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Whereas many producers nowadays have dedicated themselves to only one musical direction, the influence of Kerri Chandler, Chez Damier or Kevin Saunderson is clearly noticeable in Stefanik’s music. His longplay debut for Cocoon Recordings is a mirror of all these influences and yet it’s so up-to-date and contemporary like only few other Techno and House albums today. As the name already suggests, “Entrance” is the gate to Stefanik’s club world, the door into the night and to the dancefloors of the hedonistic but nevertheless gloomy metropolises of this world. “Entrance” breathes influences from Detroit and Underground Resistance. Not again this pseudo-deep Loop House, or even another definition of Minimal, but a production with depth and substance, however, without cramping or wanting too much. The perfect start of a long, cool night - the sound that opens the gates to another world. “Light On” targets the beat for the first part of the night and follows an almost East German approach, if you like. House music like it’s been served by Marvin Dash or Dub Taylor for many years: no hands-up attacks and no overproduced U.S. influences from New York, but slightly raw with an eye for the essentials: the kicking beat and the atmosphere from 1 a.m. on. “1996″ is the next hint of Stefanik’s influences and references. Dave Clark and Slam say hello from the background and also the Detroit House scene around Jeff Mills and his early AXIS productions can be recognised here. The kicking 909, the demanding beat and the gloomy-like filters don’t sound like Germany at all. And with “Port Of Transition"