Sasha is back!!! Dance music’s most respected and recognizable icon returns to the label that made him an international household name with a concept album so fresh and inventive that it completely recalibrates the notion of what is cool in popular music.

"Involver" meets the listener smack at the point where Sasha’s 2002 artist album "Airdrawndagger" and the future of electronic music collide. He is the DJ that rode in on a tidal wave of adoration from the North of England's explosive early 90’s club scene and has for the last 10+ years consistently sold out every venue, festival, and club that has been honored to witness his legendary performance abilities. And now "Involver" emerges. This is Sasha’s first mix compilation in nearly five years and his first full length release since "Airdrawndagger." It is unlike any album that has ever been released in that it completely and perfectly integrates the concept of the DJ mix compilation and the standard Producer/Artist album. Every single track on this album is an original Sasha remix, re-creation or production that has been exclusively recorded as an original piece for this project. He called upon some of his closest friends and peers including Felix Da Housecat, UNKLE, Spooky, and Ulrich Schnauss and asked for permission to recreate, especially for this album, one or more of their songs and they all agreed. In essence, Sasha has become the embodiment of what it means to be "involved" in electronic music on every level. Quite purely, he has taken on a new persona; integrating the DJ and the Producer, he is now the INVOLVER.

While the past few years saw Oliver Koletzki increasingly focus on the album format, Childhood Basslines, the second release of Light my Fire, marks a longed-for return to the dance-floor, presented in the form of three infectious original productions and a subtle remix by Gomma co-founder Telonius. The mellow guitar loops of Bring Me Home kick-start LMF002 in ample style. Helped along by a swaying groove, melancholic pads and soft piano keys, this is an ode to summer and all its tender promises. With Childhood Basslines Oliver then propels you straight into a sweaty 80s club thanks to rolling percussion, plenty of claps and Miami Vice-style synths. The tracks hero is, of course, its elastic bass-line, which threatens to swallow you up in its wake. Addictive! Combining elements of the two previous tracks, Neon Guitars is earthshakingly full-bodied, heart-warmingly musical and undeniably satisfying a true Oliver Koletzki track, in other words while Telonius puts a dub on things on his excellent conga-centric remix, making LMF002 an instant classic.

Official Video for AronChupa’s “I’m an Albatraoz”. Directed by Aron Ekberg and Sertac Yildizhan. Produced by Jessica Fee, Sean Graham and Patrick Heinemann. Edited by Jacob Englund. Starring and vocals by Nora Ekberg.
Lyrics:
Starts off with some french dude speaking, have no clue what he is saying but it sounds cool…
Vers 1
Let me tell you all a story about a mouse named Lorry
Yeah, Lorry was a mouse in a big brown house
She called herself the hoe, with the money money flow
But fuck that little mouse cuz I’m an Albatraoz
Vers 2
Yeah Lorry said she was a mouse, smoked that cheesn’ like a baoz
Monilie money money hoe, chinka chinka chingka-flow
Lorry was a witch, yeah a sneaky little bitch
So fuck that little mouse cuz I’m an Albatraoz

style nujazz / headz / groove

Esteemed Techno masters Pig&Dan return with their highly anticipated fourth album, Modular Baptism, out 25 March 2016, via their own label ELEVATE.
In contrast to 2014s album Destination Unknown in which they experimented with more ambient sounds, to great success (topping the Beatport chart from more than 4 months) Modular Baptism sees the duo make a triumphant return to the techno world.
Its all about returning to our modular roots and is all about dance floor music, say the Spanish-based duo. We wanted to grab some oldschoolness and add that modern touch sound wise. Weve put everything into this one and havent held back.
Highlights of the 14-track album include the sleek opener Now Or Never, the hazy but mesmerising Vangelism and the title track Modular Baptism, which impresses with its layered synths, industrial chords and fierce, resonating kick drum. The Saint (Job San) a personal favourite of the duos offers a more euphoric, house-energy, whilst tracks like Mexico and Let Go take the album into darker techno territories and Funk Of The Moog is an example of the albums grittier side, perfect for the underground.
The talented duo (Igor Tchkotoua and Dan Duncan) have been producing music together as Pig&Dan for over 10 years. Before a chance meeting on a plane, Dan had already spent 10 years as a Drum&Bass DJ/Producer and Igor was already making a name for himself in House and Techno scene. When we connected in the studio that synergy and crossover of styles just seemed to gel right away, remembers Dan. It just really worked. And as we were both living in Mallorca with no real influences of trends or other scenes we were able to just make the music we wanted to make - Techno with D&B influences.
They've gone on to release three acclaimed albums plus remix and collaborate with some of the industrys biggest names including Underworld, DEADMAU5, John Digweed and Innercity for their classic Goodlife. Theyve also performed at some of the worlds most prestigious festivals and venues including Ultra, Tomorrowland, Amsterdam Dance Event (ADE), Amnesia Ibiza, Crobar Buenos Aires and Womb Tokyo plus release music on iconic labels such as Sven Vaths Cocoon, Slam's Soma, John Digweed's Bedrock, Monika Kruse's Terminal M and Richie Hawtins Plus 8.
Another notable career landmark came, three years ago, when the duo launched their very own label, ELEVATE, to support and celebrate like-minded artists and to help nurture new talent. ELEVATE is all about music we want to play, say the duo. We believe we have a unique sound and the label mirrors that in a diverse way. All the music we release is music that really gets under our skin. We are all about a nonlinear sound and adore what we release because there's a lot of monotonous tracks out there on the scene and were trying to combat that. And it seems to be working, as the success of the label in the last year alone boasts compelling releases from the likes of Monika Kruse, Julian Jeweil, Alberto Ruiz, Ron Costa and Matador plus a whole host of newcomers.

Interiors, Cameron Mesirow’s second full-length release as Glasser, is a more considered, confident, and much more sharply personal album than its predecessor. It’s central themes are love and anxiety and the spatial constraints of both in the landscape of one’s life. In the three years since Cameron released her breakout debut “Ring”, she toured around the world (with Jónsi of Sigur Rós, The XX, Delorean, among others) and left her California home for New York. Along the way, she discovered a new partner in producer Van Rivers (Fever Ray, Blonde Redhead) whose background in techno production added expansive spatial elements to her music that reflect both the looming, condensed architecture of Glasser’s new adopted home as well as the intricate internal worlds she conjures in on her own.
The tension between interior and exterior space fills the album. In architect Rem Koolhaas’ book Delirious New York, which Mesirow credits as an inspiration, the author suggests that New York’s massive, stoic-faced buildings are monuments rife with secrets. Interiors is Cameron’s attempt to exorcise and address some of those metropolitan secrets. “I thought a lot about the physical impositions in my life, and about the fluid emotional boundaries in my relationships,” Mesirow says. “There's no limit to what can be said about these structures. I can’t help but live and work in them, exploring their many folds.” On “Landscape” Cameron explores the limitations of symbiosis in a romantic relationship. “Exposure” characterizes the alienation of life in an ever-changing metropolis as a “modern trouble” that no one feels responsible for but all complacently contribute to. A trio of shorter songs called “Windows” punctuate the production and feature some of the most experimental sections of music- windows being where the inside and outside nearly meet, providing partial glimpses of scenes from other worlds, but preventing contact. There is urgency pervasive throughout the record, both simultaneously to gain access to feelings or people as well as wanting to be released from them.
The instrumentation of the album is a mixture of synthetic and organic sounds, real strings, reeds and drums combined with programmed ones, a purposeful coupling of natural enemies. “I like music where you're not thinking about what a specific instrument is,” she says. “An instrument-less quality. It doesn’t come from a band, but from a whisper in the wind.” As on Ring there are sounds used for unlikely purposes; vocals used as percussive accents, or melodic themes assembled from environmental sounds. The song “Design” illustrates this with Cameron’s own pitched-down vocals serving as a writhing bass line in the frantic depiction of lust. The Glasser we find on Interiors is smoother and smokier, more confident and defined against an increasingly stoic electronic music backdrop. The effect is a paragon of sonic architecture--a soundspace that’s packed tight but never feels crowded.
Glasser has always valued a visual component to compliment the music. For Interiors Cameron worked with artist Jonathan Turner, a member of performance art group Yemenwed. Jonathan’s futuristic work establishes the visual palate for all the album’s visuals - all of the artwork, videos, and photos are the result of Cameron and Jonathan’s collaboration.