richie hawtin DE 9 经典的Remix CD

Faitiche is delighted to present a long-lost vinyl album: for the last 14 years, Jan Jelinek's Loop-Finding-Jazz-Records, originally released in 2001 on ~scape, existed only as a download. Now the album is available again on vinyl, as a double LP with two bonus tracks (B-sides from the Tendency EP, 2000).
What the press said about Loop-Finding-Jazz-Records:
“Don’t be misled by the title, though for there isn’t a finger-snapping rhythm c bebop lead anywhere on the album. Instead, Jelinek chooses to explore the visual effect moiré - two shifting patterns creating an implied third dimension - in the audio realm.” (Alternative Press)
“The title acts as explanation for the studio technique that provided the basis for this album, snippets of other people’s arrangements deconstructed through a sampler into loops and then splashed onto an audio canvas.” (ATM)
“Jelinek’s sound evolved out of his dislike for (and inability to play) keyboards.”
(RPM)
“Jelinek has abstracted his sources beyond recognition, looping his millisecond samples into flickering patterns of sonic moiré... more
credits
released April 28, 2017
Written by Jan Jelinek, produced by Jan Jelinek, recorded in 2000, Berlin. Mastering by Stefan Betke and Rashad Becker. Graphic design by Jens Reitemeyer

Flower Power 出品的 techo / house 舞曲合集系列第一张

Flower Power 出品的 techo / house 舞曲合集系列第二张

Flower Power 出品的 techo / house 舞曲合集系列第三张

The first EP from Shao was released on Berlin’s legendary Tresor Records, available for vinyl and download from shop.tresorberlin.com/index.php/tresor280.html .
Also available on vinyl from Hardwax, Boomkat, Bleep, Juno etc.
“Tresor welcomes Chinese producer Shao Yanpeng to their roster. Sensi wastes no time taking us straight into a world of spirited synth work and slow, brooding builds. The theatrical, bubbling techno continues with the Reflection two-parter as SHAO’s textured atmospherics swoop in and out of earshot behind a swell of airy hi-hats and sustained snares. While short, this release is a concise and effective introduction to SHAO’s sound. An exciting addition to the Tresor lineup.” ——Bleep
released October 23, 2015
Written & Produced by Shao Yanpeng. Published by Mikrofisch. Released by Tresor Records GmbH.

Title: Just For Fun Mix 03
Artist: DJ Doggy
Date: 2010-12-14
Style: Whatever
Time: 54Min
Quality: MP3 | 320Kbps | 48000 Hz | Stereo
Size: 123MB
Download:

在这张 Plastikman 系列的第二张全长专辑 Musik 中，制作人 Richie Hawtin 再次实践了 Sheet One 的成功之道，制作了一张既是续集又是重写的专辑。再一次用极简而又刺耳的909鼓机为每一首歌提供动力，并加入了大量疯狂的303合成器酸性旋律线，奇妙地重现了 Sheet One 的酸性电子乐主题。不过，这次 Hawtin 摆脱了那张专辑中弥漫的氛围，反而给 Musik 带来了更活泼的感觉，尤其是在专辑的开头和结尾，节奏达到了舞池的强度。专辑以循序渐进的 Konception 和蜿蜒的 Plastique开始，两首酸度很高的“伏笔”延续20分钟。接下来的一系列短曲——Kriket、Fuk、Outbak、Ethnik、Plamastik 和 Goo——挑战了严格意义上打击乐的极限。这个有点实验性的 Musik 中间部分与之前的 Recycled Plastik EP 中杰出的作品 Spastik 的打击乐基调相似，放弃了酸性旋律以及合成器旋律，而采用了多层次的909打击乐，几乎没有其他东西。从Marbles 和 Lasttrak开始，Hawtin 又回到了 Musik 开场的酸音，又是一段非常相似的长达20分钟的慢速构建，蜿蜒的酸性Techno。专辑开场的20分钟是生动活泼，而结尾的这20分钟则是黑暗的，甚至有时简直让人不寒而栗。总之，Musik 巧妙地涵盖了极简Techno的方方面面，从酸味十足的曲目到对超极简的探索，在这个过程中展现了 Hawtin 对 Roland 303和909鼓机惊人的掌控力，以及对“专辑音乐”连续性的出色把握。

The Man-Machine (German: Die Mensch-Maschine) is the seventh studio album by German electronic music band Kraftwerk. It was released on 19 May 1978 by Kling Klang in Germany and by Capitol Records elsewhere. A further refinement of their mechanical style, the album saw the group incorporate more danceable rhythms and less minimalistic arrangements. It includes the singles "The Model" and "The Robots".

UK 'Special Collectors Edition' 2-CD set comprising the 12-track CD album plus Bonus 9-track CD including Mark Norman, Tiësto, Junkie XL, Toksin's, Dylan Rhymes & Sander Kleinenberg's remixes. Black Hole. 2007.

Interestingly, Kompakt didn't release a Total compilation last year. The Cologne label was celebrating its 20th anniversary—maybe they thought a new edition of Total would get lost among its birthday releases and events. Taking a year off from seems to have been a restorative creative breather. In recent years the quality of the Total series has dropped off alarmingly. Total 12 was reduced to a single CD, as if to acknowledge that Kompakt did not have enough essential material to go round. More recent editions have been undermined by too many of what Derek Miller once described as "half-baked ideas." The essential, mid-'00s Total collections captured not just the rise of Kompakt but a whole new wave of German (minimal) house and techno. The later instalments seemed to reflect a label which was groping for a clear sense of its future direction.
Total 14 does not unveil exciting new dimensions to the Kompakt sound. The highly-processed glam-rock of Voigt & Voigt's "Tischlein Deck Dich," the cinematic techno-pop of Superpitcher's "Delta" or Maceo Plex's storming "Conjure Superstar" all have familiar strands of the label's sound. The key difference is that on Total 14, everyone involved is at the top of their game. It's as if, after all that 20th anniversary love and reflection, a reinvigorated Kompakt has purposefully set-out to remind the world, via a mixture of exclusive and previously released tracks, just how potent it and its artists remain.
The highlights are many and varied. Graceful, melancholy, and memorably melodic, DAMH's "Black Night" is among the best electronic-pop tracks Kompakt has ever released. Gus Gus's intelligent alt-ballad "This Is What You Get When You Mess With Love" is more leftfield, but equally heart-tugging. Back on the dance floor, you may already be familiar with Justus Köhncke's irresistible 808-scape, "Loop," and the widescreen techno of John Tejada's take on The Field's "No No…" Terranova's "Headache," on which vocalist Cath Coffey riffs energetically around issues of drugs, clubs and political apathy, is compelling disco-punk—part Black Strobe, part LCD Soundsystem.
Indeed, such is the quality of the individual tracks here that you may find yourself warming to things you were ambivalent about before. On the one hand, Gui Boratto's "Take Control" (piano-driven neo-trance, breathless female vocal, New Order-mimicking guitars) verges on self-parody. On the other, it is an unusually striking distillation of his somewhat sentimental shtick. Jürgen Paape's closer, "Heuriger," is one of those cartoonish Kompakt tracks (kept to a minimum here, notably) that fuses ancient Disney soundtracks and the German folk-pop, schlager, to produce a moment of bewildering lunacy. It is, in a way, a cheeky "fuck you" at the end of a well-balanced, two-CD set that reaffirms Kompakt's status as a singular source of classy electronic music.

Singularity marks the fifth album from the UK electronic producer and composer and the follow up to 2013’s Mercury Prize nominated Immunity.
Where Immunity charted the dark alternative reality of an epic night out, Singularity explores the dissonance between dystopian urbanity and the green forest. It is a journey that returns to where it began – from the opening note of foreboding to the final sound of acceptance. Shaped by his experiences with meditation and trance states, the album flows seamlessly from rugged techno to transcendent choral music, from solo acoustic piano to psychedelic ambient.

Five years after his critically acclaimed debut Drone Logic, London-based producer Daniel Avery has announced the release of his highly anticipated second album Song For Alpha, set for release on 6th April 2018
In the years since his debut, Avery has helmed a DJ-Kicks mix CD, resided over a monthly radio show for NTS Live, curated an extensive remix compilation and collaborated on a series of side-projects including a recent release with Nine Inch Nails synth specialist Alessandro Cortini; he has toured relentlessly, cementing a reputation as one of the defining techno DJs of the decade. He has also worked studiously on what he wanted to say next as a producer.
Song For Alpha is Avery’s exploration of the space in which home listening and club music intersect, in no small part inspired by his transient life spent between nightclubs, flights, the passenger seats of cars and hotel rooms. He confirms, “Drone Logic’s spiritual home was the dancefloor. This record’s is definitely the road. Those late nights and hazy mornings, finding inspiration beyond the fog.”
With newfound energy and time to develop, Avery’s sonic vocabulary has expanded. Here, the booming sound of the big room is brilliantly countered by the music of the small hours. Where celestial ambient lullabies ‘First Light’ and ‘Days From Now’ sit perfectly next to the mesmeric techno assault of ‘Diminuendo’ and ‘Sensation’; where both ‘Projector’ and ‘Clear’ evoke early rave records, only ones engulfed by waves of beautiful cyclonic distortion. Much like his recent excursions with Cortini, Song For Alpha sees Avery take his signature psychedelic-electronic sound to new dimensions, a sound that plays to the head as much as the body.
“I’ve become increasingly interested in those moments in a club when the outside world becomes little more than an inconsequential thought at the back of your head. Eyes closed as opposed to hands in the air. A light emerging from the darkness - this is the idea I repeatedly returned to in the studio. The more time you spend with it the deeper you fall. Close your eyes, press repeat.”