played by dominik eulberg, adam beyer, ewan pearson, joris voorn, gabriel ananda, karotte, carlo lio, sebrok, martin eyerer, gregor tresher, monika kruse, stephan bodzin, troy pierce, darren emerson,.. ideal audio 019 again sees the coming together of two of modern technos super powers. having first stepped into the studio back in 2008 to bring us the mighty >diablo< (cocoon), dubfire and ideal boss oliver huntemann kicked off one of the most exciting production partnerships of today. the success of >diablo< encouraged the pair to continue their studio relationship - not an easy task with such hectic touring schedules.

cool, dark underground club monsters. being a top player in the music industry is not an easy task! but with 15years in the business and over 150 releases, 50+ remixes & 300+ compilation appearances the numbers of jeffs output speak for them self’s. jeff started creating music in 1994 and got hooked on it directly, but it took until 1998 before his first single was to come out on his own label maskros music. since that single he has released on labels like poker flat, night drive music, episode, treibstoff, kickin music, konvex konkav, plastic city, global underground, regular etc.

la fleurs certified hit, the flowerhead ep, launched her power plant records imprint into the stratosphere in 2010. following the flowerhead ep would be no easy task, but its one that young danish talent jesper ryom takes in his stride. the second chapter of power plant records story exists within jesper ryoms refined musical universe, where samples and live guitar merge and mesh for a kaleidescopic whole thats greater than its parts. as ryom drifts in a dream-dance state, he delves further into sonic experimentation, but is ever mindful of the dancer and the dj.

danish producer martinez rarely fails to surprise club music lovers with his versatile views on techno and house. his very special enthusiasm enables him to seize new musical territory with every release. with his debut record on cadenza, his house sound develops another depth, a more general view of the ever evolving tension between life and music. the mzuzu ep is all about bass. the bass is all around, the bass gushes into every corner of the club, it pervades concrete and iron. while the low frequencies deal ruthlessly with architecture, they are kind to us humans. the basslines put the dancers in a conforting state of hypnosis which might be an unconscious reminder of the long gone time when one still rested in ones mothers womb. it arouses the memory of a state when one is completely merged with the surroundings. martinez reorganises the structure of house music: the lashing grooves cease to be the center of the tracks. martinez moves the heartbeat of the music from the beats to the bass. its firmness releases the other elements of the tracks, creating a free-spirited feeling. freed from their regular task the grooves are enabled to be rough and open. instead of trying to control the crowd, they ravish us with their liberating energy. the tracks rarely need anything else. the icing on the cake consists in tiny vocal samples. creating an irritating athmosphere, they put us in a state of constant curiosity. disolving completely into the flow of the tracks, the human voices become pure sound. >mzuzu chant< & >adagio< are for the beautiful moments when the dancing crowd detaches itself from time and space

new york, chicago, detroit? nop, boring shizzle!! just try miami!! sun, butts, flamingos and music! only an idiot can think this way! the bar is for sure the answer to the question: what is the most important part of the house? so what is more obvious than crowning a house-track with a vocal by the person who enhances life to the bar and to the party as well as the dj? luna city express wants to build a monument for the ones bearing this responsible task and say thank you, together with enliven deep acoustics. they want to pay homage to the person every visitors welfare depends on! so just imagine the bartender not only leverages your drinkable luck but also sings for you! not only sing, just utterly make the party to an unforgettable experience which makes the dancefloor to a trivial idea. everybody who is pleasured by this record is forced by associations which will make her or him hugging the person behind the bar!!

matt green brings along some fellow artists for this release in the form of tripped & koney. tripped & matt green get down to some serious beats together for their track nitm. while koney takes on the task or remixing matt greens track childhood trauma. back up by 2 solid tracks by matt green on his own this finish off the 4th release on corrupt redux nicely!

have you heard? grandmas doing the bird to the latest rock-breaking teen sensation, the wig-flipping chain & the gang. >(i ve got) privilege< is the latest volume in our international pop underground series of 7 inch 45 rpm records. young and old alike love the beat, the cranked riffs, just the overall vibe! you may, too, as soon as this package slides under your door. ian svenonius and chums have really come up with a winner of a dance task master, a real double-a side plate. chain (o.k., ian) croons on the first side, espousing the joys of being part of the privileged class. then he gets real confused about the relationship between cars and music (isnt it obvious?) on >detroit music<. >(i ve got) privilege< was recorded by calvin johnson at dub narcotic studio here in olympia, wash. breaking all the chains, in the best possible way.

this is the second experiment from the teslasonic lab. this time, teslasonic descends into the bowels of the globe to bring forth its hidden sounds and to unlock the imprisoned and immense energies. the task is to subdue the devastating spark of prometheus and the thundering bolt of jove, annihilating time and space. from the dark depths of electro to the bright regions of the cosmic sounds. check!

its a hard task to capture the raw emotional elements of deep electronic house & techno - itamar sagi has managed to capture and mold it, on this detroit influenced ep

san soda only needed one very limited ep and one >full< release to get attention from all over the place. deep house music that is both rooted in the past and firmly aimed towards the future. for this fourth release on we play house recordings san gives us three more killer tracks from his vaults. the a-side brings us >doorsnee<, a track that already had people requesting a release when it was but in its infant days on his myspace. describing it is quite the task, because it kinda leaves the 4/4 path and still stays on it, it kinda floats but it still gets you screaming on the dance floor.

michael forzzas is one of the most important techno djs from belgium. like figure head len faki, michael forzzas speciality is to play extended sets which develop an individual athmosphere. figure 015 is forzzas first international release, and forzza sent two unique tracks to berlin, the tenor & the monkey is destined to turn the dancefloor into a frenzy. it puts you in a state of fear and euphoria at the same time. while the tenor & the monkey puts the roof of every club on fire, high on this is more cautious. the powerful groove unfolds its energy in many contexts. the pulse of the track immediate, it feels like the music is talking to each dancer personally. the tenor & the monkey and high on this don t show any effort, yet the tracks rule over the dancefloor: they both manage to focus on the essence of club music, a rarely achieved task these days.

a new beginning is always an euphoric and scary step towards the unknown. the euphoria comes right after the original idea, when first signs of feasibility are shown. then comes reality. i think that nobody is able to eradicate reality (or what a common society sees of it) out of his mind, though art allows us to escape temporally this fiction. its not an easy task to achieve and artists hold in their hands, intellects, souls and guts a great responsibility. terpsichór? will be a support that transfers this responsibility to others: the artists, the public, the crowd, the souls, the dancefloor

this is quite simply one of the most glorious records you will hear this year. it would be easy to lazily reference it against classic period rephlex/planet mu stuff (oops, i just did!), and indeed it appears to share some of the same heritage (even going so far as to feature a remix of rephlex artist global goon in its tracklisting) - but chris leary aka ochre is obviously a man on his own mission. gorgeously lush, but at the same time super-funky…as electronic as kraftwerk starring in a remake of tron, yet somehow as pastoral and organic as edward elgar…much like his label-mate ed chamberlain, leary manages that tricky task of being supremely technical in his programming and arrangements, but without losing the heart and soul of the music amidst all the studio trickery. you know that old chestnut often said when referring to vintage or classic music, >they dont make them like that any more<? well they do…and here it is! simply fantastic.

it is a task that detroit native aaron-carl has done consistently since 1996. as one of detroits most in-demand producers, his signature sound crosses genres -- from soulful, gospel-infused house, to the dirtiest ghettotech anthems. aaron-carl is hailed as a powerhouse in detroits electronic music scene. with a discography to die for, he has remixed some of the motor citys biggest names – underground resistance, scan 7, aux 88 & kelli hand, as well as international artists like chicago house legend dajae, icelandic techno stars gus gus, and african jazz great manu dibango, to name a few. as a vocalist, aaron-carl showcases a broad range. from the haunting chill of >crucified< and >sky< to the seductive whispers of >down< and >21 positions<, to soul-stirring shouts of >alright< and >my house< ac prides himself in not just making records, but classics. his >let me tell you something about house music< acapella (appropriately titled >the word<) is one of todays most sampled house vocals, while >down< is still a staple in the clubs – for more than a decade after its release.

brill slammin phunky electro rocker.. ltd backstock

hot off the heels of onur Özers most excellent mind melt album kasmir, released october of 2007, comes the reinterpretations on vakants vr division. wonderfully thought out, vr handles remixes exclusively leaving vakant itself pure to its artists. this constellation leaves everyone free to the corruption of their fancy, allowing the artists to choose their own remixers. with onur, finding willing interpreters is not a difficult task and the heavy of the heavies representing the light and dark sides of the force are here on vr04. on the a side loco dice, aka tunisian born yassine ben achour, takes onurs instrument laden >eclipse< and puts it through the treatment. what comes out the other end is popping state-of-the-art tech house with onurs depth and loco dices spontaneous flow. on the flip things get serious. jens zimmermann , the deep, deep, freak out master hailing from frankfurt, contributes his own spin on >sahara<

nice price deal !!! lickin records label bosses sunloverz return with their brand new project called trashfunk on the starlet recordings imprint. their task was to remix the 80s cult record talking in your sleep from the romantics which is still played by jocks like armand van helden or felix da housecat, and they doubtless made a great job. for all full on vocal haters there is also a kickin dub mix and a stunning ben delay remix.

swedish maestro tiger stripes delivers an arpeggio house masterpiece, backed by heavy and sublime remixes from frankfurts kings of the deep, motorcitysoul. a producer of eclectic taste demonstrated by output on labels as diverse as defected, southern fried and sonar kollektiv, tiger stripes has turned his hand to cosmic mellifluous house for urbantorque. beach buggy is a track that deserved big remixes, and motorcitysoul show their more than up to the task with three inspired rubs for different moods.

the first dj to have been entrusted with the task of mixing panorama bars first dj mix. shes been making a name for herself on the production front, with releases for labels such as perlon, beat street, mental groove e.t.c, collaborations with luciano, matthew johnson, ricardo villalobos as well as remixes for ricardo villalobos, swayzak & most recently tepeli & prosumer e.t.c. a poem for you finds her in fine form! focusing on ultra deep and ultra hypnotic tech that brazenly cuts into house, cassys first outing for uzuri is a masterclass in restraint. kickstarting the ep with for you, with its stripped down machine funk and those delicious vocals. man of the moment, bridgeport finest house don, jus ed, adds his magical touch on his superb remix of for you. with his his signature hi hats, crisp percussion. the ep rounds off on an even higher note with an outstanding house cut titled, poem. another winner then from this outstanding artist!

writing tracks for kanzleramt is not the only task, what keeps gideon hommes busy. he runs his own label lessismore recordings and is also having a 12inch single out on sino soon this year. the young talent is also throwing the famous anticlub-parties in his hometown eindhoven and all over the netherlands. but therewith not enough: gideon signed up for another 12inch, followed by a full length album (2xlp/cd) in the second half of 2008 on kanzleramt.

the tracks from the recently released full length of nublu orchestra beg for remixes, and the underground resistance militiamen take up the task for sketches of nyc. the i 80 mix is a big thumper, using a scatted vocal line and dissonant horn hits from the original to add drama to the build of an acid bassline and some tastefully tribal drums. the seventh tunnel mix falls squarely in the tech jazz genre that was essentially invented by the detroit collective. the original elements of sketches are used generously, with what seems like a grace note on the upright being turned into a looped bassline, over which the lead vocals and saxophone ping back and forth. must have!!

milos pavlovic is a new talent from serbia. this release fills the gap between unrisky minimal warmup-music and moving, energyful techno with the task to create edges.

started in 2006 by davide squillace to propose a mix of techno funk and minimal, and with the task of promote emerging artists and give them a platform to let know their own music

bugz in the attic release the second single from the inspired debut album back in the dog house,a live favourite and deftly handled cover of yarborough and peoples 1980 bassline heavy dont stop the music. bugz, pioneers of deep and dirty dance music, brought a brimming confidence along with the experimentation of their debut, which glistens with stone cold funk, boogie and disco but remains resolutely contemporary thanks to their immersion in club culture and the broad pool of guest vocal talents at their disposal. for dont stop the music former basement jaxx collaborator sharlene hector was given the task of re doing a bugz favourite, and the result is an out and out west london bruk up twist that takes the basslines from p funk, the soul of the original and a certain pirate radio grit and delivers the very essence of bugz.

nice price deal !!! the disco darlingss create themselves a big task by revamping an old legend david essex they revocal it and turn it into a massive fat dancefloor track with a huge winning breakdown

getting wacker & zittrich to leave the studio is not an easy task. the two sound workers love to sample every-day soundsand work on them for days on end in the studio. they modify these sounds beyond recognition and create danceable monsters

this electronical duo from paris is doing some kind of electronic rock crossover new wave pop, stomping pop,psychedelic new wave and punky stoner rock are changing around,big tune

after twenty years at the center of the electronic scene, the enigma that is chlo? still stands. while chlo? has long transcended her image as the ¦djÖ behind legendary club night pulp, headlining the rex as well as clubs and festivals throughout europe, endless revisions represents yet another deviation from rigid genre classification, deepening the often-linear perspectives on current music. a rich and multi- faceted work, the artist‹s captivating third album drifts from one mystery to the other, harkening back to philosopher theodor w. adorno‹s maxim: ¦the task of art today is to bring chaos into order.Ö

a good place to start. her basic sound and image were interior-life bohemian, and in some ways she was cagey with her talent. she didnt belt or improvise broadly. she picked a limited range of notes and climbed into them, applying a pinch of vibrato, letting her voice fade and crackle. these tracks clearly demonstrate her guiding desire, which was to explore the possibilities of the slow blues in the late 20th century, whatever that might mean. some of the most intense recordings she made were english-language covers or japanese rewrites of american jazz standards, blues songs and spirituals, backed by only acoustic guitar and drums. she sang slowly, as if there were weights on her. and after a while of her working and your listening, youll hear it: the way she connects intimately with her task but keeps something private for herself (new york times)

ruede hagelstein and watergate go hand in hand. not only is ruede one of the longest running residents at the club, but hes also the man behind some of the labels most acclaimed music and the curator responsible for lucky number 13 in the illustrious watergate mix series. with this, it seemed obvious to put ruede up to his next task: an album.

counting almost three years in the game now, demand records have set themselves a mammoth task. to continually release music that cuts through the mounting levels of hype that surround the drum and bass scene of 2013 while retaining an edge of experimental innovativeness is no easy feat. luckily, by pushing the task onto the greatest talents of the deep, dark and creative side of the scene, the label have achieved exactly what they set out to do. drum & bass on demand 2 is a collection of darkly intelligent beats from some of the labels biggest stars, as well as some incredible new talents.

one of the most reliable names in techno and arguably berghains most prominent face, marcel dettmann has already once accomplished the difficult task of translating his pared-back techno sound to the album format.

with this, his debut full-length album entitled when the clouds ran away the man behind the music si tew has seamlessly tied together the many elements of musicality he loves, and from this has delivered a polished masterpiece of modern day electronic soul. featuring a talented crew of collaborators, the album swings from glitchy swung break beats via heart felt soul to organic cinematic compositions, and although this may seem like an impossible task si tew has produced this genre hopping expedition perfectly. the wonderful vocals on this album are performed by a handful of the uks best including leamington spas siren shanade, who opens the album with the divine >silhouette< gliding effortlessly along and introducing the oncoming album traffic