LABELNAME Cécille Records
ARTIST Kirik
TITEL Hug EP
CATALOGUE NO CEC067
FORMAT vinyl, digital
GENRE house

W&P Kyryl Kyryk
PUBLISHED Sentric Music
MASTERING Matthias Heinstein
EAN 5054289036934

TRACKLISTING
A Hug 06:14
GBKQU2544428
AA What We Luv 06:00
GBKQU2544429
B Culminating 06:32
GBKQU2544430
BB Gemmy 06:32
GBKQU2544431

Kyryl Kyryk, known professionally as Kirik, is a Ukrainian DJ and producer hailing from Kherson. Since 2008, he has been deeply immersed in the electronic music scene, drawing inspiration from German, Romanian, and UK sounds. His music seamlessly blends deep, tech, and minimal elements, characterized by powerful grooves and a dynamic energy. Now, Kirik comes with a stunning five-track release on Cécille Records, the legendary label founded by Nick Curly and Marc Scholl, known for shaping the European house sound. The Hug EP showcases Kirik's refined house sensibilitiesblending emotional depth with club functionality, and offering a diverse yet coherent listening experience for both DJs and house music lovers. The journey begins with 'Hug,' the title track of the EP. It's a forward-driving piece full of energy, propelled by a strong central theme and tight percussive elements. Right from the first beat, the track sets the tone for the release - bold, rhythmic, and focused. Next up is 'What We Luv,' a groovier and more classic house cut, built around swinging rhythms and a looping structure that reflects Cécille's unmistakable identity. It's rolling energy and timeless feel make it a natural fit for the label's repertoire. 'Culminating' follows with a darker, more mysterious atmosphere. The track builds steadily with a hypnotic drive - never quite exploding, but continuously rising and tightening its grip on the dancefloor with every passing bar. Closing out the vinyl edition is 'Gemmy,' a track deeply rooted in the signature Cécille style of the early 2010s. Hypnotic grooves, shuffling swing, and an understated elegance define its sound. Kirik hits the label's essence here with pinpoint precision. As a digital-only bonus, 'Just A Dream' offers a personal touch. A deep, emotional house track that reflects Kirik's 15-year journey-a path of dedication, evolution, and vision, culminating in this
milestone release on Cécille. It's a fitting closer to a standout EP.

"Intrinsic Rhythm is happy to announce a new EP "Is This The End" by label owner and Irish artist Tr One.

The title takes influence on the struggle provided by modern day electronic music and the thoughts on continuing and this EP tries to provide solace in the love and richness that techno and house sounds particularly deeper strains can provide.

The record kicks off with "Conversion" which is an ode to higher tempo Detroit and European techno by working an uplifting string pattern alongside an offbeat loop and MPC workout.

Next up is "Is This Love" where a whimsical vocal sample is built around an acid and bass undercurrent combined with an emotional chord structure.

Starting off the B side is "Sunrise On Juliet" which is an electro and ghettotech influenced rhodes driven house track which takes the listener on a funk driven journey.

Next is "Steroid" where classic Detroit sounds meets UK influenced house music driven by a hypnotic string and bass pattern.

Finally "Phone Voice" finishes the EP with a murky and hypnotic 909 driven house track which aims to transport the listener to a dream like state.

Limited to 125 vinyl copies with no repress"

Milanese Techno Visionary MAIKE DEPAS Announces His
Edgy Debut EP ‘State of Techno’

PR:
Having lulled us into a false sense of security with his dream house track ‘Voyager’,
Milanese techno emissary MAIKE DEPAS (Michelangelo De Pasquale) is back with
a vengeance on ‘State of Techno’, out on TBC via The Innovation Studio, hellbent
on moving and shaking the dance floors in 2023. Drawing on the hallucinatory
Blue Room Released psytrance and the weapons-grade post-Wall techno of Tresor
Club as much as an in-your-face attitude of Anthony Rother and Charlotte De
Witte, Depas is effectively time travelling through the past 30 years of underground
club sound. “I’m trying to propose something new but at the same time the audience
is reminded of something that already happened in the past,” he explains.
“I’m trying to propose something new but at the same time the
audience is reminded of something that already happened in the
past.”
Basically, Depas’ vision of techno melds together the sounds from the 1980s and
1990s with more contemporary symphonic and cinematic elements to thicken the
mix and heighten the atmosphere. “I would say this type of production with retro
sounds and influences with the new techniques of synthesis are what is happening
right now,” he states. The rumble bass opener ‘Culture’ comes down hard, giving a
taste of what will follow; ‘Dark Room’, with its lacerating stab sequences and
hypnotic commands delivered through an electro-style vocoder, and ‘Industrial’, a
relentless percussive barrage of timpani and hand drums led by Depas’ very own
guitar synth he has christened ‘the Edge’. And topping it all off, Mattia Trani peels
the paint off the walls with his remix of ‘Industrial.’
Culture
Dark Room
Industrial
Industrial (Mattia Trani Remix)
Ascension*
* Exclusive digital bonus track. QR code hidden in ‘Dark Room’ video.
The music video ‘Dark Room’ accompanying the release – another thrilling
audiovisual journey into the metaverse following ‘Voyager’– sees Depas return to the
apocalyptic world inspired by the godfather of cyberpunk William Gibson’s 1984 cult
novel ‘Neuromancer’. Woken up by a mysterious voice and compelled to investigate
its origin, the technologically enhanced protagonist makes a dramatic escape out of
a clandestine laboratory that brings to mind Major Mira Killian’s iconic rooftop jump in
the anime classic ‘Ghost in the Shell’. As the voice beckons him to approach the
door at the end of a dodgy alleyway filled with sinister characters, upon entering the
premises he is presented with an ultimate choice: to become liberated or remain a
slave to the system.
“For me this is my first important step in the techno scene.
I wanted to create a huge impact, really consolidate it.”
Working in tight collaboration with young Parisian CG artist Matthieu Martin also
known as Impossible Realities ‘who loves to create dystopian and futuristic dark
artworks from his dreams or perhaps from his nightmares’, it took Depas and Martin
seven weeks of backbreaking work to bring the project to completion. “We worked
strongly together every single moment of the day,” Depas describes. Creating an
enormous environment and utilising the camera as the omniscient narrator in the
Voyager video had already been ambitious enough. “It was really hard to create
storytelling without someone who writes for you the choreography, the ambience and
what happens in each section.”
The challenge faced by the protagonist in ‘Dark Room’, “a test to see if the character
is ready to join a different society in which he can achieve something that was not
reachable before,” has a familiar ring to it. “For me this is my first important step in
the techno scene,” Depas says. “I wanted to create a huge impact, really consolidate
it.”
Young Milanese DJ-producer MAIKE DEPAS (born Michelangelo De Pasquale) has
seen the future of music and it’s called metaverse: “In the future it will blow up,” he
predicts. “And it’s going to revolutionise the way we experience music.” Bowled over
by Skrillex and Martin Garrix at the age of 8, and DJing at small Milan clubs by the
time he was 11, Depas went on to study composition and piano at the prestigious
Milan Conservatory before learning ‘life-changing” lessons from the best in the
business at Catalyst’s 4-week Advanced Sound Design course in Berlin’s Funkhaus
last year. Inspired by the Italian groups MEDUZA and Anyma at the epic end of the
techno spectrum, his cyberpunk-inspired video ‘Voyager’ is his first step towards
incorporating virtual reality into his productions and offering his audiences an
unforgettable, immersive experience.
For the son of an art collector, being born in the cultural capital of Europe was
something of a double-edged sword. On the one hand, it opened Depas’ eyes to the
fundamental concepts behind art. “It helped me to better understand the idea behind
a painting or a track,” he explains. ”The artist is not just doing normal work. He is
putting all his feelings, all his ideas into a masterpiece.” But on the other hand, the
conservative Italian culture became an obstacle on his career path. “As you can
imagine, there is this stereotype of being an artist in our society,” he says, smiling,
which implies this stereotype is not a very flattering one.
Not that it was enough to put a damper on Depas’ plans, though. Ever since he had
heard ‘Kyoto’ by Skrillex for the first time when he was only 8-years old, his heart
had always been set in electronic music. “It was really, really strong, and I said:
What?! This is amazing…!” he recalls, laughing. “I’d never heard anything like that
before.” From dubstep the tracks lead to Martin Garrix, the big room EDM, and
eventually to trance and melodic techno of Sven Väth with whom he is “really in love
with.”
By the time he was 11, his father helped him out by booking DJ-gigs for him at small
venues around Milan. “I used to play in really small clubs, not the most beautiful in
Milan. And the people were not so great, as you can imagine,” he describes. “My
father used to take me back home at 2am so it was quite demanding to do this kind
of stuff,” he admits. And it was not only the venues and the staff that left a lot to be
desired. “Unfortunately, I was able to have one EDM song in every 2-3 hour set… I’m
not joking,” he says, sighing. And the rest of the set? “That was mainstream pop,
tracks playing on radio or Top-50 on Spotify Italy,” he says, chuckling. “So it was
quite difficult.”
Without a doubt one of the most important turning points of Depas’ career was his
entry into the Milan Conservatory where he became musically literate by studying
composition and piano, his main instrument. “For me, it’s the pure sound,” he sums
up, and goes on to describe his creative process. “The first thing to do is to sit at the
piano and start to improvise something. When the main chords are right, I try to
figure out my direction.” The influence of the Conservatory and the lessons learn on
classes are ingrained in him: the importance of structure, even a habit of jotting down
the notes on a piece of paper.
But even if the time at the Conservatory were well spent, none of it makes the grade
compared to arriving in Berlin for Catalyst’s 4-week Advanced Sound Design course
held at Funkhaus in 2022, “it was a life-changing experience” reflected in the name
of the single ‘Berliner’ released shortly after, a track Feeder.co described as follows:
“featuring charming melodies and backed by a strong groove, ‘Berliner’ flows like a
chilled breeze, being a spicy pick for your melodic DJ sets!” Being taught by
Christopher Jarman of Kamikaze Space Programme and Laurence Osborne aka
Appleblim left a lasting impression on Depas and deepened the understanding of
his craft. The most important maxim was “Everything is a sound.” A case in point, he
cites, is the American avant-garde composer John Cage’s score titled 4′33″ which
explicitly instructs performers not to play their instruments for the entire duration of
the composition. “The main idea about this is that the sounds that come from the
audience and the atmosphere in the chapter is the music,” he explains. “That’s when
I realised that foley sounds and all this kind of art can be implemented in my vision
and in my works.”
Discussing with Depas, the term ‘vision’ comes up often in relation to his work,
especially the new music video of Voyager, an entry into the world where techno and
virtual reality turn into an unforgettable, heightened sensory experience. “I would
love each listener to create their own vision of Voyager,” he muses. “The character
has no face so there is no identity behind the character, everyone can be the
character, and everyone can do their own journey into my world of music.” For any
masterpiece to become complete, the artistic vision needs a counterpart, a mirror
image, and that is the vision of an audience member. “This is what I’m talking about.”

RAWAX proudly welcomes Atom heart to the family!

Atom™ (also known as Atom Heart and often confused with Señor Coconut, real name Uwe Schmidt) is a German composer, musician and record producer of electronic music. He is often regarded as the father of electrolatino, electrogospel and aciton (acid-reggaeton) music.

1983-1990

Atom™ began making music in the early 1980's, first playing drums, then switching to programming a drum computer after he had heard a Linn Drum on the radio. In 1986 he co-founded the cassette label "N.G. Medien", on which various tapes of international artists, including the Canadian Electronic Body Music act "Frontline Assembly" and his first musical work under the name "Lassigue Bendthaus", entitled "The Engineer's Love", were released. Soon after, he started to work on what would become his first official Lassigue Bendthaus record release, the album "Matter". The recordings and production for "Matter" began in 1986 and took almost 4 years, until the album finally came out in 1991 on the German "Parade Amoureuse" label. "Matter" as well as it's related singles and maxi-singles were recorded and mixed by Tobias Freund (Pink Elln). "Lassigue Bendthaus" until that point, was musically categorized as "Electronic Body Music" (EBM), even though part of the success of "Matter" may have been the fact that it didn't quite fit the category and already incorporated musical elements of the 1990's. Uwe Schmidt played his first live show as "Lassigue Bendthaus" as the opening act for the british group "Meat Beat Manifesto" at the Frankfurt "Batschkapp" in 1989.

1991-1994

Still living in Frankfurt, Uwe Schmidt was directly influenced by the emerging "pre-techno" movement of the late 1980's known as house and acid house. A sub-label of "Parade Amoureuse" released some of Schmidt's dance floor oriented productions under the alias "Atom Heart" which he adopted as his main artist name from then on. The early 1990's saw a series of 12-inch vinyl productions, mainly aimed at the dance floor, which were released under a variety of different project titles such as Atom Heart, Slot, etc.

In 1992 he was in charge of producing a series of tracks for the yet to be widely known DJs Pascal F.E.O.S. (Resistance D), Ata and Heiko M/S/O (Ongaku). Uwe Schmidt produced and co-wrote titles such as "Ongaku" and "Cosmic Love", which became successful prototypes for the appearing "Trance" movement. His activities as a music producer continued with the Austrian multimedia artists "Station Rose" whom had just moved from Vienna to Frankfurt in 1992. The 12-inch "Digit Eyes" was produced by Schmidt and Station Rose the same year. During the production of "Digit Eyes" he was introduced to Tetsu Inoue, a New York based japanese electronic music producer, with whom he founded the "Datacide" project in 1993.

Out of the "N.G. Medien" nucleus the record label "POD Communication" was founded in 1992. After the bankruptcy of "Parade Amoureuse" and its sub-labels in 1992, Schmidt moved his activities to the "POD Communication" label on which he released a series of 12-inches and albums under the guises of Atom Heart, Lisa Carbon and Atomu Shinzo. Also releasing on "POD Communication" was the German artist Pete Namlook whom Uwe Schmidt first met at the "POD" office in Frankfurt. Due to his releases on "Parade Amoureuse" and "POD Communication" and his successful production works, Schmidt had quickly obtained a reputation that let him play live concerts all around the world. Together with Tobias Freund, who by then still used the "Pink Elln" pseudonym, Schmidt played a live show at one of the first "rave" parties ever in Finland in 1992. The live concert was recorded and released on "Ongaku Music" in 1992 known as "Elektronikkaa - Atom Heart & Pink Elln live in Montreux and Helsinki" and became one of the first released live Techno live recordings.

A vast amount of productions were released worldwide due to the licensing activities of "POD Communication", "Ongaku Music" and a variety of other Frankfurt based record companies. After "Parade Amoureuse" closed down in 1992, his first album "Matter" was re-released by the Italian record label "Contempo Records" from Florence.

By 1993 Schmidt released the follow up album to "Matter" : Lassigue Bendthaus - "Cloned". "Cloned" was produced and licensed to "Contempo Records" together with a sample CD titled "Cloned:Binary" which contained the sounds used on the original "Cloned" release. "Contempo Records" went bankrupt in 1993.

Due to open payments by those labels, lack of a recording studio and unresolved recording contracts, Schmidt decided to take some months off and lived for half a year in Costa Rica (end of 1992 until early 1993). On the way back from Costa Rica, he stopped over in New York City, where he visited Tetsu Inoue to record the first "Datacide" album. Back home in Frankfurt, his interest in Latin Music started to grow and in fact the birth of the "Señor Coconut" moniker can be allocated somewhere around that time. Even though "Lassigue Bendthaus" had not brought him much luck until then, he decided to start recording his third album during 1993 entitled "Render". Because of the stagnation and inherent ignorance of the "Techno" movement that surrounded Schmidt's work, he soon began to distance from this musical format and scene. He also felt that the DJ and the dance floor where very limiting targets for his musical output and that many of his musical ideas would not be compatible with it. As a consequence he founded his own record label "Rather Interesting" in 1994.

Bt this time, Pete Namlook had founded his "FAX Records" label and a new scene of musical styles appeared, such as "Ambient", "Jungle", "IDM" and others. Uwe Schmidt, apart from his monthly release on "Rather Interesting", continued recording with Tetsu Inoue ("Datacide"), Pete Namlook ("Jet Chamber") and Victor Sol ("+N") during 1994. That same year, the "Lassigue Bendthaus" albums "Render", "Render - U.S. Remixes", "Matter (second re-release)", "Cloned" (first re-release) and the 12-inch "Overflow" were released by the Belgian "KK Records", a label that would officially declare bankruptcy in 2000. Right after the release and re-release of the "Lassigue Bendthaus" albums, Schmidt began to work on the last album to be released under that project name called "Pop Artificielle".

1995-1998

In 1995, Uwe Schmidt collaborated with Bill Laswell and Tetsu Inoue on the FAX release "Second Nature" which was recorded at Laswell's studio in Brooklyn. Towards the end of 1995 another collaboration was concretized in Tokyo where Schmidt, Inoue and "Yellow Magic Orchestra" founder Haruomi Hosono recorded the first "HAT" album. "HAT" was released on Schmidt's "Rather Interesting" label and Haruomi Hosono's "Daisy World Discs". In an effort to escape the German winter, Schmidt spent the ends of 1994 and 1995 in Australia. A man with the same idea was the German music producer Bernd Friedmann whom he met in Melbourne in 1995.

Two more "+N" and "Datacide" albums were produced between 1993 and 1996 as well a one album each month on "Rather Interesting", all of them under different names which Schmidt later refers to as "working titles", "headlines" or simply "words that label a musical idea" rather than being "aliases" or "projects" in the traditional sense. Logically all works of Uwe Schmidt would later be summarized under just one name: "Atom™". With a lot of traveling, playing live shows world wide such as Love Parade in 1994 and Sonar Barcelona in 1994, as well as the stagnation to be felt in his european surroundings, Schmidt prepared for his departure from the old continent. Together with Dandy Jack, with whom he formed the project "Gon", two live shows were played in Santiago de Chile in March and October of 1996. Schmidt and the Chilean Dandy Jack, whom lived all his life in Germany and Spain, on their way back from Chile, decided to "try to relocate" to Santiago in 1997.

1996 finally sees Uwe Schmidt's "Señor Coconut" idea come to realization. After a couple of unsuccessful attempts during 1993-1995, still living in Frankfurt, he recorded 8 tracks in the later declared "Electrolatino" style. In a fever vision the name "Señor Coconut", placed on top of a coconut texture, a design that would become the artwork of the first "Señor Coconut" album appeared to him. Even though Schmidt tried to complete the album in Frankfurt, the preparations for his move to Chile prevent this plan. In March 1997, Schmidt together with his colleague Dandy Jack, moved to Santiago de Chile where they shared a rented house and installed their studios. During March and April he finished the "El Gran Baile" album, which would be the first work bearing the name of "Señor Coconut".

Uwe Schmidt continued releasing one album per month on his Rather Interesting label, though due to the difficulties of adaptation in Chile, decided to reduce his output. "Akashic Records", a Tokyo based label owned by Towa Tei, licensed "El Gran Baile" for the territory of Japan. Towa Tei further requested a remix by Uwe Schmidt. By the end of 1997 Uwe Schmidt and Dandy Jack's ways split and Uwe moved out of the shared house (while Dandy Jack moved back to Germany one year later).

During 1998, Tetsu Inoue and Haruomi Hosono visited Uwe in Santiago. The second "HAT" album was recorded. Towards the end of 1998, on his way back from Australia to Germany, Bernd Friedmann stopped over in Santiago and together with Uwe Schmidt they recorded their first "Flanger" album called "Templates". "Templates" was recorded in a programming "tour de force" of one week at Uwe's "Mira, Musica!" studio and released in 1999 on the british "Ninja Tunes" label.

1999-2003

"Lassigue Bendthaus'" last album, "Pop Artificielle" was finally finished and released in 1999. Due to a record company decision the album was released under the name of "LB", an abbreviation that stands for "Lassigue Bendthaus". "Pop Artificielle" caused quite a media reaction worldwide, due to the fact that the album contained electronic cover versions of famous Pop and Rock songs. "Pop Artificielle" stylistically may be considered as being one of the first productions that merged "Song" structures with sounds coming from a 90's techno background. Many refer to it as an initial point for the development of the "glitch" genre.

During the production process of "Pop Artificielle", the idea was born to cover the German electronic pioneers "Kraftwerk" in a yet to be defined style and as a different production. Meant to be rough sketches, Uwe Schmidt started to program a couple of Kraftwerk cover versions in traditional "cha cha cha" arrangement and decided to make this the second "Señor Coconut" album. Entertained by the result of the first programmings, he produced a total of 4 songs which he sent to some record companies. One of those companies, Towa Tei's "Akashic Records", immediately licensed the album, entitled "El Baile Alemán", releasing it upon completion of the production in 2000. European and North American record companies remained uninterested until triggered by the hype "El Baile Alemán" had caused in Japan. Soon a European, North American, Mexican, Hong Kong and a Russian release followed and the title "Showroom Dummies" was featured in the Mexican movie "Y tu Mamá también". Uwe Schmidt obtained official permission by Kraftwerk themselves to release "El Baile Alemán", though had to remove his version of "Radioactivity".

"Señor Coconut"s first european tour started the 19th of August 2000 in Germany. A U.S. headlining tour was scheduled, but had to be canceled because of visa problems of one of the 7 chilean musicians that accompanied Schmidt. In parallel to "Señor Coconut" project, Schmidt continued working on rather obscure ideas, some for Rather Interesting, some that were released on other labels, such as the "Geeez 'n Gosh" (2000 and 2002) albums which musically merge abstract electronic programmings and gospel vocals. "Geeez 'n' Gosh was released on the german "Mille Plateaux" label, which went bankrupt in 2004, leaving Schmidt as well as many fellow musicians, unpaid. The "Flanger" project was also continued, Friedman and Schmidt recording the "Inner Space/Outer Space" album in Santiago de Chile, which was then released in 2001.

2004-2008

Apart from his own productions and various collaborations he was solicited to remix artists such as Depeche Mode, Martin L. Gore, Air, Cesaria Evora, Juan Garcia Esquivel, Sktech Show, Towa Tei, Moreno Veloso, Merzbow and many others. An exclusive track entitled "White Car" was produced for and released on the Japanese anime movie, "Appleseed". Still, Uwe Schmidt spent most of the time touring with his "Señor Coconut" moniker, which had grown to a full 9-man orchestra. The "Señor Coconut" album "Yellow Fever" was released in 2006. The album contained cover versions of "Yellow Magic Orchestra" songs and became a very successful release in Japan. Amongst the "YMO" members themselves (Haruomi Hosono, Ryuichi Sakamoto and Yukihiro Takahashi) a vast amount of guest musicians appeared on this album such as "Mouse on Mars", "Akufen", Jorge Gonzalez and others. "Yellow Fever!" was performed live at "Sonar Sound Tokyo" the same year, with both Haruomi Hosono and Yukihiro Takahashi performing each one song with the full orchestra on stage. The Señor Coconut album "Around the World" was released. It contains guest participations of Stephan Remmler ("Trio: DaDaDa") and the austrian crooner Louie Austen.

2009-Today

Uwe Schmidt's "Rather Interesting" label remains his largest unified body of work. To date, R.I. alone has over 46 full-length releases under numerous aliases and styles, of which most of them are written, recorded, mixed and mastered by Schmidt himself. Additionally, Schmidt handles all the label management and most all of the album artwork and design.
Remixes for Les Baxter, Perez Prado, Jamie Lidell, Plaid and Japanese superstar Kumi Koda have been continuing to garner attention for Uwe Schmidt. The collaboration "Surtek Collective" with Vicente Sanfuentes, invented yet another musical style called "aciton", a blend of "acid" and "reggaeton". "Surtek Collective" mainly tours Latin America, playing shows in Mexico, Venezuela, Brasil, Argentina and Chile.
The "Flanger" album "Sprituals" was released in 2005 on Bernd Friedmann's label "Nonplace" and the "HEADZ" label for the Japanese territory. A couple of years later songs from "Spirituals" got licensed for the Hungarian movie "Bibliotheque Pascal".
From 2007 until 2010, collaborating with Japanese composer Masaki Sakamoto, he produces the album "Alien Symphony" and the modified (online) version of it, called "Meteor Shower" which was released in 2010. The same year sees Atom™ acting a mini-role in the Mexican movie "Orol". By the end of 2010 a short South American tour is played with the "Sr. Coconut" project.
Atom™, in collaboration with Japanese musician Toshiyuki Yasuda produces a cover version of the brazilian Bossa Nova classic "Aguas de Março", pre-released on the compilation "Red Hot 2" in June 2011. The vocals on this song are performed by Fernanda Takai and Moreno Veloso.
A photo exhibition called "Winterreise" was unveiled in Tokyo in May 2011, accompanied by a"Playbutton" release. "Atom™" performances at the Lincoln Center in New York City, "Communikey Festival" in Boulder, the "Raster-Noton"/"Mute" festival at the Roundhouse in London, Labyrinth Festival in Japan plus many others.
Exclusive contributions to Ryuichi Sakamoto's "Kizunaworld" project and Towa Tei's "Mach" online platform.
A second "Winterreise" exhibition was held in Frankfurt (Germany) in October 2011 as well as the "Winterreise" soundtrack was released in May 2012 through "Raster-Noton". "atom-tm.com" was launched in July 2012 and serves as Atom™'s official news platform and archive. As a result of the "Winterreise" release, Atom™ received an invitation from Richie Hawtin, to play an ambient set at his club in Ibiza. The invitation was accepted and the then entitled "Alpha txt" ambient set created, which was then again performed, opening the "labyrinth" festival in September the same year. An initially abandoned album, which in 2005 carried the working title "Hard Disc Rock" (as a self-reference to the 1997 Atom™ title with the same name), re-surfaced as "HD", after some of the unfinished tracks raise interest at the Raster-Noton label. The album was finished during the second half of 2012, and mixed down during January 2013. The release of "HD" was then scheduled for March 2013. In the middle of the "HD" production, the terrible news of Pete Namlook's sudden death reach Atom. Months later, as a practical consequence of Namlook's passing away, the "Rather Interesting" label, which both Pete and Atom ran together since 1994, was shut down forever. Early 2013 see Atom™ playing various live shows, such as the double opening feature at Berlin's "CTM.13", where he first performs "Bauteile" with colleague Marc Behrens, and later on, together with "Material + Object", plays a 3 hour "Alpha txt" set. Extensive promotional activities for "HD", which, amongst other results, bring Atom™ on the front page of Germany's "De:bug" magazine and the preparation for the "HD" and "Ground Loop" live sets keep Atom™ busy during the first couple of months of 2013.


(written with kind help of Jahnavi Stenflo and Nathan Jantz, movin' levers!)

ARTIST: Chrissy
TITLE: Resilience
LABEL: Chiwax
FORMAT: 3x12” / Digital LP
GENRE: House / Techno / Rave
CATALOG NUMBERS RELEASE DATES
Part 1 12” EP: CTX06.1 Part 1 12” EP: 14.01.2019
Part 2 12” EP: CTX06.2 Part 2 12” EP: 18.02.2019
Part 3 12” EP: CTX06.3 Part 3 12” EP: 18.03.2019
Digital LP: CTX006 Digital LP: 18.02.2019

Chrissy is a genre-bending DJ/producer with releases on Classic, Freerange, Razor N Tape, Hypercolour, and Planet Mu, and a 20-year DJ career spanning Chicago house, disco, rave, jungle, footwork, and more. He ran the influential “My Year of Mixtapes” blog, and currently runs two record labels: The Nite Owl Diner and Cool Ranch.

Resilience is an album that calls on the classic rave sounds of Chrissy's Midwestern youth to explore themes of love, positivity, perserverence, acceptance, and the fight against cynicism. Get ready for big piano melodies, chopped breakbeats, heavy bass, and jacking Chicago drum programming, plus guest appearances from some of Chrissy's friends: vocalist Carrie Wilds, Portuguese DJ/producer/singer Maria Amor, and Berlin-based techno artist Dean Grenier.

“Chrissy is one of the best DJs to ever walk the earth and I am just going to keep saying it until everyone agrees with me.” — The Black Madonna

TRACKLISTING:
Resilience Part 1 (12” EP)
A1 Like A Fantasy
A2 Do What You Feel
B1 Your Ghost (featuring Maria Amor)
B2 2CI Fridays

Resilience Part 2 (12” EP)
A1 We Need Love
A2 U Can't Stop
B1 Play Structure (featuring Dean Grenier)
B2 In Another Life

Resilience Part 3 (12” EP)
A1 So I Go Dancing (featuring Carrie Wilds)
A2 Call On Me
B1 Hold On Tight
B2 I Still Remember

Resilience (Digital LP)
1 Like A Fantasy
2 Do What You Feel
3 Your Ghost (featuring Maria Amor)
4 2CI Fridays
5 We Need Love
6 U Can't Stop
7 Play Structure (featuring Dean Grenier)
8 In Another Life
9 So I Go Dancing (featuring Carrie Wilds)
10 Call On Me
11 Hold On Tight
12 I Still Remember

For the third release of FanFar’on, we are travelling into another dimension, more on a Romanian & deep techno vibe from the works of Ciril & Cavale.
Both emerging for the electronic scene of Brusells and close to the Zodiak Crew, Ciril & Cavale brought their vibe with two tracks called « Dracula » & « Marchand de Sable »
Definitely spiritual & atmospherics, the music is esthetic & mysterious, the Belgium producers are travelling to some ambient landscapes and experimental textures.
To finish the ep ,we will have a completely destructured and almost jazzy remix from the famous Romanian producer : Dragutesku!

As we say three is the « magic number » ,welcome to Ciril & Cavale for the third edition of FanFar’on,and let the FanFare begin!

Direct order: https://dbh-music.com/shop/release_view/15772
Teaser: https://soundcloud.com/dbh-music/ffr-003-ciril-6-cavale-merchand-de-sable-incl-dragutesku-rmx

Artist: Ciril & Cavale
Title: Merchand de Sable
Remix by: Dragutesku
Label: FanFar'On
Genre: Minimal Techno
Format: 12"
Cat: FFR-003
Release date: 06.11.2023
Tracklisting:
A1. Marchand de Sable
A2. DRACULA
B. Marchand de Sable (Dragutesku RMX)

Worldwide exclusive distributed by www.dbh-music.com

"Structures of Rhythm".
David Meiser comes back with 4 peak time tracks completely oriented to the dancefloor.
The vinyl is a special edition with an exclusive printing of the snakes in gloss.

Artist: V/A: Peter F. Spiess, Cie, Prakash, Markus Funke
Title: Get Together
Label: Form & Terra Records (http://www.formnterra.com)
Catalogue number: FORMNTERRA003
Format: Vinyl 12" (Vinyl only)
Release Date: Approximately 5th June 2020

Tracklisting:
A1 - Peter F. Spiess - Celluloid Pony (5:18)
A2 - Cie - Wolkenburg (7:54)
B1 - Prakash - Numbers Talk (5:40)
B2 - Markus Funke - Levissima (7:25)

Release Text (English):
The third vinyl-only release on Form&Terra Records is all about "Get together". Four artists gather on the 12 inch record to undertake a journey into electronic music together. First, Peter F. Spiess saddles his shimmering "Celluloid Pony" with minimal and techno vibes and rides high into the air via rough sound structures and flashing melodies. There Cie built his "Wolkenburg" and floats with it groovy and with great attention to detail into new layers of the atmosphere. On the B side, "Numbers Talk" by Prakash from Gran Canaria enchants with a wonderful groove that is as deep and blue as his home in the Atlantic Ocean. Markus Funke ushers in the final trip back to Cologne with his dubby techno monster "Levissima". Four wonderful tracks for all discoverer who have a thirst for adventure on the dance floor.

Release Text (German):
Das dritte Vinyl-only Release auf Form&Terra Records steht ganz im Zeichen von "Get together". Es versammeln sich vier Künstler auf der 12", um gemeinsam eine Reise in die elektronische Musik zu unternehmen. Als erstes sattelt Peter F. Spiess minimal und technoid sein schimmerndes "Celluloid Pony" und reitet über rauhe Soundstrukturen und aufblitzende Melodien hoch in die Lüfte. Dort hat Cie seine "Wolkenburg" erbaut, und schwebt mit dieser groovig und mit viel Liebe zum Detail in neue Schichten der Atmosphäre. Auf der B-Seite verzaubert "Numbers Talk" von Prakash aus Gran Canaria mit einem locker flockigen Groove, der so tiefblau und deep ist, wie seine Heimat im Atlantischen Ozean. Den finalen Trip zurück nach Köln läutet Markus Funke mit seinem dubbig-technoiden Flächenmonster "Levissima" ein. Vier wunderbare Tracks für alle entdeckungsfreudigen Abenteurer auf den Tanzflächen.

ARTIST: Chrissy
TITLE: Resilience
LABEL: Chiwax
FORMAT: 3x12” / Digital LP
GENRE: House / Techno / Rave
CATALOG NUMBERS RELEASE DATES
Part 1 12” EP: CTX06.1 Part 1 12” EP: 14.01.2019
Part 2 12” EP: CTX06.2 Part 2 12” EP: 18.02.2019
Part 3 12” EP: CTX06.3 Part 3 12” EP: 18.03.2019
Digital LP: CTX006 Digital LP: 18.02.2019

Chrissy is a genre-bending DJ/producer with releases on Classic, Freerange, Razor N Tape, Hypercolour, and Planet Mu, and a 20-year DJ career spanning Chicago house, disco, rave, jungle, footwork, and more. He ran the influential “My Year of Mixtapes” blog, and currently runs two record labels: The Nite Owl Diner and Cool Ranch.

Resilience is an album that calls on the classic rave sounds of Chrissy's Midwestern youth to explore themes of love, positivity, perserverence, acceptance, and the fight against cynicism. Get ready for big piano melodies, chopped breakbeats, heavy bass, and jacking Chicago drum programming, plus guest appearances from some of Chrissy's friends: vocalist Carrie Wilds, Portuguese DJ/producer/singer Maria Amor, and Berlin-based techno artist Dean Grenier.

“Chrissy is one of the best DJs to ever walk the earth and I am just going to keep saying it until everyone agrees with me.” — The Black Madonna

TRACKLISTING:
Resilience Part 1 (12” EP)
A1 Like A Fantasy
A2 Do What You Feel
B1 Your Ghost (featuring Maria Amor)
B2 2CI Fridays

Resilience Part 2 (12” EP)
A1 We Need Love
A2 U Can't Stop
B1 Play Structure (featuring Dean Grenier)
B2 In Another Life

Resilience Part 3 (12” EP)
A1 So I Go Dancing (featuring Carrie Wilds)
A2 Call On Me
B1 Hold On Tight
B2 I Still Remember

Resilience (Digital LP)
1 Like A Fantasy
2 Do What You Feel
3 Your Ghost (featuring Maria Amor)
4 2CI Fridays
5 We Need Love
6 U Can't Stop
7 Play Structure (featuring Dean Grenier)
8 In Another Life
9 So I Go Dancing (featuring Carrie Wilds)
10 Call On Me
11 Hold On Tight
12 I Still Remember

Counterweight welcomes to the label the rising Berlin artist Opål with this excellent 4-Track full of Techno EP.
Details

- Catalogue Number: CWT04

- Artist: Opål
- Remix by PVS
- Release name: Luminescence EP

- Tracknames:

A1: Luminescence
A2: Impala
B1: Eclipse
B2: Eclipse (PVS Remix)

The title track, Luminescence, is a rough and hard hitting 4/4 warehouse destroyer. “Impala” reduces the tension and shows a more melodic side of the artist but still keeping his characteristic industrial touch. On the B side Opål shows what is the definition of “driving” Techno with “Eclipse”, this is simply amazing. The last track is an absolutely outstanding remix by the Italian artist PVS, who explores new atmospheric shapes and goes beyond simple 4/4 structures.

Pump up the volume, this is real shit!

Tendts are two brothers that make "music that you can da nce to, or not". It seems an odd phrase, but aptly explains the duality of the Greek duo. The compositions of Christos and Fotis Papadakis are both emotive and movement inducing, even though they are written and structured with disparate elements that refuse to fall into obvious patterns. They consist of palpitating beats, imaginative textures, seductive melodies and sporadic bursts of treated vocals.

'It's Everywhere' is a concept EP soundtracking Tendts' intergalatic encounter with The Pleiadians (dimension traversing Nordic aliens to the unenlightened ) at the far edge of the universe. Upon their journey home they brought with them not only costumes, masks and relics of extraterrestrial civilizations, they brought with them the spirits of two great celestial beings, Momongo and Floflolo. Fotis and Christos were the reincarnation of these two and the main purpose of their return was to enlighten the people of Earth about the beginning of the era of the Cosmic Swimmer.

AXPIN
MIA001: Gilgamesh
TRACKS
a1 axpin – gilgamesh
a2 axpin – gilgamesh (christian burkhardt remix)
b1 axpin – catiba
b2 axpin – kryon
Artist: Axpin
Title: Gilgamesh EP
distribution: vinyl (dbh) & digital (dig dis / music mail)
Label: Miava-Records
Cat.No.: MIA001
Release Date: 1.02.2017
Axpin debuts with its EP „Gilgamesh“, including three deep house tracks and a first floor remix of mastermind Christian Burkhardt (Cocoon, Oslo, CBSessions). It smoothly combines multifarious arrangements and arousing melodies with a forward pushing club sound. Suitable for the dance floor as well as the afterparty at home, this EP transports the listener to a faraway world of subtle grooves, pushing drums and mesmerizing sound design.
„Gilgamesh“ is a track based on the story about the journey of an ancient emperor, searching for enlightenment in the highlands of Mesopotamia. So it comes as no surprise that a driving beat breaks through the laid back percussions and hypnotizing atmospheres. Wandering through this track side by side with mysterious pads and exotic sounds, a lost but defying melody accompanies the listener on his steps.
„Catiba“ is a track with a multilayered arrangement, that doesn’t necessarily reveal its complexity on the first look. Different rhythmic moods provide the structure for two melodic lines, competing at first but working perfectly together after a thrilling break, melting your soul. They’re supported by a pervading deep bass groove that will make your body vibrate.
Christian Burkhardt summarizes both tracks’ features and unifies them in an impulsive club remix that floats every second and climaxes in a thrilling break. Dry but playful, perfectly fitting for the dance floor without losing the warmth and lightness of the original.
„Kryon“ is the EP’s third and most expressive track. Starting with lost parts of a melody, rather an echo in the vast distance, the track continuously  increases its tension, extending the rhythms until the arrangement blasts out a stunning break that, contrary to all expectations, is a calm and compassionate moment with a transient theme. The clear production provides a place in the mix to each sound, a deep moog bass rumbles in the basement while the stimulating percussion coats the volatile beat.

Axpin
Being friends in real life and both addicted to electronic music, a collaboration in producing was the next logical step to take. Ahmed Tohmé, DJ and producer originating from Mannheim and Tomio Tremmel, producer and label owner of 4MPO,put their heads and skills together and not only created Axpin but also founded their own label – Miava Records – in 2016. Since both share the opinion that Tek-House music has nowadays become a peculiarly repetitive, not to say disposable good, they decided to put effort into finding back to a sound based, atmospheric and melodious music style. Ahmed’s relentless hunt for deep and pushing techno beats and Tomio’s expertise in production techniques and skills in scoring seem to be the perfect match for a fruitful cooperation.
With their debut release on Miava Records, Axpin shows to the world that they don’t have the need of hiding behind other big names in the scene. „Gilgamesh“ hits the dance floor worldwide and pushes the two young producers to transcend themselves. Stay tuned for forthcoming releases!
more infos at www.miava-records.com

Ahmed Tohmé
War may not be a typical introduction to a musicians biography, but in this case it’s a meaningful circumstance that led four brothers, deprived of their childhood, to leave friends, family and their beloved homeland Lebanon to come to Germany. Ahmed, the youngest offspring of an ingenuous arabic family, found his way to electronic music growing up in a prospering and peaceful surrounding. The latter soon became an important part of his life. Every week he hurried to the local records store to listen to the newest releases and witness the evolution of techno music. So it was the next logical step when he and his brother Abed decided to start as a DJ-Team in 2008 – also since then known as Gebrüder Tohmé – rocking nearly every club in the Rhein-Main-Area.
But DJing not being enough for him, Ahmed started producing. His influences happened to be major artists of the time, as Maetrik or Adam Beyer, just to mention a few. It didn’t take long for other producers to take note of his creativity, shown through his debut releases on Autark Records and stunning remixes for other artists. Being courted by Tech-House and Minimal he still aimed for a higher target: merging techno beats with powerful melodic soundscapes, for which he soon got the opportunity to collaborate with a certain kind of musician. So he took the chance and locked himself up in the 4MPO-Studios with his friend and coproducer Tomio Tremmel, not only enhancing technical skills but also and principally the use of sounds and melodies as an expression of his thoughts and feelings.
After months of composing, beat-programming and mixing he is now proud to present his first episode of his musical journey over his newly founded label Miava Records, appealing to the audience with atmospheric soundscapes, tripping effects and hypnotising beats.

Tomio Tremmel / The Sushi Club
In 1998, Tomio Tremmel released his first album “Sushidelic” under the name of The Sushi Club over the record label Electrolux, located in Frankfurt. His second record “Neo Sashimi” came out in 2001, bearing significantly stronger electronic influences. The more melodic work “Sakura”, partly produced in collaboration with Japanese producer Toby Izui and singer Kaori Kaneko, completed the Sushi Club trilogy in 2003.
Besides musically and visually contributing to German TV shows such as Spacenight and Flowmotion, consisting solely of ambient and lounge music, he also produced the TV show Man vs. Machine in collaboration with artist Naoki Kenji. The aforementioned show was the first on German TV to deal with more club-oriented, up-tempo music and video art.
Inspired by a trip to Japan, Tomio Tremmel used video material from his journey to create a DVD with an impressive Dolby Surround mix. For several years, the music video featured in the TV show Flowmotion.
At the beginning of 2010, Tomio Tremmel decided to shift his focus back to his personal most important project The Sushi Club. Deep House influences mix with electro- and trance beats, spacenight sounds with acoustic instruments, and sample-bites from Japanese movies with digital effects – all morphing into a fascinating tapestry of sound. The end result is a diversified experience of creativity that rejects any type of conventional label. With “Lunarium”, Tomio Tremmel has again demonstrated his gift for compositional complexity while staying true to his particular aspiration for the sheer quality of the music.
In the current year 2016,Tomio Tremmel is proud to present his new label Miava Records in cooperation with his friend and co-producer Ahmed Tohmé. Unconventional but atmospheric techno music is what Miava claims to represent, combining deep rough beats with adrift melodies based on an cosmic sound design. Besides building up a new roster of talented and profound musicians Tomio aims to reach a new level of production and grant long-term quality releases. Moreover, being a part of the music collaboration Axpin, his dream of ascending to being part of the top producers of the scene seems to come true.