This is the debut full-length release from Berlin producer/DJ Haito Gopfrich -- the man of innumerable faces and the Doctor Mabuse of German dancefloors. Hooked by the eclectic early DJ-work of Hans Nieswandt and Eric D. Clark, Haito is now well-trained on Berlin's Loveparade vehicles, and as a result, his work has been pressed onto vinyl by labels such as Kickboxer, Malatoid, Spagat, Low Spirit and Acker Records. With Fiat Lux, Haito tells us his stories from the club in a colorful, thrilling and filmic way, emphasizing a diversified, round dance of styles, genres, ideas, sounds and beats. From the exhilarated groove of a gritty high-school comedy ("I Ro Love"), over the sticky heat of a foreign marketplace demolished by a wild chase with James Bond ("Pusher"), to the fizzling noise of a motor in a SF manga road movie, Haito seems to know how to set everything to the music he's got in mind. The hardcore continuum is cultivated by elegantly-rushed drum patterns ("Drugpeople"), Alfred Hitchcock's shower curtain knife-scene is shot into the universe via electro-funk ("Freedub"), and a harmonized depth of field meets a roughened, saw-tooth discourse ("Disconnect"). Even the Yakuza smasher with Renaissance costumes filmed in Andalusia finds its true destiny in the spinet rave of "Non Plus Ultra." And above all, intelligent sample editing, four-dimensional, fluffy synths and springy percussion sounds can't be wrong. The peak of the album is the 2009 version of "E-Love," a revised version of the 2008 hit released on Kickboxer: a couple of tricky samba piano sounds are smuggled into the pockets of a subtly-bouncing clapper trailing a comet-tail of synths. Last but not least, after the Wall Street psycho thriller "Mummy," and "Komm Mal Klar," you'll find "Good Times, Bad Times" -- a hymn for the closing credits with vocals by Eric D. Clark that pulls out all the emotional stops to keep the audience enthralled and teary-eyed.
3x12" version previously released on Mothership, now available on CD with an extra track, "Skeleton Key." This is the debut full-length release by Boston/Philly duo Voodeux. Two years ago, on the East Coast of America, a couple of highly technical production wizards joined forces and created their own genre of strange and creepy techno under the moniker Voodeux. Tanner Ross and James Watts first released The Curse EP on Mothership in 2008 with great success. With DJ support rolling in from everywhere, Claude VonStroke soon commissioned them to record a full-length album of this new moody sound. The Paranormal is a concentrated vision of myth and mysterious beats, exploring the eerie afterlife side of techno like no other artists have done to date. It is a 10-track vision of ghosts and goblins hiding in the closet (or lurking in the dark corners of the dancefloor), ready to scare the daylights out of you. Using dark funk, ghoulish atmospheres, quizzical beats, growling, ominous vocal stabs and futuristic production, Voodeux is staking their claim as the next generation of American techno. The Paranormal is Halloween on wax, and a minimal techno masterwork for the modern underworld.
Until Then, Goodbye
This is the second full-length release from Hamburg's Lawrence on the Mule Electronic label. Dial and Smallville owner Peter Kersten, aka Lawrence, aka Sten, is one of the most valued and highly-regarded artists in the modern dance music community with a long history of releases on Nova Mute, Kompakt, Ladomat, Spectral, Ghostly, and of course, his own imprints. Until Then, Goodbye kicks off with a special "intro" version of fan favorite "Friday's Child," followed by the introspective ambient piece "Sunrise." "Grey Light" harkens to the electronic style of Durutti Column while "Jill" is purely sweet, slow house music. The album shifts towards more acoustic-driven material with songs such as "Father Umbrillo" and "Toderhausen Blues" -- but don't fret, purists, as Lawrence hits back with his classic signature sounds with the likes of "In Your Eyes" and "Sleep And Suffer." The beautiful whisper of the atmospheric ambient tune, "Don't Follow Me," the ebb and flow of the piano-driven "A New Day," and the title track leave the listener in a state of bliss. This is one of Lawrence's most daring and diverse albums to date -- not necessarily a "concept" album, but it definitely showcases his gift for provoking a remarkably wide range of musical influences and styles. Including nine previously-unreleased cuts, these are contemplative, acoustic-driven tracks with the deft, light hand that Lawrence has become renowned for.