinyl format. Several guest musicians and vocalists played an important part in the development of the album. Their involvement in the early stages of the compositions allowed Pulsinger to give room to their performances in the arrangement and shape the electronic sound around the instruments. Opening track „Grey Gardens“ revolves around trumpet and improvisation genius Franz Hautzinger, whose narrative performance inspired its sambaesque feel, playful drum sequencing and Detroit style synthesizer chords. In „Future Back“ and title track „Impassive Skies“ the outstanding sound scape of guitar experimentalist Christian Fennesz set a perfect background for Rhodes, Grand Piano and Organ played by young jazz talent Martin Knorz, as well as modular synthesized drum patterns and polaroid sampling by the legendary Sebastian Niessen of SND. There is a certain cosmic feel in the 2 tracks that feature the human clockwork Elektro Guzzi as rhythm combo. „Thong“ is filled with tom tom breaks and deep driving bass. „Blame it!” features the voice of Abe Duque of Hollis, Queens in New York City, in line with straight forward, dubbed out disco catching a glimpse of vibraphone and vocoder. The guest vocalists bring elements of pop, new wave and punk to the album. „Rise and Fall“ is best described by singer G.Rizo herself in the song: „It switches, it clicks“. The song was recorded shortly after Pulsinger’s remix for G Rizo’s 12inch “I wanna see you“ on Gigolo Records years ago. It needed some time to give the song the right twist and movement to accommodate her great vocal performance into this flickering dance track. The Japanese CD version will feature an alternative dub version of that song. When the track “A to Z” took form Teresa Rotschopf, of Bunny Lake fame, gave the song the desired new wave feel and the cold glimmer of a future pop classic. Live shows will feature several guests of the album and transfer the playful production process onto stage. Be prepared for some serious instrumentalism!

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3.6.2010 von mk.

Home Sweet Home. Following Tim “Love” Lee, Nouvelle Vague and Nightmares On Wax, another big name in contemporary feel-good electronica recently shared with us a sofa, headphones and a good stash of vinyl.
Florian Seyberth and Peter Heider aka BOOZOO BAJOU need an introduction only in the rarest of cases. With three instant classic studio albums under their belt – “Satta” (2001), “Dust My Broom” (2005) and “Grains” (2009) – the two Nurembergers have long since successfully established their unmistakable signature sound… and they ranked from the get-go among the absolute darlings of international trendsetters and crème de la crème DJs. Anyone who’s familiar also with (and hence appreciates) the BOOZOOS’ so lovingly compiled Juke Joint compilations can be in no doubt that their “Coming Home” sequel album similarly gets to the heart of the matter.
But please note: although BOOZOO BAJOU’s engine tended until now to tick over at low revs, the octane rating this time is considerably higher than on previous albums. Put that down, not least, to numerous DJ gigs all over the planet plus a close friendship with DJ luminaries such as Francois K. (formerly of Studio 54, NYC), which left behind distinct audible traces – and led just recently to an extensive DJ tour of the USA and Asia. Logically enough, such experiences broadened their musical horizons. Yet only a fool could imagine BOOZOO BAJOU subsequently abandoned the state of mind that has consistently defined their work. Coming home this time around simply incorporates a new dimension of sound into the far-reaching BOOZOO spectrum: deep outernational eclecticism is in the House. Genre concepts such as House, Techno or Neo Disco have never been strangers for BOOZOO BAJOU, but now their influence can be felt more strongly.
“All that interests us at the end of the day is really good tunes. When we played with Francois as part of his Deep Space club night in New York, what always impressed us most was this tremendously diverse range of styles that one can go to town on there,” comments Florian Seyberth. “And for us, in a sense, that’s nothing new. It’s normal that the musical focus shifts over time, and moves towards a more club-oriented sound. And therefore, it was time to document those shifts”.
Framed by real BOOZOO BAJOU classics like “Fürsattel” (here in a wonderfully drifting Idjut Boys remix), the dancehall smash-hit “Killer” (with legendary Top Cat on the mike) and “Divers” (in a hot off the press Jay Haze rework), we thus find in the mix twelve exceptional first-class tunes from the duo’s record collection. And as the sum, here too, is once again greater than its individual parts might initially suggest, the sound melts beautifully in a graceful and nothing less than euphoric homage to the grandiosity of good music and a neat swing of the hips… in which the divergence of genres, continents and bpm runs wild to the extent that it can – if at all necessary – be totally and justifiably read as purely incidental.
With rare, sometimes exclusive and thoroughly club-influenced refinements from the hands of maestros such as Henrik Schwarz, Soulphiction, the Motor City Drum Ensemble or Move D, this nonchalent duo from the south of the republic goes in the truest sense of the word for some deep insight – and adds a further highlight to its own discography, as if by sleight of hand.
Florian puts it in a nutshell: “It’s actually simply a matter of bringing the right sound at the right moment. The music of Sarah Vaughn is perfect one moment then has to be followed the very next by a track from Move D!”
When, let’s say, in a decade or so, the most sublime selections from all the sound archives and record collections in the universe are up for an award, it could well be that these here are also in the running. Because knowing hands and two wise pairs of ears dispatched them on the fast track of musical history… in a motor primed by good taste, and with deliberate disregard for any seasonal fashion trends or flash in the pan Pop hype that might be cluttering up the rear view mirror. Typical BOOZOO BAJOU, in a word.
That’s just how good “Coming Home” can sound. One simply needs to know how to get there and, of course, just where “home” lies. And there’s one thing we can be absolutely sure of: the boys from BOOZOO BAJOU know that “home is where the heart is”… in their case, bang between the coffee table and a twirling glitter ball!

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13.5.2010 von mk.

Well, come in and listen to THE OTHER SIDE! ROBERTO DI GIOIA the musical mastermind behind MARSMOBIL unfolds with (Why Don’t You Take) The Other Side the amazing new musical world that MARSMOBIL has progressed into since his last album Minx. With more catchy songs than ever and a strong link to the 60’s roots of pop, rock and psychedelica MARSMOBIL have re-focused their activities and created a pop album of classic dimensions based on Roberto’s outstanding skills as songwriter, arranger and multi-instrumentalist. Almost every single instrument on the album, ranging from the Antonelli children’s organ (he started to play as a five year old kiddo!) to Mellotron, drums, bass, piano, organs, acc. and elec. guitars, sitar, percussion, chimes, marimba, cello and even a blues harp was played by ROBERTO DI GIOIA himself, who, ever since his childhood, has earned himself a reputation as musical “Wunderkind”. Gifted with talent he was employed to play right after he left school at the age of nineteen with big names like ART FARMER, WOODY SHAW, JOHNNY GRIFFIN, JAMES MOODY, MEL LEWIS and BUSTER WILLIAMS. Invitations to play in the States followed soon after and with less than twenty years he was already a known figure in the Jazz scene. From there his journey led him over the years around the world on tour with various musicians, as well as through musical worlds ranging from Jazz to Indie Rock - he worked with THE NOTWIST on their outstanding Neon Golden album - to electronic - works with CONSOLE, PETER KRUDER (of KRUDER & DORFMEISTER fame) and just recently for the new DJ HELL album - to pop - with German pop music superstars like UDO LINDENBERG and just lately MAX HERRE. He was even invited to join CHARLIE WATTS from the ROLLING STONES on the recording sessions of the Music Of The Rolling Stones tribute album! In the same vain as his journeys through musical worlds whilst working with others, Roberto has developed his own project MARSMOBIL. Step by step MARSMOBIL has evolved from the more acid jazz inspired first album Strange World on ACT, through the critically acclaimed Minx on Compost with its first steps into the world of pop, to the current full-fledged pop album soon to be released. So let’s take a listen…

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22.4.2010 von mk.

G-STONE RECORDINGS A birthday party without presents? No f**king way. 25 tracks - 13 new songs & 12 classics - will be available as free MP3 downloads from April 16th to May 16th at www.g-stoned.com. A 2xCD with an extensive booklet recounting the history of G-Stone Recordings and our artists will be in stores on May 17th. Thank you for being part of the G-Stone family - enjoy!

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10.4.2010 von mk.

The Munich-based drummer, DJ and producer returns with a second volume of inspired electro-organic cover versions. The musical mix remains ambitiously broad, from Carl Craig to Laurent Garnier, from Underground Resistance to Jean-Michel Jarre. Since the first album, the Drumlesson collective has grown from a studio concept to a fully working live band.
Classic Detroit techno is a key inspiration for Drumlesson Zwei. Christian and his band have also applied their open-minded jazz attitude to the cream of European house, techno and electro. Jazz meets house, electronic meets organic, Drumlesson Zwei is a testament to music’s limitless potential for inspiration and reinvention.

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22.3.2010 von mk.

If you’re looking for the meaning of it all, better not try to decode this record: “Somewhat absurd… like, ‘Pony’”, says Richard Dorfmeister about the conceptual side of “Pony - No Hassle Versions”. No meaning might have a meaning here. A certain lack of meaningfulness describes the nature of Tosca pretty well; on their equine record even more so.

Releasing an album of remixes of their most recent work stays in tradition with the Tosca modus operandi. There’s been at least one remix album for each ‘original’ Tosca album to date. In the case of “No Hassle”, Tosca’s 2009 longplayer, this might make even more sense than before, since “No Hassle” was an introspective work. “Pony” brings the more club-oriented face of Tosca to the forefront. To put it simply, Tosca, the project of the two Austrians, Richard Dofmeister and Rupert Huber, combines bass-heavy downbeat music with abstract soundscapes of found sounds and material from numerous studio sessions.
When these recordings are handed over to remixers, everything changes; texture, dynamics, structures. Still, “Pony” is a true Tosca album; the sound signature of Dorfmeister and Huber cannot be superseded by a remix.

Let’s take a look at the remixers. Smith & Mudd, Steve Kotey and Pete Herbert are three London-based producers, whose musical credit-lines reach back to the 90’s. Paul “Mudd” Murphy (with partner Ben Smith) delivers a ‘classic downbeat’ –what’s called ‘Balearic’ these days –production of “Pony”’s opening track; but not the superficial kind that has given the genre a bad name. “Rather brilliantly subtle, like early Fila Brazillia”, as Richard Dorfmeister states. Aimed straight for the dancefloor are Pete Herbert’s “Joe Si Ha (Reverso 68 Mix)” and Steve Koteys collaboration with brothers Lee on their “Elitsa” remix. All three versions share a musical heritage that points to the sound of London dance-archetypes such as the Idjut Boys or Faze Action. And of course there’s a connection to the various former acts and aliases of the remixers themselves: Bushflange, Chicken Lips or Akwaaba for example Clubmusic history lurks around each corner…
Quite similar in sound to the London heads is Venetian remixer Bottin. His “Disco Spritzer” remix of “Elektra Bregenz” is, despite its name, more hip-swaying longdrink than appetizer. And Kalabrese, who, being from Zurich, would call that an Apéro, has made his “Oysters In May” into anything but a mere starter. This is more like a main course á la Henrik Schwarz, including some additional vocals from the young dj himself.
Grant Phabao is a Parisian dj- and producer-legend, ever since first droppping his frenchified Rubba-Dub styles on the Pro-Zak Trax Label at the end of the 90’s. When he’s not doing Reggae takes on Tosca, he’s busy mixing some riddims with the latest Q-Tip or the likes. His version of “Birthday” sounds like something hot off the press from Compass Point Studios in Nassau.

If you ask Nicola Conte for a remix, what you’ll get is a proper re-interpretation of your music. While others would try to evoke such via sampling, the man from Bari takes his crew of handpicked musicians into the studio for a new recording. His jazzy reconstructions are always refreshingly unique like a custom fitted Italian suit.
Rodney Hunter is a veteran member of the G-Stone family. His suprising version of “Rosa” is fairly soundtrack-ish. No looking for the perfect Disco beat this time, none of his trademark Rave/Funk groove workouts. The public get’s to see another face of the the man who sometimes sounds like he’s a lost member of the Stereo Mc’s.
The “Spirit Catcher Mix” by Belgians Jean Vanesse and Thomas Sohet of Tosca’s “Joe Si Ha” is designed to be danced to and leaves nothing left to be desired. The Spirit Catcher sound is a sure bet - as long as you dig their electronic Disco / House take of course.
To close the album, Tosca went a bit experimental. Besides giving their music to a handful of remixers, they also contracted a contemporary chamber music ensemble to record an adaptation of “Rosa”. The two Tosca producers then took these recordings and re-edited them, resulting in a closing track by the Kuk String Quartet.

If, after listening to this elegantly sequenced collection of remixes and versions, you still long for a deeper meaning, take a good look at Markus Roessle’s horse photography. If, after that, you’re still filled with a desire for deeper meaning, you’re probably making too much of a hassle. Understand that Tosca is about ‘the meaning of no meaning’. Free your mind and your pony will follow.

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15.3.2010 von mk.

After the successful story of the first Elektrish Compilation, Sonar Kollektiv releases the finest elektrish tunes now in one compilation newley united, Volume 2. The artist roster of SK is simply incredible. You will find a load of the big players of that genre here, represented with some real classics plus hidden gems to discover. This release contains tracks and remixes from Jazzanova, Âme, Atjazz, Roland Appel, Solomun, Trickski, Christian Prommer, Marcus Worgull, Robag Wruhme, Dixon and much more…. so that’s Volume 2!

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3.3.2010 von mk.

Tim Simenon is back with a new album whose accomplished songwriting and sonic scope belie the spontaneity with which it came together. The title says it all: Back to Light. The dusky atmosphere of Future Chaos has given way to a more radiant sound, buoyed by waves of synthesizers and propelled by clean-lined grooves. Raising the tempo, Simenon takes inspiration from classic techno, while vocal contributions from Richard Davis, Kelley Polar, The Battle of Land and Sea, and Paul Conboy bring Bomb the Bass into newfound melodic focus. It’s a brighter, more immediate sound than before; warmer, too, with the singers’ voices positively glowing inside intricately woven electronic nests.

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13.2.2010 von mk.

With “Fiction Jar” the duo offers a joyful fusion of sophisticated soul, urban beats, future jazz and sweet R’n'B harmonies to die for. Guest features include rhyme spitter Capitol A, UK Garage master Zed Bias and Ras T-Weed from the legendary Rockers HiFi (UK).

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