Following Andr‚ Galluzzi's mix CD Berghain 01, Ostgut resident DJ Marcel Dettmann presents the second installment in this series, Berghain 02. It is his first commercially-available mix, ever, and contains exclusive tracks as well as long-lost classics. In the course of 72 minutes, Dettmann fathoms his very own sonic spectrum. Not relying on recent trends, Marcel draws his inspiration from frequent DJing at Berghain, his only benchmark for his purist approach to techno. Dettmann was born 50 kilometers outside of Berlin in Frstenwalde. In 1992, he discovered techno and immediately bought a pair of turntables at an age of 16 years. He promoted parties in Dresden and Frankfurt/Oder which gained him reputation eventually leading up to a residency at Berghain's predecessor, OstGut. Since 2004, he has worked at Berlin's record shop institution, Hard Wax. Two years later, he finally started to produce his own tracks. His tracks for Ostgut Ton, his own imprint MDR and remixes for artists such as Ellen Allien and labels like Rekids reflect the unique and bass-heavy sound of the Berghain floor like no others. His understanding of techno is very much influenced by an old school ethos. His music is as much reduced to the basics as it is profound and in its roughness very distinct -- musical features derived from his experience as a DJ. His sets will never feature trance or overproduced records and when he goes minimal it's always reminiscent of Rob Hood's Minimal Nation. Fresh cuts from all around, including a previously-unreleased track from T++, this second volume shows that Ostgut artists know how to work a floor. Artists include: Tobias, Norman Nodge, Pied Plat, Planetary Assault Systems, Tadeo, Substance, Risqu‚ Rythum Team, Samuli Kemppi, Kevin Saunderson, Clatterbox, Redshape, Shed, Kate Simko, Ryan Elliott, Deetron, Radio Slave, Luke Hess and Strand.

1997 compilation for the German progressive rock act. 9 tracks including 'Life Without Pain', 'Indian Rope Man' & 'Duty'.

"The Sea I'm Diving In" is the third full-length release of German dark folk collective Neun Welten and the band's first album of new material since 2009's "Destrunken". It shows Neun Welten take an adventurous musical shift, adding captivating vocals to most songs while incorporating post-rock electric guitars to its base of rich instrumentation.
German for "Nine Worlds", Neun Welten charms listeners with cinematic storytelling that blends elements of neofolk and post-rock with a film score focus. The first-ever Neun Welten record to include English lyrics -- some adapted from the writings of Edgar Allen Poe -- "The Sea I'm Diving In" boasts an unshakable charm that grows stronger as the album plays out. As its title implies, the record features a water-centric theme that sees the element as, at once, a symbol of romanticism and tranquility, disaster and destruction. These thoughts are channeled through songs driven by the group's tranquil singing and lyrical odes to feelings of melancholy, mysticism, love, death and longing and reflective, emotional sound.
Through their violin player Aline Deinert, who is also a (live) member of bands such as Empyrium, Haggard and the chamber pop ensemble Die Kammer, Neun Welten secured the services of renowned German film composer (and Die Kammer member) Matthias Raue ("Löwenzahn" theme, several "Tatort" scores) who recorded "The Sea I'm Diving In" and who is responsible for the album's rich, warm sound. "The Sea I'm Diving In" also features the talents of Niko Knappe, singer of Neun Welten labelmates Dark Suns, who plays all drums on the album, co-arranged a number of songs and wrote additional lyrics.
Whether dark and driving or pastoral, powerful or mystical, Neun Welten effortlessly takes the listeners to their own magic world and the journey begins anew with the release of "The Sea I'm Diving In".

Wie das Wispern des Windes - Like the whispering of the wind is an album by German musician Hans-Joachim Roedelius, released in Norway by independent record label Cicada Records in 1986. The electronic, ambient and experimental musician here delivers ambient piano music. The music was recorded between 1983 and 1985 in Roedelius` home, a friend's house and at the Bloomsbury Theatre in London. The music was written, performed, recorded and produced by Roedelius. He also designed the album cover.

with 'chansons de geste' ben lukas boysen a.k.a. hecq presents a very personal release, conceived as a memorial and dedication to bygone events and individuals. the basic sources for the eleven haunting tracks were original tape recordings boysen and his family members made decades ago for private use, ranging from piano etudes to classical works by composers like j.s. bach and johannes brahms. it was hecq's intention to restore, to revive and to re-arrange these basic sources for the existing release in a condensed and unusual way. each tape was digitized to hard disc, loops and patches were extracted from this sound pool, and the collection was recorded on a reel-to-reel tape recorder. the tapes were taken and played back inside a church where the natural reverb of the location was added and used as the master recording.
musically, 'chansons de geste' is a captivating assemblage of mesmeric ambient works where the natural hissing from the ancient tape recordings interpolate with orchestral classical textures and slight electronic manipulations. the hypnotic loops and dots transfer an atmosphere of grandeur and melancholia to those who are aligned to the album's concept as well as to the unprejudiced listener.
'chansons de geste' is hecq's examination and refurbishment of a rich, touching and important time's distillate - an aural inheritance of activities and events which only remain to exist as a memory. highly recommended.

Arovane & Hior Chronik return to A Strangely Isolated Place with their second album as a duo, following 2015's 'In-between'.
'Into my own' finds Arovane and Hior experimenting with distinctive feelings, styles and moments throughout the twelve tracks, creating an album full of twists and turns. Featuring a similar ethereal ambience to In-between, delicate instruments, field recordings and more melodic electronic influences are now apparent, forming a tangible storyline, as the duo leave you standing on the edge of a journey unknown, lost and lonesome, a soundtrack to anticipated escapism.
Conjuring many moments of discovery as you step foot into this unknown world, the appreciation of finer details and textures slowly become apparent. You wander apprehensively across fresh autumn leaves, crisp from the morning's fog amidst a glowing soft light as day turns to night.
Field recordings add a new depth to the duo's productions, alongside the frequent manipulation of the piano, harpsichord and vibraphone. The infamous guises of the Una Corda however, forms the backbone of the album - a guiding star as you navigate through a dense forest, unexplored crystal caves and shimmering rivers.
Balancing organic, analog tones and more metallic, experimental approaches, the duo have once again found a harmonious balance of ambient, instrumental and electronic sounds that transports you into a new world; a familiar yet unexplored territory that holds your hand, as you come into your own.
"One of my wishes is that those dark trees,
So old and firm they scarcely show the breeze,
Were not, as ’twere, the merest mask of gloom,
But stretched away unto the edge of doom."
- Robert Frost (“Into My Own” - 1915)
"So lovely, just chiming, very simply in the dark of the night..."
— Mary Anne Hobbs - BBC Radio6

For the past two years, Nils Frahm has been building a brand new studio in Berlin to make his 7th studio album titled All Melody. Since the day Nils first encountered the impressive studio of a family friend, he had envisioned to create one of his own at such a large scale. Fast forward to the present day and Nils is now the proud host of Saal 3, part of the historical 1950s East German Funkhaus building beside the River Spree. It is here where he has spent most of his time deconstructing and reconstructing the entire space from the cabling and electricity to the woodwork, before moving on to the finer elements; building a pipe organ and creating a mixing desk all from scratch with the help of his friends. This is somewhere music can be nurtured and not neglected, and where he can somewhat fulfill his pursuit of presenting music to the world as close to his imagination as possible.
His previous albums have often been accompanied with a story, such as Felt (2011) where he placed felt upon the hammers of the piano out of courtesy to his neighbours when recording late at night in his old bedroom studio, and the following album Screws (2012) when injuring his thumb forced him to play with only nine fingers. His new album is born out of the freedom that his new environment provided, allowing Nils to explore without any restrictions and to keep it All about the Melody. Despite being confined within the majestic four walls of the Funkhaus, buried deep in its reverb chambers, or in an old dry well in Mallorca, All Melody is, in fact, proof that music is limitless, timeless, and reflects that of Nils’ own capabilities. From a boy’s dream to resetting the parameters of music itself.

You open your eyes. Darkness. Silence. Oppressing silence. Your breath feels shallow, the air too thin to breathe. The space you are in feels narrow, the ceiling so close you can almost touch it. Your heart starts pounding as the feeling of panic brings you to your senses. You seem to be.. Underground, buried!
How did you get here? Fragments of your memories hover in front of you in the darkness like thin layers of fog, guiding you. Sand.. A desert.. Symbols.. Hieroglyphs… A faint voice calling you..
Ager Sonus brings us an ambient album set against the backdrop of lost civilization. Explore occult secrets buried in ancient tombs.

RED APOLLO will release their third album 'The Laurels Of Serenit' in April 2018. Again, the band has further developed their sound and combines their post-metal with atmoshpheric progressive metal and post-rock elements.
The modern world increasingly lacks of steadiness and becomes an epitome of movement and change. Music as an art is already affected by these recent trends resulting in a growing number of artists that embrace a fl eeting lifespan and play by the rules of a volatile industry. RED APOLLO are different in this aspect. Seeing the seventh year of existence after several physical releases and almost 150 lives shows including touring with Black Tusk and Heaven in her Arms, the members do not have any plans to slow down. Instead, RED APOLLO are set to release their third full–length ‘The Laurels of Serenity’ on the 27th of April 2018 via Moment of Collapse Records. The album merges eight songs that were created and recorded throughout the past two years thematising the band’s confrontation with the full spectrum of pathological fears. Music-wise, RED APOLLO once again wander with diligence and aspiration in the realms of atmospheric PostMetal that draws on infl uences ranging from Progressive Metal to Postrock. With such a rich background, ‘The Laurels of Serenity’ sounds thick and massive with a precision and clarity that serves as glue between the soundscapes that every single song evokes. From this vantage point ‚The Laurels of Serenity‘ will be released as a special instrumental version as well. The songs were recorded by Falk Andreas at Tonmeisterei in Oldenburg and Dominic Paraskevopoulos at Level3Entertainment Studios in Essen. Mix and Master were also done by Dominic Paraskevopoulos.