Trentemøller - Into the Great Wide Yonder [2010]

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PANTHA DU PRINCE - BLACK NOISE [2010]

"Fishing in the morning, philosophising in the evening: Hendrik Weber has updated Marx’s communism in everyday life. After getting up, he turns his life into an analogue artpiece and when going to bed, he manipulates digital data streams.
You may already know him as „Panthel” or „Glühen 4” and as a satellite rotating around the Hamburg-based DIAL label and Indiehouse scene. Hendrik Weber’s current and probably most influential project is „Pantha du Prince”. In 2003, he released the radically introverted debut album „Diamond Daze”: it represents purest sublime physicalness and basically an awesome collection of Hendrik Weber’s knowledge and experience in Indierock, New Music and Techno. It is great to see many different layers of a personal history displayed without any ambition of supersense. Though you will find some canonical references (to Detroit Techno, Theo Parrish, Moodyman, Acid House or to good-old Techno „smasher”), in fact the basic vocabulary of Techno and House is constantly enriched and contaminated by alien word fragments. But interferences are welcome and you must not underestimate neither the influence of Noisepop (My Bloody Valentine, Slowdive, A.R. Kane) nor the influence of Electronic Music, Minimalism or Folk on the sometimes psychedelically wobbling sounds from Pantha du Prince. Each reference speaks its own language, and just like life, each influence is multiplied and boundaries get blurred. This layering of sounds and moods produces somewhat bizarre effects as every single layer reveals another one."
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THE FIELD - YESTERDAY AND TODAY REMIXE [2009]

"The Field is a minimal techno artist, based in Stockholm, Sweden.
His music comes from tiny loops of pop history. It might actually be an older brother to the Cologne movement Pop Ambient - the sentimental brother who is never content with being in the background, the one with the heart on his sleeve. To clarify: The Field makes dance music. The edges are soft, the mood often romantic, the sounds moving up, up from the ground. As ”minimal” as a sunset, as ”banging” as a pillow.
In 2005, Willner submitted a demo tape to the German indie label Kompakt and was subsequently signed. He released his first 12”, a demo mixtape of Norwegian singer Annie’s “Heartbeat”, as well as the track “Things Keep Falling Down”.
In 2006, “Sun & Ice” 12” was released. Later in 2007, Wilner became the first musician to take part in the Nordic Light Hotel’s “Sound of Light” concept. After staying at the hotel, Wilner used the experience as the basis for his EP of the same name. His 2007 album “From Here We Go Sublime” has met high critical acclaim." LAST.FM
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TRENTMØLLER - THE LAST RESORT [2006]

"Anders Trentemøller is a Danish electronic musician from Copenhagen.
Trentemøller made his debut in 1997 together with DJ T.O.M. when they formed the first live-house act in Denmark, Trigbag, and started playing concerts all over the globe. Trigbag’s single “Showtime” was played by international DJs such as Alex Gopher, Laurent Garnier and Etienne de Crécy. Trigbag dissolved in 2000.
Trentemøller returned on Naked Music in 2003 with his The Trentemøller EP including the tracks “Le Champagne” and “Work in Progress”. Trentemøller received the award “Up Front Release of the Year” at the Danish DJ Awards in February 2004 for the Track “Le Champagne”.
In late 2004 he and his friend and partner, DJ Buda, issued a white label remix of Aphex Twin’s “Windowlicker”, under the name “Run Jeremy”. Together they’ve also made other great tracks such as “Gamma” and “25 Timer”. Furthermore, Trentemøller has worked together with DJ Buda and DJ T.O.M. on another track on the upcoming and much anticipated Lulu Rouge album entitled “Bless You” which will be released in May 2008.
In February 2005 Steve Bug released the renowned Trentemøller EP “Physical Fraction” on his label Audiomatique. This release put Trentemøller on the map of internationally successful producers, and was followed by three releases on Bug’s main label Poker Flat: Polar Shift, Sunstroke and the Nam Nam EP. Many reader polls awarded him as the Best Newcomer of the year 2005." LAST.FM

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MURCOF - MARTES [2002]

"Fernando Corona had a stated purpose for his debut album as Murcof: Take contemporary composition and introduce it to the world of minimalist Mexican techno. Originally released only in Mexico in late 2001, Martes didn't see broader distribution until the middle of 2002, when the Leaf label saw fit to reissue the record in North America and Europe. The album was quite a departure for Corona, already widely known in Mexico as Terrestre, whose decidedly funkier fusion of traditional norteño and electronica had already become a staple of Tijuana's Nortec Collective. Martes (Spanish for "Tuesday") is far afield of Terrestre's bootylicious grooves. In this much more intimate affair, Corona isolates the smallest elements of select classical works, such as a plucked string, one bow length across a cello, or a furious pound on a piano's keyboard, and integrates them with beats similar to those programmed by Morr Music or blip-hop artists. The result is a moody recontextualization of contemporary classical music, in which, though dismembered, the original pieces find new life and space to breathe while somehow maintaining their original mood." AMG

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GAS - POP [2000]

"On Pop Wolfgang Voigt lightens the tone of his Gas work, adding earthly sounds and brighter melodies. The result remains stylistically ambient; in fact, the stripping away of bass beats, which had been employed on his past two albums, Zauberberg (1998) and Königsforst (1999), makes this more of a purely ambient album than an ambient techno one. Such a distinction (i.e., between ambient and ambient techno) may seem hair-splitting, but it's a key difference between Pop and its predecessors, and this is an album that aims to be different and, presumably, more accessible (if the album title is to be taken meaningfully). Even though, for the most part, there aren't any underlying rhythms of looped kick drums on Pop, there's plenty of rhythm; rather than looping low-frequency bass beats, Voigt loops mid- and high-frequency percussive sounds (for example, a tinny clanging sound on the fourth track). Actually, there's a lot going on in the mid- to high-frequency range, a variety of looped sounds -- some rhythmic, others melodic, still others simply ambient -- and these are a different set of sounds than were previously employed. In general, the seven tracks of Pop are comprised of a multi-layered set of loops that carry on seemingly to no end, though subtle nuances are constantly at play, creating a steady and sustained ambience that is forever shifting and swirling around lifelike. The final track is the most remarkable; at almost 15 minutes, it's the longest, and it's far and away the most intense and rhythmic, chugging along like a runaway train. Besides being remarkable on its own terms, this final track is a great finale and gives Pop the same sense of arc that characterized Zauberberg. While all of the Gas albums are cornerstone works, setting the stage for the style of "pop ambient" techno popularized by Kompakt in later years, Pop, along with Zauberberg, is a crowning achievement for Voigt and, as if his mission were accomplished, he chose to conclude his series of Gas albums here. " AMG

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