debut of spanish producer, dj and artist jasss aka silvia jiménez alvarez.

through the cortex sees fixmer gravitating toward a different kind of industrial-tinged electronics, led as much (or more) by analogue sequencers, melodies and ultra-saturated sounds of synthesizers than drums and percussion

mit test-file erscheint auf ostgut ton eine doppel-ep mit sechs neuen stücken des berghain- residents der ersten stunde. für sich genommen weisen die stücke klaren sessioncharakter auf und folgen einer intuitiven herangehensweise für möglichst freien einsatz zwischen club und kopfhörer. „test-file“, „torch“ und „error (1st take)“ sind auf linie mit dem für dettmann markanten minimalismus, eher beat-experimente – hier mit pulsierenden synths, dort mit stärkeren effekten, breakiger und röhrender anmutung und bei letzterem mit betonung des sessioncharakters im titel, blubbern und gluckern bei 132 bpm. die zweite einheit stellen „ascending“ und „metalloid“ dar: eine gewisse kälte, härte, geräuschhaftig- und grobkörnigkeit, dennoch songcharakter wahrend. am markantesten ist das eingängige “autumn77”, das neben groovendem, funky house-beat und warmen harmonien schon über titel und vocal dettmanns ganzes referenzsystem absteckt.

martyn releases new album voids, his first for ostgut ton over the past year, dutch-born, washington d.c.-based producer martyn has undergone a metamorphosis – one that began with a medical emergency and has dovetailed into personal musical transformation. having narrowly avoided death after suffering a heart attack, martyn reentered his studio and began a process of reassessing the elements that drive him to make music: sampling, unpredictability, melancholy, sci-fi, polyrhythms, texture, ecstatic moments, detroit, interlocking percussion and bass. however, the initial spark to start producing again came through his experience listening to max roach’s 1979 ensemble percussion album m’boom.

black strikes back. pom pom. boom boom. ja ja.

answer code request’s 2014 debut lp code was an exciting moment for electronic music in berlin – one that offered a break from the eternal hall and monolithic 4/4 kicks that ruled the city’s club landscape. as a hybrid gesture, the album’s spirit recalled an especially fruitful era in the german capital from the mid-90s to early 2000s, when dub and pad- driven detroit techno cross-pollinated with berlin’s industrial aesthetic to create one of the city’s most exciting musical chapters.

having remixed depeche mode and dj hell as well as releasing a new fixmer/mccarthy single with douglas mccarthy (of nitzer ebb), 2017 has already proven to be a productive year for terence fixmer. with the new force ep, the berghain resident follows up on 2016 s beneath the skin ep (o-ton 97), offering four stylistically different but congenial techno scenarios for club use. the record s eponymous track on a1 doesn t think twice: the initial signal horn starts as sudden as the staggered kick drum rhythm, reoccurring throughout the cut s 6-minute playtime while sustained and oppressive screams from a synth, extra multifaceted ebm percussion and synth drones add to the overall sombre atmosphere of ôforceö. the musical vibe distinctly changes with ôsidewalkö which puts more focus on synth melodies û like its predecessor a techno cut per se, but with a stronger accent on hypnotic motifs. on b1 ômelting planetsö emphasises the kick: clocking in slightly slower than the other three tracks û at 122 bpm û the bass drum here sounds extra vivid, ever-present and spot-on, just as if terence was playing the drum kit sitting right next to you. with additional percussion and swirling melodies ômelting planetsö is a lulling, mesmerizing meditation in dub techno. ôstriking patternsö on b2 links to the best moments of force ep s a-side, combining bone-dry bass drum hits and distinctive brazen, banging noises, pulsing synths pads and sizzling surface sounds.

panorama bar resident nick ho&#776,,,,ppner gets to work on his second solo album on ostgut ton, connecting the territories of house music with the ease of alt-pop. work as in labor. an axiom that fuels the capitalist system just as the techno/house scene economy says that one needs to keep oneself busy to make a living. as a musician, things are complicated of course. it’s a long way from the romantic idea of creating music simply for the sake of art to becoming a full time musician. those who have accomplished this feat often find themselves in a professional loop of writing the music, producing it, promoting it (with an info text like this), releasing it and then hopefully selling it. after leaving his full time job as ostgut ton’s label manager in 2012, nick ho&#776,,,,,,,,,,,,,,ppner went fully freelance, focusing on his musically diverse, deep and dynamic djing in and outside berghain’s panorama bar, but more importantly spending more time in the studio. the result was his critically acclaimed debut album folk (ostgut ton, 2015), various 12“ releases and remixes, and now his sophomore lp, work, which, more than ever, lays out his refined production skills and his talent to work the machines until they reveal their inner ghosts: nine new songs that now dodge the dance floor, then fully embrace it.

tobias. returns to ostgut ton with his third full length eyes in the center and expands the musical narrative laid out by his helium sessions ep (o-ton, 2016). the berghain resident keeps exploring the vast modular synth-driven techno, experimental and ambient territories on a journey in-between genres. tobias freund is long established as an influential artist and has – since the early 1990s – been working as a professional producer, sound engineer, label owner and strictly live musician. besides his early solo projects (such as pink elln, metazone or phobia) he’s also been collaborating with dandy jack (as sieg Über die sonne), ricardo villalobos (as odd machine), max loderbauer (as nsi.), valentina berthelon (as recent arts) and atom tm to only name a few. with his vast experience, diverse output and interests, tobias. doesn’t tire to actively push against existing boundaries and explore new areas of electronic music.

helium sessions offers four new zero-g tracks from tobias. spread out over 27 minutes on this extended ep, his third full-length album will be landing in 2017.

nick höppner, virginia and dinkys planes in a matthew styles dub mix.

ostgut ton reissues eins of zehn with tracks by boris, norman nodge, luke slater & m.dettmann aka s/d.

steffi releases an ep with three versions of treasure seeking featuring dexter and virginia.

anthony parasole makes his debut on ostgut ton with three percussive-heavy techno tracks.

die masse box stellt das album >masse< und die drei remix eps von din, dettmann | wiedemann und henrik schwarz in einem set zusammen. sie beinhaltet eine cd im 6-panel-digipak und drei 12 inch vinyl singles in 3 verschiedenen covern. verpackt sind die tonträger in einer luxuriösen schachtel aus 800 g/m² karton mit mattfolienkaschierung und einer partiellen uv-glanzlack-verzierung, die schachtel ist auf 500 stück limitiert

als 2011 ostgut ton die >fuenf< compilation veroeffentlichte, um das fünfjaehrige bestehen des labels festzuhalten, fanden 23 kuenstler auf sieben vinyls, in einer aufwendig gestalteten box, ihren platz. alle ostgut ton kuenstler konnten mit hilfe der im berghain aufgenommen sounds und ihrer passenden handschrift in der produktion die Ästhetik des clubs wiedergeben. feat. barker & baumecker, fiedel, tobias., rolando, din, crushed soul, virginia, function

rolando back on ostgut!

underwater techno. that could be leaning over backwards in just two words. tobias freunds debut album for ostgut ton also serves as the longplayer introduction for his tobias. moniker, gives a fascinating and profound insight into his special world of music and sound science.

limited biovinyl repress, which provides an ecological alternative to the conventional vinyl record with strictly no sound or visual compromises.

incl jerome sydenham remix, phat!

follow-up to 2019s barker001! hand-stamped vinyl!

next luke slater double hammer

2nd solo ep by etapp kyle on ostguts mothership

finally tobias is back on ostgut

new album by phase fatale

the long awaited shead album

next luke slater double hammer

swirling melodies braindancing long after the after party.

steffi und virginia kehren mit einer acht-track-doppel-ep zurueck zu ostgut ton und laden ein in neue dimensionen ihrer sonischen welt, die sie im laufe mehrerer jahre geschaffen haben.

bangin berghain techno , decks tipp

ltd repress ! long awaited.

martyn returned to his deep, percussive roots, nimbly constructing webs of rhythm, space and inventive basslines

ostgut sub division, hand-stamped & vinyl only.

hello detroit

part 9 of the ostgut berghain series.

das vierte studioalbum des langjährigen berghain-residents efdemin alias phillip sollmann.

substance aka dj pete (known from hardwax) did it again

nach langer zeit gibt es wieder eine ostgut vom berghain resident norman nodge. das warten hat sich gelohnt

exclusive tracks from nd_baumeckers mix part 2. incl ross from friends, dave aju and duplex

exclusive tracks from nd_baumeckers mix part 1. incl falty dl, jinje and gen ludd

im lauf der letzten vier jahre hat sich hayden payne alias phase fatale einen ruf als erneuerer von techno erarbeitet – sowohl hinsichtlich des breiten spektrums dystopischer electronics in seinen dj-sets, als auch wegen seines tiefen wissens von synthese und sounddesign in seinen produktionen. nach releases auf labels wie jealous god debu&#776,,,,,,,,tierte payne 2017 mit der ep anubis auf unterton. seitdem u&#776,,,,,,,,bernahm der new yorker club residencies in seiner wahlheimat berlin (berghain) und seinem – quasi – zweitwohnsitz tiflis (khidi), vero&#776,,,,,,,,ffentlichte sein debu&#776,,,,,,,,talbum redeemer auf hospital productions und startete außerdem sein eigenes label bite mit einer kollaborativen ep seiner selbst mit silent servant. seine erste o-ton, reverse fall, atmet einen frischen, reinen geist von techno – weder nostalgisch noch futuristisch, eher anarchisch und beila&#776,,,,,,,,ufig visiona&#776,,,,,,,,r. phase fatale erweitert mit dieser 12- die klangliche variation und musikalische narrative seines bisherigen schaffens als producer ebenso wie er die bandbreite seiner dj und live-sets spiegelt. gleichzeitig verschiebt er die genreparameter von techno vorwa&#776,,,,,,,,rts: ihm geht es musikalisch weniger um ‚ha&#776,,,,,,,,rter‘, sondern um dichtere atmospha&#776,,,,,,,,ren und basslastige grooves einerseits, um einen bissigen, markanten und scharfkantigen sound andererseits. auf reverse fall gibt es von film(musik) – namentlich carpenter und argento – informierte stellen: markant-melodio&#776,,,,,,,,se, bedrohliche synth-arpeggios, staccato-hi-hats, du&#776,,,,,,,,stere sechzehntelsequenzen, knackige snares und schnalzende peitschenschla&#776,,,,,,,,ge, noisige drones und dro&#776,,,,,,,,hnende pads. zwei stu&#776,,,,,,,,cke wie gemacht fu&#776,,,,,,,,r halsbrecherische hochgeschwindigkeitsfahrten auf der na&#776,,,,,,,,chtlichen u&#776,,,,,,,,berholspur („reverse fall“, „blackbox“), zwei abgebremste stu&#776,,,,,,,,cke fu&#776,,,,,,,,r die horrorszenarien danach („incision“, „empty whip“). musik, karosserie, ko&#776,,,,,,,,rper und kopf verma&#776,,,,,,,,hlend – hier inspiriert von j.g. ballards verkehrstodfetisch crash, dort a&#776,,,,,,,,sthetisch im geiste dirk skrebers um stahlpfeiler gewickelt. eine abfahrt u&#776,,,,,,,,ber das gesamte frequenzspektrum, mit frontalcrash in einer schroffen klangwand.

barker makes solo debut on ostgut ton with new experimental dancefloor ep sam barker has had a long ongoing relationship with berghain and ostgut ton, having released two lps and various eps as one half of barker & baumecker and hosting regular nights at the club since september 2008 as co-founder of the label leisure system.

berghain resident somewhen debuts on ostgut ton with four-track ep afl. growing up the son of polish immigrants in berlin neukölln in the 90s, somewhen cut his teeth as a producer within the city’s burgeoning rap and r&b scenes, making beats for local mcs and gravitating toward bass-heavy arrangements. at the time, pre-gentrified neukölln was known as an affordable working class district with high dropout and unemployment rates – paths somewhen avoided by immersing himself in sound engineering, working construction and, in his spare time, honing his gritty productions.

ostgut ton’s berghain mix series returns with volume 08 by fiedel. available on 12” vinyl are four new exclusive tracks by electric indigo, stefan rein, rroxymore, boris & fiedel. few figures in berlin dance music can claim as lasting and multifaceted a presence as longtime berghain resident fiedel. a former resident at berghain forerunner ostgut, the veteran dj and producer is known by heads for his decades-long influence on left-field techno and bass music in the german capital, particularly as one half of celebrated production duo mmm with errorsmith, and co-operator of the legendary wax treatment parties together with mark ernestus of hard wax and basic channel fame.

2017 re:issue , 1 per customer
one ist das debütalbum von ben klock. ein album, das in seiner visionären strahlkraft nahtlos an das shed-album auf ostgut ton anschließt. one ist ein extrem starkes techno-album, das in seiner eigenständigkeit zu einem frühen höhepunkt des jahres 2009 zählen dürfte. zumindest sitzt die messlatte - auch für ostgut ton - jetzt erst einmal erfreulich hoch

lsd is an ongoing musical collaboration between longtime electronic music innovators luke slater, steve bicknell and david sumner focusing on psychedelic aspects of techno while emphasizing the cross-pollination of each members style and rhythmic sensibility. personal ties between the three can be traced back across continents and developments in dance music, with steve first inviting luke to play his legendary lost party series in london in the early 90s, resulting in mutual remixes for pioneering techno imprints cosmic records and nova mute. almost a decade later in the year 2000, dave, a native new yorker, befriended steve after inviting him to play limelight in manhattan. over the years, dave and luke would also have numerous encounters, first forming a musical bond in 2009, with dave later co-producing lukes early l.b. dub corp material (roller, 2013).

with waking states, steffi offers two exclusive tracks created in the same album session – and with a similar intricate rhythmic sensibility – as her recent world of the waking state album. the morphing, up-beat, 4/4 club-oriented vibe of ‘exit the ego’ on a stands in stark contrast to side b’s pad-heavy, atmospheric electro of ‘the big white bang’

with waking states, steffi offers two exclusive tracks created in the same album session – and with a similar intricate rhythmic sensibility – as her recent world of the waking state album. the morphing, up-beat, 4/4 club-oriented vibe of ‘exit the ego’ on a stands in stark contrast to side b’s pad-heavy, atmospheric electro of ‘the big white bang’

steffi occupies a unique space in the realm of contemporary electronic music. although she s a world renowned dj, steffi s musical interests reach far beyond the dancefloor, and it s her work as a producer that has established an impressive, hard-won legacy. soon after moving to berlin in 2007, steffi joined ostgut, becoming a resident at panorama bar and releasing on the club s label. to date she s released five albums, including two solo for ostgut ton, a co-production with virginia, another with analogue cops as third side and a collaboration as doms & deykers on martyn s 3024 label. her impressive discography features club classics like “ yours feat. virginia” , carefully chosen remixes and appearances on labels including permanent vacation, underground quality and mixes for panorama bar and fabric. she owns and operates four labels: klakson (with dexter), dolly, dolly deluxe and dolly dubs. world of the waking state is steffi s third solo album for ostgut ton and a musical departure for both her and the label. it s also a serious statement of intent. over ten tracks she embarks on entirely new electronic terrain for her productions, marking industrial spaces with superlunary warmth while exercising a refined knowledge of polyphony and arrangement. subdued melodies interact with each other over implied harmonies and microcosmic drum patterns, luring us into a world that is introverted, bewildering and gratifying all at once.

it goes without saying that space has always been central to techno – both in terms of its cosmic and futuristic trajectory, as well as in the spatial dimensions of sonic elements. etapp kyle’s first full ostgut ton ep release sees the ukrainian-born, berlin- based berghain resident emphasizing the connection between the two, while avoiding techno’s overt intergalactic clichés. by partially linking to his continuum ep (unterton, 2016), the results are four tracks of pristine, sci-fi minimalism, propelled by ambient synths and percussive explosions in distant skies – more utopian than dystopian. opener “alpha” establishes the cosmic theme from the get go, with chord swells and a whirring, phasing spacewind panning across the stereo image. while a subdued kickdrum gets things started, it’s the rhythmic interplay between dynamic high-hats and halled-out rimshots that guide the track through space. from there, “quantum” on a2 strips the voyage down to a glowing, unwavering arpeggiated synth line, interspersed with twisted, high-pitched bells and updated 909- esque snare patters.

adding to previous 12“es on ostgut ton and his own rk label fellow neuköllner and berghain resident kobosil offers four new uncompromising techno club tools.
while all cuts on the 105 release share filthy, stone-cold, elemental rhythms – pounding, energetic and hypnotic 4/4 kick drum slaps – the devil is, like with all kobosil productions, in the aesthetic details. “40000 l” uses gargling synth patterns and howling horns to dramatic effect, “bei nacht h (178)” contrasts the kick with a harsh, tinny drumbeat and menacing melody pad, creating a nightmarish vibe.
“backmask n” on b1 offers heavily alienated vocal samples alongside rave-reminiscing synth stabs and staggered hi-hat percussion. “derange” closes this four-tracker with grainy drone echoes and throbbing, sizzling synth pulses.
adding to kobosil’s full-floor-focussed sonic repertoire 105 shows him from his darkest and most vigorous side yet – this 12“ is a brute, in the most positive sense.

in time for the 20th anniversary of his label hospital productions, dominick fernow offers the first release of his techno-focused moniker vatican shadow on ostgut ton, following up on his berghain residency and joining ostgut booking in 2016 with his vatican and prurient projects. the cocteau twins/this mortal coil-channelling, beatless widescreen opener “they deserve death” and the two collateral club/dancefloor tracks “rubbish of the floodwaters” and “weapons inspection” offset each other by reincarnating the tape manipulation that laid the foundation of vatican’s first performances with analog hardware and minimalist midi-dissection. produced in los angeles with josh eustis, vatican shadow’s rubbish of the floodwaters ep casts a full spectrum picture of where the project was born and where it headed.

this ep s lead track comes in form of a deep dub techno aesthetic at an adequate 128 bpm while not neglecting warm and melodic elements. “box drop” stands in the tradition of höppner s interest in musical detail rather than blatant functionality: aside from his recognizable kick drums and basslines nick lays out plenty of harmonic layers and effects such as string arrangements, leading synth pads, now trickling then rotating sound patterns, making this cut as elegiac and frisky as it’s muscular and straightforward.

fiedel und ostgut ton schliessen sich für seine neue substance b 12inch zusammen. womit fangen wir an, abgesehen von der erwähnung, dass fiedels debüt-solo-release auf ostgut ton lang auf sich hat warten lassen und dass es gleichermaßen prächtig gelungen ist? der gebürtige berlin-brandenburger hat die mauer fallen sehen, begann in den 1990ern im subversiv aufzulegen, startete 1996 mit errorsmith als mmm zu produzieren, war ostgut-resident ab 2000, machte damit ab 2004 im berghain nahtlos weiter, betreibt die eigenen labels fiedelone und fiedeltwo, arbeitete im hard wax-plattenladen und ist tragende säule bei wax treatment und dem killasan soundsystem. das urgestein von berlins technoszene präsentiert sich heute frisch und in topform mit seiner ersten solo o-ton-veröffentlichung, knüpft an seine intensiven beiträge zu den compilations fünf (2010), various (2013) und ostgut ton | zehn (2015) mit einem noch stärkeren drei-tracker an. fiedels produktionsstil atmet den geist der frühen tage von techno music, verbindet genres und techniken, konzentriert sich nicht nur auf eine enge musikalische narrative, kombiniert techno, acid, electro, jungle, boogie, dubmusik und broken beats. substance b ist die logische konsequenz eines passionierten djs mit vinyl-schwerpunkt, erfahrenen produzenten und akribischen tontechnikers: ein zwingender klang für moderne zeiten.

massimiliano pagliara debuts on ostgut ton with his new ep, time and again. born and raised in the deep south of italy massimiliano pagliara made his way to berlin in 2001, quickly diving headfirst into the german capital’s club scene (particularly berghain’s predecessor club, ostgut) until he started djing in 2003. by the time of his joining with ostgut booking agency in october 2015 massi had already constantly delivered – the dj and producer has left a strong mark on house music throughout the years with energetic, playful and deep sets behind the decks, two acclaimed solo albums on live at robert johnson and various collaboration projects. his residency at panorama bar therefore was a no-brainer – but the musical link by one of house music’s finest with the club’s label was still missing. now massi steps up with four new tracks and his first release on ostgut ton.

o-ton 100 - 100 percent pure dark berlin minimal techno sound

barker & baumecker take turns from techno, bass, breaks, and experimental terrain with their second album on ostgut ton.

barker & baumecker precede their upcoming album turns with the new two track 12“ love hertz / cipher

five years after his last album release luke slater returns to ostgut ton with a new planetary assault systems longplayer, titled arc angel.

chances are you ve already danced to one of his sets at panorama bar – matthew styles has been a regular guest dj at the club for several years –, but you ve probably also come across at least one record with music that went through the englishman s meticulous hands. while matthew has released great but small numbers of 12-es on various labels since 2007, his credits in mixing, engineering and mastering exceed his solo discography by far. with the metro ep we re finally offering a full solo release by matthew styles on ostgut ton

terence fixmer goes beneath the skin on his first solo release on ostgut ton.

nick höppner legt nach seinem album folk und einem split-release mit fort romeau (cin cin, 2015) auf ostgut ton nach. mit der fantastic planet ep kollaboriert er mit dem japanischen dj und produzenten gonno auf drei lebhaften, clubtauglichen tracks, durchdrungen von früh-90er house und uk electronica vibes.

answer code request picks up where he left off with his album (code, ostgut ton, 2014) and 12“ (calm down, mdr, 2015): with the neume ep the berghain resident offers three new tracks, meandering between restrained club contexts and brittle break beats, machinery and futurist soulfulness. the eponymous track “neume” starts off on a with shuffling rhythms atop a heavy kick, soon caught up by first surging then predominant drone motifs, flashing bleeps and piercing strobe sounds. “meta” on b1 clocks in instantly without any build-up: its rhythm section sets the tone with broken beats while acr slowly carves out more musical detail and textures: subtle command vocals from the machine room, swelling synth pads and other chilling, athmospheric means are subsequently being added until the track’s break where the emphasis shifts towards the kick, pads and synth melodies until the track’s sustained, smooth outro. “vis” on b2 is the ep’s most protruding track: classic uk garage shuffle rhythms and amen breaks are contrasted by a funky kick and dreamful pads, intertwined with additional sparse percusion, layered with what in the first instance sounds like chirping birds but then like sparking wires. answer code request continues what he does best: combining the warm human touch with chilled alienated aesthetics.

virginia steps up with her first full-length on ostgut ton, playfully answering all questions and rhetorics about love, lust and life with her singing on eleven new songs. titled fierce for the night and co-produced by renowned artists dexter, martyn and steffi, the album offers a very personal insight to her inner self while drawing from club culture s long and rich history.

virginia steps up with her first full-length on ostgut ton, playfully answering all questions and rhetorics about love, lust and life with her singing on eleven new songs. titled -fierce for the night- and co-produced by renowned artists dexter, martyn and steffi, the album offers a very personal insight to her inner self while drawing from club culture s long and rich history.

ostgut ton reissues neun of zehn with original tracks by ben klock and ryan elliott as well as len faki revisiting rainbow delta. 2015 marked ostgut tons ten-year anniversary, celebrated with an extensive 30 track compilation release, titled ostgut ton | zehn, spread out over ten 12inch vinyl records housed inside a limited box set. this sampler sold out in no time, which is why ostgut ton is re-issuing these ten 12inches individually in 2016. without any doubt, the best klubnacht moments are when dancers let go in trance not peak time, not big hitters, its the subtle nuances that matter. ben klocks first solo production in six years on a internalises this formula: a simple beat, pulsing sirens, a shimmering melody, some sprinkling flute notes and ben’s your uncle. sirens is a pure, hypnotic cut, shrewd and stylish. on b1 ryan elliott underlines why he has been playing both of berghains floors regularly: smith lake is somewhere along the lines of micro techno/macro house, something living inbetween musical worlds and floors, combining tribalist bongo percussion with ethereal synth pads and a delicate bassline. is it safe to say that rainbow delta is a modern classic? because it is! on b2 len faki revisits his 2007 release in form of a stripped-down, bare-naked and intimate ambient version. a modern classic, turned seren

ostgut ton reissues the final zehn of zehn with original tracks by etapp kyle, marcel fengler with elif biçer, and steffi. 2015 marked ostgut tons ten-year anniversary, celebrated with an extensive 30 track compilation release, titled ostgut ton | zehn, spread out over ten 12inch vinyl records housed inside a limited box set. this sampler sold out in no time, which is why ostgut ton is re-issuing these ten 12-es individually in 2016. all good things must come to an end, and so does this label compilation with its final re-release. long-time ostgut ton collaborator elif biçer lends her tantalising vocals to marcel fenglers uk-spirited, breaky and dark beats, with, vocals and lyrics aside – its open snare drum roll, the brazen sounds and seething bassline being the most distinctive elements of fallin on a. on the flipside up-and-coming etapp kyle opens b1 with blistering bleeps atop a solid kick, brushed percussion and surging, subtly atmospheric synth pads. there arent many producers as productive as steffi is: löweborschtel continues her past electro-influenced releases on b2: bouncy and rhythmic, moody yet spot-on, dreamy while fierce. to the next zehn years!

extended and dub versions of funkert and raverd, both songs taken from the forthcoming virginia album fierce for the night (ostgutlp22 / ostgutcd36).

ostgut ton reissues acht of zehn with original tracks by martyn, atomtm & tobias. and planetary assault systems.

ostgut ton reissues acht of zehn with original tracks by din (aka efdemin and marcel fengler), fiedel and tobias. 2015 marked ostgut tons ten-year anniversary, celebrated with an extensive 30 track compilation release, titled ostgut ton | zehn, spread out over ten 12inch vinyl records housed inside a limited box set. this sampler sold out in no time, which is why ostgut ton is re-issuing these ten 12inches individually in 2016. bubbling synths, a stoic bassdrum, some live hi-hat percussion and synth pads full of bliss – what started as marcel fengler’s and efdemins inaugural collaboration as din for 2013s masse ballet sees its continuation in form of mono on a1. on a2 fiedel contrasts the opening tracks cool sounds with an upbeat contribution: probe-806 gently brushes funk, electro, acid and even boogie territory atop the general muscular rhythm. analogue synth aficionados are being served by tobias.: like a drug is a minimalist techno track with maximalist dancefloor effect through its use of haunting, distanced vocal fragments, discomforting alarm tones and crackling background textures. as with every good drug, you dont necessarily want more of it, but rather a longer duration of effect (in this tracks case: 8:36 minutes).

atomtm, barker + baumecker and anthony parasole

ostgut ton reissues fünf of zehn with original tracks by answer code request, doms & deykers and dvs1.

drei of zehn comes with original tracks by function and substance as well as len faki remixing l.b.dub corp

ostgut ton reissues zwei of zehn with original tracks by efdemin, marcel dettmann and kobosil.

during the last three years a new name has been making waves at ostgut ton and berghain: berlin born, raised and based producer kobosil made his debut with a remix of barker & baumeckers silo (ostgut ton, 2013), completely unknown at the time, he has quickly earned his stripes as a dj on the clubs main floor, eventually becoming a resident at berghain. following up on five subsequent 12 releases and kobosils first live sets, his debut album sees him covering yet new ground in the form of a full length release.

long awaited shed album

solodebŸtalbum von barker

martyn releases new album voids, his first for ostgut ton over the past year, dutch-born, washington d.c.-based producer martyn has undergone a metamorphosis Ð one that began with a medical emergency and has dovetailed into personal musical transformation. having narrowly avoided death after suffering a heart attack, martyn reentered his studio and began a process of reassessing the elements that drive him to make music: sampling, unpredictability, melancholy, sci-fi, polyrhythms, texture, ecstatic moments, detroit, interlocking percussion and bass. however, the initial spark to start producing again came through his experience listening to max roachÕs 1979 ensemble percussion album mÕboom.

answer code requestÕs 2014 debut lp code was an exciting moment for electronic music in berlin Ð one that offered a break from the eternal hall and monolithic 4/4 kicks that ruled the cityÕs club landscape. as a hybrid gesture, the albumÕs spirit recalled an especially fruitful era in the german capital from the mid-90s to early 2000s, when dub and pad- driven detroit techno cross-pollinated with berlinÕs industrial aesthetic to create one of the cityÕs most exciting musical chapters.

panorama bar resident nick ho&#776,,,,,ppner gets to work on his second solo album on ostgut ton, connecting the territories of house music with the ease of alt-pop. work as in labor. an axiom that fuels the capitalist system just as the techno/house scene economy says that one needs to keep oneself busy to make a living. as a musician, things are complicated of course. itÕs a long way from the romantic idea of creating music simply for the sake of art to becoming a full time musician. those who have accomplished this feat often find themselves in a professional loop of writing the music, producing it, promoting it (with an info text like this), releasing it and then hopefully selling it. after leaving his full time job as ostgut tonÕs label manager in 2012, nick ho&#776,,,,,ppner went fully freelance, focusing on his musically diverse, deep and dynamic djing in and outside berghainÕs panorama bar, but more importantly spending more time in the studio. the result was his critically acclaimed debut album folk (ostgut ton, 2015), various 12Ò releases and remixes, and now his sophomore lp, work, which, more than ever, lays out his refined production skills and his talent to work the machines until they reveal their inner ghosts: nine new songs that now dodge the dance floor, then fully embrace it.

during the last three years a new name has been making waves at ostgut ton and berghain: berlin born, raised and based producer kobosil made his debut with a remix of barker & baumeckers silo (ostgut ton, 2013), completely unknown at the time, he has quickly earned his stripes as a dj on the clubs main floor, eventually becoming a resident at berghain. following up on five subsequent 12 releases and kobosils first live sets, his debut album sees him covering yet new ground in the form of a full length release

the debut album by answer code reequest is called code and challenges current listening expectations.