Become one with his machines: The Humatron.

In the 30s of the past century, Walter Clarence „Dub“ Taylor mainly featured in American Cowboy and Indian Films and didn´t even shrink away from productions of the B-movie category. Unlike his acting colleague Ronald Reagan, Dub didn´t want to get wheedled for a presidential candidateship.
Now you may find also a German Dub Taylor – that´s anyhow the name that Berlin music producer Alex Krueger has given to one of his aliases. He is in his thirties and especially known for his resounding dub tones. Having already rejected a presidential canditateship as „president of dubtechno“, he got credit for the many high-grade dull noise productions of the Post-Basic Channel era until 2003. His 90s works made him famous ‘far into the cases’ of global players like Laurent Garnier or Sven Väth and at that time got released by labels like Morris Audio, Raum Musik and Force Tracks, the label which also published the so far last Dub Taylor album in 2003. Then, after all the years of this style’s unbowed popularity, people somehow got tired of the Dub Techno sound in general. As a result he renounced his „classic“ Dub-style as he meanwhile felt keen to try his hands at new either way. Even as he had already been promoted to be one of the busiest producers of the electronic music scene, Alex stayed down to earth - also during his increasing and successful producing activities for other artists like Tom  lark or Phonique. In 2004, Alex slipped into a Tigerskin and for the most part, except a few sporadic releases, Dub Taylor has taken a backseat so far.  But as things often come back before they end, even Dub Taylor is back as well and has just finished his fourth album for the constantly up-and-coming label Opossum. Influenced by funk, soul, deephouse and the early Detroit invasion and based on his longtime experience as one of the most indispensible producers around Berlin as the true Mecca of electronic music, he turned more and more into the controller of the controllers that became one with his machines: The Humatron.

Format:B's Highgrade work in a "Steam Circuit"

Berlin Wonderboys Mitte Topseller and local Uberheroes Format:B with their first album and in best shape.„Steam circuit“ comes with a lot of pressure and fun, but is by all means everything else than just a load of hot air. Franziskus Sell and Jakob Hildenbrand did allways stand out with their highly energetic tracks, strongly orientated on the club without loosing musical integrity, funkyness and the joy of playing around. Their releases „Like a techmachine“ or the extrem successfull EP „Bronson Road 69“ used to be little milestones in floorfriendly minimal Techno and Highgrade‘s label history. From the dark bouncing „Edding 850“ to trips into more acid-like areas with „Boot cut“ or the easy rollin‘ stuff „Like a techmachine“ towards a point when vocals come into play, Format:B go one step further. As with „Si pero no“ which has the clear potential to hit the scene like „hay consuelo“ did. In cooperation with Jake the Rapper in „Something suitable“ - where they combine their trademark sub-basslines with hypnotic sounds and deliver in combination with Jake‘s vocals, the perfect instant-clubbanger.All in all, it‘s a wild ride on the zeitgeist of clubsound, powerfull tracks which seem to never loose their breath. An extensive Autumn clubtour will drop the whole Tour do Funk Life, Catch them if you can!

Simple - Technique - Motorcitysoul

Motorcitysoul are Frankfurt veterans and deep house pioneers Matthias Vogt and Christian Rindermann (aka C-Rock). Here, finally, after 4 years they treat you to their second studio album, but also their first album fully written and produced together as a duo (the first album was written by Matthias, and C-Rock helped produce it). Following two very successful releases (ʻKazanʼ and Space Katzleʼ) on Will Saulʼs Aus Music last year, the guys started putting together an album and Will saw his Simple label as the perfect avenue to release it. After more than six months of intense work and experimentation in the studio ʻTechniqueʼ is now ready. A feast of lush melodies and harmonies, lovingly crafted beats and percussion, ambient excellence and smart vocal numbers. On the albumʼs title C- Rock explains: “Itʼs an elegant word that refers to the way we work and hopefully how our music sounds. Weʼre very technically focused yet we aim for our music to have genuine soul and warmth. We also do everything in the studio so technique is the key to that.” ʻThe Start/Deliver Meʼ kicks off the journey into the Motorcitysoul sound, enlisting the vocal talents of Swedish vocalist Ernesto to complement the soulful, summer-tinged house grooves. As the lush chords build and the vocals progress, itʼs clear this uplifting opener is one thatʼll have you rolling down your car window with a smile on your face. “Maybe itʼs a risk to start a house based concept album with such a soulful track but we donʼt have to justify it, because of the soul in our name,” says C-Rock wryly. ʻSpace Kätzleʼ was originally a hit last year on Aus Music, ʻSpace Catsʼ (as it translates) sees Matthias and C- Rock use their studio expertise to layer together lavish arpeggios and harmonies that treat you to an almost cosmic house voyage. ʻSolarʼ is the first ʻode to the cinema soundtrackʼ offering on the album and sees the guys get experimental in the studio with deep trippy keys layered with mad aquatic sounds. ʻChange Youʼ sees the guys team up with American vocalist Ovasoul 7 to create a dark and hypnotic house journey with huge club potential. The subtle Rhodes melodies give way to Ovasoulʼs vocals and a powerful electronic bassline drives the groove forward. The balance between the subtle and soulful and dark and electronic is captured perfectly. ʻKazanʼ gets a 707 drum machine facelift for the album. Matthias and C-Rock went back to their Chicago influenced roots to reshape it into a raw, jacking groove with enormous energy. ʻHatohayʼ sees the guys working with percussionist Heiko Himmighoffen, giving him free reign to add his percussion to the kick drum and bassline. The result is an intense ʻwall of percussionʼ feeling, complemented by the signature ʻlush motorcitysoul chordsʼ. ʻHermelinʼ is a trippy drumless number best listened to in the dark. Kicking off with spooky analogue jolts and sweeping pads, itʼs joined by a more stabby bassline before some effects are added to give this a real feeling of elegance. ʻThe Cityʼ is quite simply classic Motorcitysoul: a driving house groove coupled with soulful melancholy. Bringing in vocalist Marlene Johnson, whoʼs previously worked with C-Rock on his Stir 15 label, ʻMovement and Motionʼ is a dub influenced track with simple beats and harmonies that allow the vocals to breathe and shine. To finish off the Motorcitysoul journey is another beautiful ambient moment ʻXyzʼ. Clearly influenced by Vangelis and Brian Eno this is epic yet dark, spooky yet enchanting and certainly leaves you feeling fullfilled but eager for more. “This is the strongest reference to our cinematic and movie soundtrack influence and perfect for finishing the album,” says C-Rock. “We hope it leaves the listener with a ʻwhat comes next?ʼ feeling in anticipation of the next album”.

Lee Jones' 'Electronic Frank' Album

Lee Jones lived in London until 2002, where he was producing and remixing as the successful downtempo/ nu-jazz artist Hefner. After following his heart to Berlin, he was inspired by the music and clubs to move into a new production style over the past 6 years. Most recently he’s become known as the main creative force behind MyMy, whose debut album ‘Songs For The Gentle’ on Playhouse made waves across the globe. Since 2007 he’s released his beautiful solo works on Aus Music and Just, whilst also collaborating with Berlin local hero Daniel Dreier on releases for Upon You and releasing new MyMy material on Berlin’s illustrious Ostgut Ton imprint. Having recently returned from the US and Japan performing live dates with Nick Höppner as MyMy, he also has a busy DJing schedule around Europe and continues to promote the popular monthly clubnight at Watergate ‘MyMy and friends’. His debut solo album ‘Electronic Frank’ nearly never was after his apartment was burgled the week of mastering, but happily its been rescued and will be accompanied by two 12”s featuring remixes from Stimming and The Mole.
'Electronic Frank' is full of surprising and heart warming moments that open out unexpectedly from richly textured grooves. Every Click Matters - there’s no padding in Lee's music. He pulls melody and harmony from the most abstract places and spaces, yet makes them work together like few producers can. His wistful melodies combined with his spacious programming allows you to drift off into your own thoughts, yet the detail in the sound design can snap you back to reality in a second.
The first half of the album is a lush, rich intricate tapestry. Quirky and playful. Inviting and detailed. Full of real instrumentation and uplifting, yet introspective and often melancholic melody. The pace is gentle, the vibe relaxed. Individually sung words and vocal snippets lend a human touch and when layered with an imaginary orchestra full of opulent harps, sweeping strings, delicate pianos, bouncy accordion's and all manor of weird and wonderful instruments it creates a dramatic effect.

From 'Roadwork' onwards the intensity increases giving us an insight as to why Lee's MyMy alias works so well in a club context. On 'Roadwork' and 'The Secret' the groove is stripped back giving the melodies a feeling of space and power. The mood darkens with the sinister guitar licks of ‘Shoe Shine’ before the intensity dial is cranked up fully with 'Every Click Matters', which sounds like Timbaland might if he'd hung out in Berlin for the last 5 years with fabulous fruits in fancy dress......'It Is Isn't It' and 'Safari' are drawn from equally freakish sound pallets - trumpets (real and of the Elephant variety), flutes, timpani, insect sounds, bird calls and the list goes on. They are percussively explosive, rhythmically beguiling, full of surprises and packed with sounds and influences that on paper shouldn't work but in practice do. Brilliantly. The climax of the album is 'MDMazing' and we think the title says it all. Don't take it too seriously, it's supposed to make you smile.

Travel with the Dirtcrews's 1st DJ Mix CD

Dirt Crew presents their first mix CD and label compilation CD “Collection 02″. It is a continous DJ mix by the boys which will feature some hot and new unreleased tracks and remixes by artists like Afrilounge, Gregor Tresher, Sasse, Till von Sein and Tigerskin as well as some of last year’s highlights that were released on their Label. There will also be an exclusive Digital part to this Label compilation which features only new tracks by Break 3000, James Flavour, Lukas and others… Be prepared for a strong mix of minimal and tech-house with the one and only Dirt Crew sound that got them a strong reputation all over this world.

IDJ Mag (UK): “Got a thirst for intergalactic travel but worried your carbon footprint will cause you too many moral issues? Fret not my weary explorers, Dirt Crew are on hand with a truly otherworldly experience. Followers of the label will know what I¹m talking about; dubby spacious riffs that seem to defy all time and logic, eerie synth sprinkles that scare the bejesus out of you and heaps of deep, endless atmospherics. Often within one tune. Followers of Dirt Crew will also be satisfied that almost half this mix is exclusive; the pumping techno rhythm of Tigerskin's "From The Depths", Sierra's uplifting dub delight "Stay" and Till von Sein's remix of Tigerskin¹s "Peter's Secret Weapon" all add their own unique flavour to this deep hypnotic mix. As does Daso's remix of Break 3000's "Bleed Like Me" to DC's string-fuelled anthem waiting to happen "Soundwave", for that matter. I bid you a safe journey young travellers”

Catch Steve's 3rd Bugnology

This is the third part in the Bugnology series, one of the most acclaimed compilations in modern house music. For the third time Steve edited, compiled, mixed and reconstructed the 21 tracks with special software to create the perfect flow, as the special Bugnology edits make the tracks fit into each other as you won‘t hear it in a regular DJ mix. The new album features the best tracks from Steve Bug‘s recent DJ sets including tracks and mixes from some of the genre‘s top producers like Tigerskin, Two Armadillos (Giles Smith & Martin Dawson), Manuel Tur, Peace Division, Lee Jones (MyMy) as well as the rising stars of now, Martin Stimming (Diynamic), Matthias Meyer (Liebe*Detail) or Adultnapper (Audiomatique) as well as the best newcomers. Includes the latest output from currently most relevant labels like Rush Hour, Freerange, Audiomatique, Liebe*Detail, Dial, Simple, Oslo, Dessous, Dirt Crew and many more.

Welcome to Goldmann's Transitory State

With his releases for Innervisions, Perlon and Macro Stefan Goldmann has been a key figure at the cutting edge of post minimal techno and the renewal of house music. With “The Transitory State", he finally unleashes his highly anticipated debut CD. Two separate albums in one package - a double whammy with benchmark club tracks on CD1 and an electroacoustic concept album on CD2. CD1 features some of today’s most significant underground anthems, including “Sleepy Hollow” and “Lunatic Fringe” - both voted top 10 tracks of the year in the polls of Groove, Resident Advisor and De:Bug mags, seriously crossing boundaries with heavy DJ support all accross the board from Richie Hawtin to Carl Craig to Laurent Garnier to Gilles Peterson. The entire collection ranges from the lush afterhour bliss of “Prefecture” to the dark modernism of “Blood” to peak time frenzy with “The Bribe". All tracks have been carefully edited exclusively for this release by the artist and six appear on CD for the first time ever, thus adding brand new and previously unreleaed tracks and parts. CD2 contains the album “Voices Of The Dead” which will also be released as a ltd. edition 5x7? vinyl box set. Starting a trilogy of concept albums, Stefan Goldmann searches for the common root of all music in an electroacoustic setting. From this album “Turret” is already renowned as the intro sequence of Richie Hawtin’s groundbreaking DE9 Transitions mix compilation and was also commissioned by the Bibliotheque Nationale de France for the IMEB Phonotheque public collection.

!!!!!!STRICTLY LIMITED TO 500 COPIES!!!!!!

Together with Stefan Goldmann’s debut CD “The Transitory State", Macro releases a strictly limited box set containing five 7″ records holding the electroacoustic album “Voices Of The Dead". With his releases for Innervisions, Perlon and Macro Stefan Goldmann has been a key figure at the cutting edge of post minimal techno and the renewal of house music. This album is a distinctively different affair though, reaching far beyond the scope of dancefloor electronics. Starting a trilogy of concept albums, Stefan Goldmann searches for the common root of all music in an electroacoustic setting. From this album “Turret” is already renowned as the intro sequence of Richie Hawtin’s groundbreaking DE9 Transitions mix compilation and was also commissioned by the Biblioteque Nationale de France for the IMEB Phonoteque public collection. The artist explains: “At first sight we recognise upfront elements like a melody or rhythmic pattern, which we associate with a certain piece or style of music, but there is tension between two notes, hard-to-define background information that at a closer look is found everywhere - within the music of Coltrane and Stravinsky, Death Metal and 9th century Byzantine chants. If there is anything like a total, secret common ground, than it’s this information lurking in the background. These are the “Voices Of The Dead", the heritage of an endless line of ancestors brought forward through the centuries. I tried to make these elements audible as clearly as possible.” “Really like this weird space ambient one. I’ve put Katorga and Izo already into my Final Scratch computer and have been playing them!” (Richie Hawtin on “Voices Of The Dead") Record Release event at Berghain / Panorama Bar Berlin on September 4th, 2008, feat. Ricardo Villalobos, Mika Vainio (Pan Sonic) and Ulrich Schnauss (tbc).