Muting The Noise

comeme is a need-to-be-loved label but for this one we just go for the barnt track which everyone knows from our dj sets since a while. daniel ansorge is probably one of the biggest talents we have here in germany so watch out for his future stuff.war of the worlds sirens which are causing a serious freakout in the right moment.

okay we have to admit that we have a crush on eastern german housemusic wether its from jena,leipzig or dresden! sounding fresher than ever this record is a strike as all tracks are winners in your recordbag.

while searching new material for a berghain set we came across this little diamond.the voiski track give us goosebumps everytime we drop it and the frist time was a memorable night at robert johnson earlier this year. if techno would always be good like that we would move straight to the berghain territory.

following the milan based duo since their first self printed ten inches we are happy to have this beast named " linked in " in our little sortiment. ron hardy styled psycho disco groove without being just a replica!!!

Almost exactly ten years ago, Âme, the duo of Frank Wiedemann and Kristian Beyer, was officially born. The two artists had met a year earlier and began working on music not long after, homing in on a style of house that was classically informed yet totally modern, as inspired by jazz, funk and soul as it was by Detroit techno. It was the beginning of a musical project that would define the next decade of their lives, with dozens of records, countless performances around the world, and perhaps most importantly, the creation of a signature sound that would help define an era of electronic music. Âme Live takes stock of everything that’s happened since then, connecting the dots between early records on Sonar Kollektiv, later works on Innervisions and still unreleased material. It also serves a much simpler purpose: documenting their exceptional live act. Âme started playing live in 2010, and in doing so devised one of the most idiosyncratic performances in club music today. Despite being limited to their own compositions, their live routine is at least as dynamic as their DJ sets: each performance is a vivid sequence of moods and styles, unhinged by genre and tempo and delivered with a kind of mad scientist intensity. The new album is made up of the best recordings from the road, reedited in the studio and woven into a continuous mix. Taken as a whole, it has a way of transcending space and time, with the duo’s lithe productions forming a stage for South African folk lyrics (“Ku Kanjani”), Portugese spoken word (“Insomnia”) and the music of 70’s funk icon Roy Ayers (“Tarzan”), not to mention Âme classics like “Where We At” and the all-mighty “Rej.” Though it’s heavy on familiar tracks, each one takes on a distinct new character in live form (there’s also one entirely new production: the “Beatless Mix” of Gui Boratto’s “This Is Not the End”). For fans, it’s a fresh take on Âme’s celebrated oeuvre. For everyone else, it’s a perfect introduction to one of house music’s most imaginative duos.

1000 fragments is Ryoji Ikeda's first solo album. As early as 1995 Ikeda started with this influential release his consistent work on digital sound design. 1000 fragments was originally released in february 1995 on Ikeda's own label CCI Recordings. This early review on Ikeda's first release brings it all together: "The works on this disc of japanese computer-manipulated sound composer Ryoji Ikeda all date from early parts of his career, the mid-80s thru the early 90s. But by no means does the early date on this material date the works themselves. The first piece, consisting of several short parts (bursts?), snaps the listener around a jumble of sound fragments from tv, nasa, radio, film, raw electronics and computer-generated tones, and so on. It's rather disorienting stuff... more like something you'd expect out of the Hafler trio, and actually sort of out of character with the rest of the disc. As for the rest of the disc, it's taken up with two long works, which I assume involve computer-generated sound but which have the lushness one more associates with analog electronics. Both are longish ambient works, but instead of featuring static repetitive structures, these 'unfold' in an intriguing manner, like a long, slow drive across a very sparse landscape. As opposed to the initial work here, these are definitely the 'meat' of this disc, and anyone looking for some fine ambient work with perhaps a bit of an edge would do well to check this out."

Ryoji Ikeda's biostates that his work exploits the causality of sound with human perception'. It's a claim that makes sense when experiencing his music (especially in an installation or performance setting, where the bulk of his work has been for the past few years); Ikeda's minimalist, rigorous electronica seriously plays with the listener's head. The first 19 tracksoriginate from tiny flecks of noise, clicks, and pulses of pure sine tones ranging from dogwhistle-high to bowel-shakingly low. They're arranged with surgical precision into short slices of minimalist art-techno; funky in a very cerebral, molecular sort of fashion, they're immersive (and by track 19) almost lush and strangely beautiful. But be warned; a sticker on the sleeve says; "This CD contains specific waveform data that performs a data-read test for optical drives. The last track will cause some CD players to experience playback errors, with no damage to equipment". Approach with caution...

Ash Ra Tempel maestro Mr. Göttsching comes with a live recording from one of his numerous concerts in this Japan where he is treated like a God. He is using new technology but it still has the old psychedelic spirit and it shows that it is possible to age with grandeur in the music business.

Compared to the Koss LP, this is the more piano and Sakamoto orientated album, but also worth an endless listening session at home. Japanese deepness skipping the cliches that ambient music is normally surrounded by.

Our good friend Kuniyuki from Sapporo, the homebase of the legendary club "Precious Hall", works best in this kind of album format. In a nice Brian Eno tradition he incorpates Japanese elements and of course his love for Basic Channel. On heavy rotation at home for some years now.

All three tracks on this EP were actually made for the Âme live show, but at the end it turned out that we used them in our DJ sets too. Due to the great feedback we decided to put them on a 12-inch accompanying the Âme Live CD. Karl Hyde and James Lavelle on one 12-inch should be something for a lad's paradise and even 'Enoi' sounds brighter than before. Is love silent?

We got a little tip from Fillipo Naughty Moscatello we'd like to pass on to you through the webshop. The Italian artist Rubini dedicated his record to the Group B era of racing cars. Everybody should love it! Do you remember Walter Roehrl in his Audi Quattro e.g.? Dixon usually plays this as his opening track. This record is exclusive available at MTN for 2 weeks!