Kompakt Releases Feed 2016-11-11T16:07:30+00:00 sitengine http://www.kompakt.fm/releases Kompakt moderator@kompakt.fm http://www.kompakt.fm

2016-12-09T00:00:00+00:00 http://www.kompakt.fm/releases/forms The Micronaut creates the soundtrack for those moments when the screeching of the subway and the steps on the wet pavement have echoed away into the dark city sky. Those moments when the ghosts of fumes and stop lights haunt the empty streets, when behind glowing windows dreams and urban exit strategies get ready for bed. When everybody is close to each other, but everyone is on his own. When the city comes to a standstill, but the wheels inside the heads of its inhabitants keep spinning. Stefan Streck discovers the musical equivalent for this epic atmosphere somewhere between Bass Music, Electronica and Pop. The cinematic soundscapes of his nocturnal City Blues have a somewhat tragic vibe, which is very noticeable both during the impulsive, passionate live shows of The Micronaut and on 'Forms', his third studio album on Acker Records, distributed through Kompakt. Between moments of deep melancholy and sudden eruptions of blissful euphoria he creates a feverish state of tension. http://www.kompakt.fm/releases/forms

2016-12-09T00:00:00+00:00 http://www.kompakt.fm/releases/forms_cd The Micronaut creates the soundtrack for those moments when the screeching of the subway and the steps on the wet pavement have echoed away into the dark city sky. Those moments when the ghosts of fumes and stop lights haunt the empty streets, when behind glowing windows dreams and urban exit strategies get ready for bed. When everybody is close to each other, but everyone is on his own. When the city comes to a standstill, but the wheels inside the heads of its inhabitants keep spinning. Stefan Streck discovers the musical equivalent for this epic atmosphere somewhere between Bass Music, Electronica and Pop. The cinematic soundscapes of his nocturnal City Blues have a somewhat tragic vibe, which is very noticeable both during the impulsive, passionate live shows of The Micronaut and on 'Forms', his third studio album on Acker Records, distributed through Kompakt. Between moments of deep melancholy and sudden eruptions of blissful euphoria he creates a feverish state of tension. http://www.kompakt.fm/releases/forms_cd

2016-12-09T00:00:00+00:00 http://www.kompakt.fm/releases/kontraste Dance floor taskmaster REINHARD VOIGT is at it again, dropping a new set of raw, willful techno cuts that follow his much-acclaimed solo release REISEN & SPEISEN (KOMPAKT 338) and a stirring split EP effort with Michael Mayer on TIME IS RUNNING (KOMPAKT 328). He even found time in his busy Kompakt schedule to throw in a rare remix for El_Txef_A on rising underground imprint Forbidden Colours. Voigt’s latest outing KONTRASTE fits snugly in the artist’s tradition of powerful, minimalistic techno with a headbanging twist: oscillating between pure movement, and monolithic, abstract riff, the a side’s THE SINGING SAW interweaves several rugged synth motives around a stoic, empowering bassdrum, while b side jam TRUST takes the scenic route, building its simple, yet highly effective lead sounds up into a towering grinder with a touch of silkiness. As we’ve grown to expect from REINHARD VOIGT, the whole is always greater than the sums of its parts, with these new recordings again proving his mastery of all things banging. http://www.kompakt.fm/releases/kontraste

2016-12-09T00:00:00+00:00 http://www.kompakt.fm/releases/serve_ep http://www.kompakt.fm/releases/serve_ep

2016-12-02T00:00:00+00:00 http://www.kompakt.fm/releases/at_once Hammer presents his vinyl debut on Optimo Music Disco Plates. This three track 12” is a vinyl only / club use only limited edition guaranteed dancefloor activator. Tech-house djs might want to skip this one. http://www.kompakt.fm/releases/at_once

2016-12-02T00:00:00+00:00 http://www.kompakt.fm/releases/invito_alla_danza_part_2 This is the second 12” of a 2-part series of 12”s that will be released digitally as a full-length LP. After a split single with Muslimgauze and a single of their own on Optimo Trax, we are delighted to present the first Optimo Trax album release by Italy’s Underspreche. The album is split across two four- track EPs, released two weeks apart (and also as a complete digital album). We try to avoid over-hyping our releases, but this one is really fully deserving of the hyperbole I am about to bestow on it. Underspreche first sent me some music a few years ago and seeing them grow and develop has been nothing short of astonishing. I think this is some of the most nuanced and advanced music that Optimo Trax has ever released. There are several dancefloor destroyers here but also music for more developed/leading-edge floors too, as well as some music simply designed to make one’s mind melt. It is very rare that I listen to 4/4 music at home, but this album has been a constant on my hi-fi since it was sent to me. Super-advanced, organic sampling, inspired vocalisations, acute psychedelic modular sequences, forward- thinking drum programming, this is exactly what I hoped Optimo Trax would be about when I started the label. From Underspreche’s souls to yours. http://www.kompakt.fm/releases/invito_alla_danza_part_2

2016-12-02T00:00:00+00:00 http://www.kompakt.fm/releases/profundity Dark melancholic techno explorations. http://www.kompakt.fm/releases/profundity

2016-12-02T00:00:00+00:00 http://www.kompakt.fm/releases/signs_of_change_ep Landside is the collaboration between Italian producers Hunter/Game and the Icelandic band Kúra. The sound draws as much from the deep vibe and melancholy ambience of Kúraʼs reflective, dubby moods, as it does from the more insistent groove of Hunter/Game's dancefloor roots. Landside – Signs Of Change EP is the fourth chapter of Landside’s journey through diverse sound researches that cross over to industrial ambients, basslines and a whirling melody accompained by a crescendo of sonorities that won’t release you from the flow. Distance is a throw back voyage in a melodic orchestra of ethnic sonorities that elevate you to an esquisite and new dimension. Luke Hess Remix, is a night bounce into into dub techno that will hypnotize you with its hazy yet enthralling use of vocals. Kelpe Remix is a deep and intense dreamlike hazy trip, accopanied by trippy melodies that melt with the voices of the original track. http://www.kompakt.fm/releases/signs_of_change_ep

2016-11-25T00:00:00+00:00 http://www.kompakt.fm/releases/invito_alla_danza_part_1 This is the first 12” of a 2-part series of 12”s that will be released digitally as a full-length LP. After a split single with Muslimgauze and a single of their own on Optimo Trax, we are delighted to present the first Optimo Trax album release by Italy’s Underspreche. The album is split across two four- track EPs, released two weeks apart (and also as a complete digital album). We try to avoid over-hyping our releases, but this one is really fully deserving of the hyperbole I am about to bestow on it. Underspreche first sent me some music a few years ago and seeing them grow and develop has been nothing short of astonishing. I think this is some of the most nuanced and advanced music that Optimo Trax has ever released. There are several dancefloor destroyers here but also music for more developed/leading-edge floors too, as well as some music simply designed to make one’s mind melt. It is very rare that I listen to 4/4 music at home, but this album has been a constant on my hi-fi since it was sent to me. Super-advanced, organic sampling, inspired vocalisations, acute psychedelic modular sequences, forward- thinking drum programming, this is exactly what I hoped Optimo Trax would be about when I started the label. From Underspreche’s souls to yours. http://www.kompakt.fm/releases/invito_alla_danza_part_1

2016-11-25T00:00:00+00:00 http://www.kompakt.fm/releases/narcissus_in_retrograde Avalon Emerson’s latest EP, Narcissus In Retrograde, explores four different styles that shape her distinct voice as a producer and songwriter, from symphonic showstoppers to broken acid. Opener “Natural Impasse“ ferries massive melodic themes through a network of emotive capillaries that’s underpinned by charging drums, while “Dystopian Daddy“ dons a theatrical flare with costume-changing arpeggiators and digital brass beef that command attention like a stage-hogging space alien diva lip-syncing for new wig money. The B-side takes a more menacing turn with “Why Does It Hurt“, the outright techno achievement of the record, and the snarling closer “Groundwater“. Ethereal vocals on the former punctuate kicks and growls that sound like they were pulled from a pedal monster’s electric guitar, and on “Groundwater“, a crucible of fucked breaks and acid cut a ravine through a bed of off-staccato hats and a sample swamp. http://www.kompakt.fm/releases/narcissus_in_retrograde

2016-11-25T00:00:00+00:00 http://www.kompakt.fm/releases/paradise_lost_ep Alek S offers up another dose of pensive techno vibes in his “Paradise Lost” EP. Side A opens up with “Bold”, a slice of laid back while still pounding techno, boasting zippy synths with an unmistakable analog flavour. It’s closely followed by Andres Zacco’s rework of “Honey Wheat”, an apt reconstruction of the original that’s aimed squarely at the dancefloor. The Argentinian producer and recent Ilian Tape alumni dives in with a powerful groove, cutting its way through a suspended atmosphere full of spaced out sounds. Over on the B-side we’re greeted with “Paradise Lost”, a slow-paced melody that gradually shifts into a dreamy groove filled with spaced out drums and abstract delays. Last but not least, the original version of “Honey Wheat” is a somewhat atmospheric, yet functional floor warmer that fits a resigned groove. http://www.kompakt.fm/releases/paradise_lost_ep

2016-11-25T00:00:00+00:00 http://www.kompakt.fm/releases/pop_ambient_2017 POP AMBIENT - our longest-running compilation series after Total - sees a new instalment for 2017, featuring exclusive material from acclaimed genre veterans and series newcomers JENS-UWE BEYER, YUI ONODERA & SCANNER, MAX WÜRDEN, LEANDRO FRESCO, THORE PFEIFFER, KENNETH JAMES GIBSON and SOULSAVERS remixed by WOLFGANG VOIGT. Following his own cues from preceding entries, Pop Ambient chief curator Voigt again strikes a perfect ratio of established producers and debuting guests: our complete Pop Ambient solo album crew makes an appearance, from JENS-UWE BEYERs atmospheric soundscapes on the tracks FINAL 9.1 and FINAL 10, to THORE PFEIFFERs glitch romance GOOD LIFE, LEANDRO FRESCOs beatific drone fests SONIDO ESPAÑOL and EL ABISMO, as well as KENNETH JAMES GIBSONs melancholic epic HER FLOOD KNOCKED ME TO THE GROUND (BUT I WAS ALREADY THERE. Other returning artists include ANTON KUBIKOV of SCSI-9 fame (with electronic reverie DEKKA) and Cologne soundsmith MAX WÜRDEN, who was last seen releasing wonderfully immersive albums on BineMusic and Wolfgang Voigt’s very own Exponate series. His guitar-infused, dubbed-out cut FERNFELD and the mysterious electronic mantra 186.000 MILES PER SECOND are particularly striking renditions of the rich sonic narratives possible in Pop Ambient. For the 2017 release, we welcome Tokyo-based Pop Ambient novice YUI ONODERA with his tracks CROMO1 and CROMO2, which both serve as opener: a trained musician and architectural acoustic designer by trade, Onodera embeds diverse influences from traditional sound design, film scores, contemporary composition and electro-acoustic experimentation in his work, resulting in intricate drone sculptures and sound skylines. This skill set gels naturally with the sonic sensibilities of iconic experimental composer SCANNER who teams up with Onodera for the cut LOCUS SOLUS - it’s an incredible honour to have such a towering figure in advanced electronic music on board. Wolfgang Voigt himself makes an appearance as remixer, turning the track HAL from electronic-rock-gospel duo SOULSAVERS’ 2015 album “Kubrick” into a voluptuous and immersive sound journey. It’s the cherry on top of a particularly fluffy cake that will prove irresistible to any connoisseur of ambient music. http://www.kompakt.fm/releases/pop_ambient_2017

2016-11-25T00:00:00+00:00 http://www.kompakt.fm/releases/pop_ambient_2017_cd POP AMBIENT - our longest-running compilation series after Total - sees a new instalment for 2017, featuring exclusive material from acclaimed genre veterans and series newcomers JENS-UWE BEYER, YUI ONODERA & SCANNER, MAX WÜRDEN, LEANDRO FRESCO, THORE PFEIFFER, KENNETH JAMES GIBSON and SOULSAVERS remixed by WOLFGANG VOIGT. Following his own cues from preceding entries, Pop Ambient chief curator Voigt again strikes a perfect ratio of established producers and debuting guests: our complete Pop Ambient solo album crew makes an appearance, from JENS-UWE BEYERs atmospheric soundscapes on the tracks FINAL 9.1 and FINAL 10, to THORE PFEIFFERs glitch romance GOOD LIFE, LEANDRO FRESCOs beatific drone fests SONIDO ESPAÑOL and EL ABISMO, as well as KENNETH JAMES GIBSONs melancholic epic HER FLOOD KNOCKED ME TO THE GROUND (BUT I WAS ALREADY THERE. Other returning artists include ANTON KUBIKOV of SCSI-9 fame (with electronic reverie DEKKA) and Cologne soundsmith MAX WÜRDEN, who was last seen releasing wonderfully immersive albums on BineMusic and Wolfgang Voigt’s very own Exponate series. His guitar-infused, dubbed-out cut FERNFELD and the mysterious electronic mantra 186.000 MILES PER SECOND are particularly striking renditions of the rich sonic narratives possible in Pop Ambient. For the 2017 release, we welcome Tokyo-based Pop Ambient novice YUI ONODERA with his tracks CROMO1 and CROMO2, which both serve as opener: a trained musician and architectural acoustic designer by trade, Onodera embeds diverse influences from traditional sound design, film scores, contemporary composition and electro-acoustic experimentation in his work, resulting in intricate drone sculptures and sound skylines. This skill set gels naturally with the sonic sensibilities of iconic experimental composer SCANNER who teams up with Onodera for the cut LOCUS SOLUS - it’s an incredible honour to have such a towering figure in advanced electronic music on board. Wolfgang Voigt himself makes an appearance as remixer, turning the track HAL from electronic-rock-gospel duo SOULSAVERS’ 2015 album “Kubrick” into a voluptuous and immersive sound journey. It’s the cherry on top of a particularly fluffy cake that will prove irresistible to any connoisseur of ambient music. http://www.kompakt.fm/releases/pop_ambient_2017_cd

2016-11-25T00:00:00+00:00 http://www.kompakt.fm/releases/sturmwurm When your feet just won't stop twitching, When you're brain feels bubbly itching, When dreams and fantasies come true, Then it's clear: The Stormworm got you! http://www.kompakt.fm/releases/sturmwurm

2016-11-25T00:00:00+00:00 http://www.kompakt.fm/releases/systematic_shades_vol_2 After the highly acclaimed first part of Wehbba´s outstanding „Systematic Shades“ series it´s finally time fort he second volume and the waiting time of one year was worth the waiting. Once again he convinces us with three hybrids of straight and functional tracks including that touching certain something you have or don´t. Moonrise reminds us on the good old early times of techno when the MPC-60 was the master of the groovy rhythms and „Polychrome“ and „The persistence of memory“ underline again who authentical and rough he is able to create techy traxx. So, Rodolfo, please don´t let us wait to long for part 3... http://www.kompakt.fm/releases/systematic_shades_vol_2

2016-11-25T00:00:00+00:00 http://www.kompakt.fm/releases/turns Barker & Baumecker take Turns from techno, bass, breaks, and experimental terrain with their second album on Ostgut Ton. Sam Barker and Andreas Baumecker’s lives have always revolved around different kinds of music. That’s partly why their productions as Barker & Baumecker are more unpredictable, harder to pin down than what you might expect from a label borne out of a techno club. And while their music is clearly built for dancing, listening to it reveals a deep love and respect for many forms of electronic music – bonding over more experimental dance forms is what brought them together in the first place. Imagining their music at any decent club, but disrupting the flow on the floor is what brings us to their second album Turns. An amalgamation of their unique musical minds, transcending electronic music genres and styles, while further developing and refining the Barker & Baumecker sound aesthetic. Barker & Baumecker first met via their day jobs back in 2008, when the former was a booking agent and the latter was the booker for Berghain. Baumecker was instrumental in encouraging Barker and his colleagues at LittleBig booking agency to start Leisure System – first a party and now also a record label championing irregular dance music. Shortly after, their friendship – sparked by a kinship in musical curiosity – became a partnership in production. Now, with two EPs, an album, and almost 20 remixes under their belts, Barker & Baumecker continue to steadily explore and reshape their shared electronic musical interests, especially in techno, bass, breaks, and experimental terrain. Baumecker’s been a clubber pretty much from day one in his hometown of Frankfurt am Main. As he recalls, “Frankfurt has a really good history in club music. There was a party series called Techno Club at the No Name venue, which began in 1984. It was an American gay club, basically. It was super tiny, but really happening. I went there for the first time in '86 when I was 18.” As the DJ nd_baumecker, he cut his teeth in the ‘90s playing house at Wild Pitch Club – an early party thrown by Playhouse/Robert Johnson founder Ata and Heiko MSO – and left-field techno, electro, and Warp-influenced sounds in Mannheim with Move D and D-Man. A regular guest at Berghain’s predecessor club, Ostgut, he moved to Berlin in 2004 after an invitation to become a resident at the newly opened Panorama Bar inside Berghain. 12 years later, he’s still a resident there, as well as a frequent DJ flyer worldwide. Barker started out as a producer in Brighton’s tight-knit experimental community, where, as he explains, “it was an open-minded scene. Music as a platform for self-expression and originality were really the only judgment markers. Authenticity is what we were looking for in those parties.” But his move to Berlin in 2007, as part of the LittleBig team, and his subsequent exploration of DJ culture offered a new dimension to his musical philosophy: “The skill of DJing was something I had a lot of pleasure learning about. I was trainspotting DJs for the first few years. Music as a more communicative tool, this kind of, ‘hey, let's all find a common ground,’ – as opposed to, ‘you can understand me or not, I don't care,’ – didn't really make sense to me before Berlin.” While Baumecker had always thought of himself as a DJ, it was right around the time he met Barker that he bought his first synth from then-Ostgut Ton label manager Nick Höppner. “But then it went really fast,” he explains, “I bought a lot of stuff in a really short amount of time.” With Baumecker having caught the bug, Barker readily admits that they’re both hardware lovers heavily into technology and machinery. But while they own some classics, “most of the studio is under five years old.” As Andreas reveals, they “want to create a new sound, and with the old machines it's been done.” If you peek into the small studio they share with Höppner, there’s a huge collection of synths, drum machines and all manner of gear. While Baumecker now has an impressive collection of Moog effects boxes, Barker has brought in several racks of modular synths. While their usual aim is only to have fun and escape from “real life,” they will admit to a theme or two. Talking about the title of the album, Barker explains, “the two of us have had quite a lot of ups and downs since the last record, and when you're in a collaboration where you only work together in real-time, in person, both people need to be in the right frame of mind.” Baumecker adds, “Turns also had something to do with the tracks – almost every one turns towards the middle.” The album also turns on the middle track of seven, a short interlude called “Technogate”. “It’s actually [the sound] of the gate right by our studio,” Barker divulges. But “Technogate” wasn’t the only inspiration for Turns. “The title “Turnhalle” is German for a gymnasium or a sports hall,” Barker explains about the album’s fifth track. “And we are referring to Berghain,” Baumecker notes wryly. Barker continues: “We checked every track out in the club, but “Turnhalle” we recorded playing back through the Berghain soundsystem. During the first two minutes, we tried to recreate the effect of ascending the staircase into the club.” And while none of the tracks on Turns are merely functional, Barker & Baumecker do, of course, envision them in the club. “It's what I wish people would play at a certain time on Mornday morning, or sometime in the afternoon on Sunday,” Baumecker explains. “There are certain periods in Berghain where I think it’s really necessary to bring people down again and not keep them on the same vibe for six hours. I think something like this would interrupt that, and you can move on from there again.” Tracks that mark a turn in a set, then. There’s nothing typical about any of these tracks, but they each share a clean aesthetic and sound palette with a sense of depth and compositional purpose. The ambient intro of album opener “Senden” morphs into a Reichian flow. “Encipher & Decipher”’s low-end drums weigh down dreamily melodic synths. “Club Entropicana” reduces rhythm and sound to machine signals, akin to Raster-Noton’s starkness. Both “Turnhalle” and “Nocturnal” incorporate trance euphoria with breakbeats but in different ways, while closer “Statik” has a deliciously slippery garage pulse guiding it through a journey towards house bliss. You never know where they’ll draw from next, but Turns feels like Barker & Baumecker are expanding and refining their own musical dialect. Like most of the music they’re both drawn to, it’s thoughtful, rich, and ever evolving – but always and completely committed to the club. http://www.kompakt.fm/releases/turns

2016-11-25T00:00:00+00:00 http://www.kompakt.fm/releases/turns_2xlp Barker & Baumecker take Turns from techno, bass, breaks, and experimental terrain with their second album on Ostgut Ton. Sam Barker and Andreas Baumecker’s lives have always revolved around different kinds of music. That’s partly why their productions as Barker & Baumecker are more unpredictable, harder to pin down than what you might expect from a label borne out of a techno club. And while their music is clearly built for dancing, listening to it reveals a deep love and respect for many forms of electronic music – bonding over more experimental dance forms is what brought them together in the first place. Imagining their music at any decent club, but disrupting the flow on the floor is what brings us to their second album Turns. An amalgamation of their unique musical minds, transcending electronic music genres and styles, while further developing and refining the Barker & Baumecker sound aesthetic. Barker & Baumecker first met via their day jobs back in 2008, when the former was a booking agent and the latter was the booker for Berghain. Baumecker was instrumental in encouraging Barker and his colleagues at LittleBig booking agency to start Leisure System – first a party and now also a record label championing irregular dance music. Shortly after, their friendship – sparked by a kinship in musical curiosity – became a partnership in production. Now, with two EPs, an album, and almost 20 remixes under their belts, Barker & Baumecker continue to steadily explore and reshape their shared electronic musical interests, especially in techno, bass, breaks, and experimental terrain. Baumecker’s been a clubber pretty much from day one in his hometown of Frankfurt am Main. As he recalls, “Frankfurt has a really good history in club music. There was a party series called Techno Club at the No Name venue, which began in 1984. It was an American gay club, basically. It was super tiny, but really happening. I went there for the first time in '86 when I was 18.” As the DJ nd_baumecker, he cut his teeth in the ‘90s playing house at Wild Pitch Club – an early party thrown by Playhouse/Robert Johnson founder Ata and Heiko MSO – and left-field techno, electro, and Warp-influenced sounds in Mannheim with Move D and D-Man. A regular guest at Berghain’s predecessor club, Ostgut, he moved to Berlin in 2004 after an invitation to become a resident at the newly opened Panorama Bar inside Berghain. 12 years later, he’s still a resident there, as well as a frequent DJ flyer worldwide. Barker started out as a producer in Brighton’s tight-knit experimental community, where, as he explains, “it was an open-minded scene. Music as a platform for self-expression and originality were really the only judgment markers. Authenticity is what we were looking for in those parties.” But his move to Berlin in 2007, as part of the LittleBig team, and his subsequent exploration of DJ culture offered a new dimension to his musical philosophy: “The skill of DJing was something I had a lot of pleasure learning about. I was trainspotting DJs for the first few years. Music as a more communicative tool, this kind of, ‘hey, let's all find a common ground,’ – as opposed to, ‘you can understand me or not, I don't care,’ – didn't really make sense to me before Berlin.” While Baumecker had always thought of himself as a DJ, it was right around the time he met Barker that he bought his first synth from then-Ostgut Ton label manager Nick Höppner. “But then it went really fast,” he explains, “I bought a lot of stuff in a really short amount of time.” With Baumecker having caught the bug, Barker readily admits that they’re both hardware lovers heavily into technology and machinery. But while they own some classics, “most of the studio is under five years old.” As Andreas reveals, they “want to create a new sound, and with the old machines it's been done.” If you peek into the small studio they share with Höppner, there’s a huge collection of synths, drum machines and all manner of gear. While Baumecker now has an impressive collection of Moog effects boxes, Barker has brought in several racks of modular synths. While their usual aim is only to have fun and escape from “real life,” they will admit to a theme or two. Talking about the title of the album, Barker explains, “the two of us have had quite a lot of ups and downs since the last record, and when you're in a collaboration where you only work together in real-time, in person, both people need to be in the right frame of mind.” Baumecker adds, “Turns also had something to do with the tracks – almost every one turns towards the middle.” The album also turns on the middle track of seven, a short interlude called “Technogate”. “It’s actually [the sound] of the gate right by our studio,” Barker divulges. But “Technogate” wasn’t the only inspiration for Turns. “The title “Turnhalle” is German for a gymnasium or a sports hall,” Barker explains about the album’s fifth track. “And we are referring to Berghain,” Baumecker notes wryly. Barker continues: “We checked every track out in the club, but “Turnhalle” we recorded playing back through the Berghain soundsystem. During the first two minutes, we tried to recreate the effect of ascending the staircase into the club.” And while none of the tracks on Turns are merely functional, Barker & Baumecker do, of course, envision them in the club. “It's what I wish people would play at a certain time on Mornday morning, or sometime in the afternoon on Sunday,” Baumecker explains. “There are certain periods in Berghain where I think it’s really necessary to bring people down again and not keep them on the same vibe for six hours. I think something like this would interrupt that, and you can move on from there again.” Tracks that mark a turn in a set, then. There’s nothing typical about any of these tracks, but they each share a clean aesthetic and sound palette with a sense of depth and compositional purpose. The ambient intro of album opener “Senden” morphs into a Reichian flow. “Encipher & Decipher”’s low-end drums weigh down dreamily melodic synths. “Club Entropicana” reduces rhythm and sound to machine signals, akin to Raster-Noton’s starkness. Both “Turnhalle” and “Nocturnal” incorporate trance euphoria with breakbeats but in different ways, while closer “Statik” has a deliciously slippery garage pulse guiding it through a journey towards house bliss. You never know where they’ll draw from next, but Turns feels like Barker & Baumecker are expanding and refining their own musical dialect. Like most of the music they’re both drawn to, it’s thoughtful, rich, and ever evolving – but always and completely committed to the club. http://www.kompakt.fm/releases/turns_2xlp

2016-11-18T00:00:00+00:00 http://www.kompakt.fm/releases/arc_unknown Sandwell District artist Rrose debuts on Function's Infrastructure. http://www.kompakt.fm/releases/arc_unknown

2016-11-18T00:00:00+00:00 http://www.kompakt.fm/releases/don_t_give_up_on_me With this EP Best Works Records would like to pre-sent a new artist - Luis Junior. No stranger to the game! Madrid-based Luis Junior has been a DJ and music producer for more than 20 years. In 1993 he re-leased his first 12-inches starting to build a disco-graphy of genre-defying music that pushes forever forward, designing new stylistic frameworks and breaking new artistic ground with each successive production. Luis has grown into one of the most cut-ting edge and inspiring artists in Spanish electronic music. His versatile production skills are clearly displayed here from soulful and folkloristic influences to techno. The first track on the EP “Don’t Give Up On Me” fea-tures singer Sobi Thurairatnam with sultry vocals and a stong pop-appeal. D-Nox and Beckers tranform it into a club burner for the early hours. Floidos on the back-side is more of techno-orientated banger and with Pasion Luis Junior manages to integrate some Spanish Flamenco sounds without getting to obvious. http://www.kompakt.fm/releases/don_t_give_up_on_me

2016-11-18T00:00:00+00:00 http://www.kompakt.fm/releases/ghost_rider Ramona is happy to announce that Chinaski will return to Live At Robert Johnson with a hypnotizing-John Carpenter-proto-house EP titled Ghost Rider. http://www.kompakt.fm/releases/ghost_rider