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Yoyogi Park Remixed

    After an excellent new album “Yoyogi Park”,our favorite German producers made great remix package.

    one of the most respectable label giegling artist kettenkraussell made two is dark deep house and one more is electronica style which reminds us jan janelik.
    our hero roman flugel remix is more uplifting and trippy,this is simply nice for the club.
    lake people remix is old school electro style but sounds very modern and playful.


    A New To Bloodmoon

      Alan invited his favorite female singer “Niqe” and produced two first class vocal deep house tunes.

      2019 is Mule Musiq’s 15th year anniversary. To celebrate, the label are releasing twelve 12"s from friends old and new, with Stefan Marx as ever, conjuring up the artwork.

      One of Mule's most treasured artists, Isolee comes correct with three original tracks that perfectly encapsulates his soft-touch to house music - gentle manipulation of organic stems, the Isolee trademark if you will. Shimmering and ethereal, the producer's sound is instantly identifying and superbly appetizing. There's dub-wise elements, especially on last track "Leap-Second" which actually has a whiff of Chain Reaction about it (must be a Berlin thin... - ed) while "Ginster" suspends you with its jarring yet sensuous rhythms that nod to micro-house's delicate poise. Add a hypnotic roller in the form of "Sudden Frost" and you've got yourself a winning record! 

      Lake People hail from Leipzig, Germany and have been crafting a very special kind of house music since about 2011. A varied but high caliber of labels have previously displayed their sonic wares, with Mule Musiq and Permanent Vacation giving the group the most exposure and releasing 2017's "Phase Transition" and 2015's "Purposely Uncertain Field" respectively.

      Back on Japan's Mule and with their only new record of the year, "Vivacity" cruises in on smooth gliding synth drones with the 808's conga, woodblock and handclaps working frenetically. The kind of track you might catch Fort Romeo or Daniel Avery utilizing to deadly effect. "You Make It Look Easy" follows suit with a typical Juno bass, celestial keys twinkling overhead while super emosh strings paint a rich and redolent tapestry; nodding to Mr. Fingers and Chi-town in general without being too pastiche.

      Side B sees triplet acid patterns ride a stuttered drum beat, sounding something like a C2 remix of Henrik Schwarz! The perfect soundtrack to a Salford sunrise over the White Hotel.... Finally, "It's World Is One We Seldom Visit" tunes into more intergalactic frequencies, Martian melodies colliding with Red Shift strings and a thoroughly space-age lead synth as we ascend into our nearest star cluster. 

      The debut release of Derman producer YouANDme on the ever present Mule Musiq. "Belong" is deeeep house, almost proggy it takes that long to unfurl! We're not complaining though, as the delectable combination of electronic beats, and tentative looping melodies mixes with Black Soda's introspective and coaxing vocal passage. To me, it sounds like classic, 'Yoshiesque"-era Deep Dish - perfect for filling aircraft hangers and big industrial spaces with a tense yet beautiful atmosphere. "Unbound" is equally at home late night, in a big dance space with the accompaniment of strafing lasers and the odd pyrotechnic. Moody and minimal but big room ta fuck. Finally, we get a bonus dub of "Belong" which, although it doesn't switch things up too much, has me grasping at Art Alfie and No Fit State - long, drawn out and teasing, no milking the very last remnants of energy from the floor. Three tracks for the longer sessions... top stuff.

      Alongside a pair of Studio Mule outings this week, the long running Japanese label have hooked us up with a little Deutsche deepness on their main label. Their second offering for Mule hosts two hypnotic dancefloor weapons, tailor made for heads down dancers, sensory augmentation and big rigs. On the A-side, "Alya" splits the difference between the organic and synthetic with ease, incorporating accoustic guitar and nuanced percussion alongside astral synth riffs, twisted sound design and a system rinsing bottom end. Heady stuff for the psychedelic house set. B-side bomb "The Great Attractor" is a more traditional mover, tinged with minimal artefacts, hypnotic vamps and a rib rattling 4/4. Electronic gerbils add their own audio oddness while the techy stabs and big room breakdown take us back to the glory days of the Tribal Sessions.

      Debut release on Mule Musiq by Italian DJ & producer Toto Chiavetta who's previously graced MCR's Something In The Water label (ran by Irfan Rainy and Yoruba.

      The EP begins with the floor-killing, tropical tek-house of “Higher Than A Bird”. Decorated wonderfully with synth-mallets and a plethora of biotic fx it's one of those festival-friendly bangers that'll have hordes of peoplle gyrating manically to its futuristic buzz.

      Over on B-side,“Magnus” is a pitch black, lazer guided, late night excerise in modern tribalism while "First Day Without Her" is more dark techno for the big rooms with some lush musical embellishments. Mega this!


      Matt says: First two tracks are fair to good (IMO), but it's that last track, "First Day Without Her" that I'll be reaching to every time to melt people's faces off.


      Water, Sky, Sun, Wood

      Wareika return to Tokyo's Mule Musiq. Florian Schirmacher, Henrik Raabe and Jakob Seidensticker's tro have flirted with the label previously on remix duties but this is their first full length proper. Known for multi-textured, minimalist electronic music, on this release Wareika edit down what began as an unplanned four hour jam session. Electric piano, guitar, conga, MFB Tanzbär, MFB Dominion 1, OB-6, Jupiter 6 and Manikin Mellotron synthsizer are all used in the composition yet with this advanced array of instrumentation there's an air of simplicity and minimalism that sweeps through the album. Serene, meditative and mesmerizing in equal measure, there's just enough thrust to carry these tracks through into a club environment also. Tracks take on shimmering, multidimensional forms, propelled by a steady 4/4 and peppered with an assortment of analogue fx. It's a beautifully executed piece, edited cleanly and concisely so you get all the energy and pleasure of that initial four hour jam session condensed into a handy one hour package. Excellent! 


      Sil says: Without a doubt and by a mile my favourite record so far this year. This feels as good as taking a swim in the Pacific watching a waterfall meander its way to the sea. This is a mesmerizing journey. Buy on sight. An absolute diamond this album is.

      Framed by two spoken word samples and wrapped in house and techno emotions, that know about electro and 90’s electronica too: the new, second album of the Leipzig and berlin based producer and live artist Martin Enke aka lake people moves in a fresh way.

      This time he shifts towards a focus on the essentials of electronic club music: sounds and groove, rough and playful interweaved with the aesthetic particles of techno. With his “point ep”, released on the berlin based imprint Krakatau records in late 2012, his creative life as a producer for melancholic driven club tunes took off.

      Several top notch DJs played the tune “point in time”, lake people started to tour world-wide with his mesmerizing live set and produced countless remixes for colleagues from all around the globe.

      In 2015 he finally released his first album “purposely uncertain field” on the Munich based label permanent Vacation and delivered eleven tracks at the interface of techno, ambient, experimental and electronic, that bewitch with hymnal chords, yearningly melodies, detailed production, elaborate sound design and an overall introspective, emotive feeling.

      Now, just shortly after he published a fresh ep on the Dresden based imprint uncanny valley, lake people drops “phase transition”, a new album consisting of ten haunting tracks full of dance suspense.

      He recorded all between 2016 and early 2017 on various vintage analog synthesizers, uad and other creative interfaces. To find out if his latest pure slamming tracks work deep, he tried them out during his live shows in order to catch some new ideas directly from the dance floor.

      Later he refitted the tested material, so that all ten tunes dance together as a compact album, which at times still sounds melancholic and vulnerable, but comes around at large in a more self-assured guise.

      You also experience in any tone, rhythmic twist or melody, that his latest music came naturally out of the soul of a producer, who constantly is doing music: at home or on the road. During this continual work flow, he created sparser, direct kicking spheres, that also still bring some drama to the party.

      A fine moody you-don’t-stop grooving record that follows a heartfelt syuzhet, which is full of temperament, devotional, partly Larry-Heardish and straight like a bullet, carrying the audience from joy and whimsy too melancholy and sugared desolation. Dance this mess around!


      Barry says: Swirling dub atmospherics and a skittering percussive backbone weave together into a dancefloor-ready cacophony of funk and rhythm. Brilliantly hefty but skilfully nuanced and varied. Brilliant stuff.

      NYC producer Marcos Cabral coming correct with three choice weapons from his private arsenal. On the A-side we have "Pest Control", the title track and EPs dark, techy opus. Cabral's industrialized rhythms permeate through the entirity of the track, vast machines driven into frazzled intensity through repetitive processes and a monster workload. "In The Red" features fellow noise maker Entro Senestre and draws indesipherable vox backwards through an engine room flanger before rearranging with skeletal beats and glitching synth bleeps. Final track, "Standing On The Corner" sees Cabral capably explore the realms of blissed out, late night deep house; tipping his hat to the THC-soaked sounds of Vancouver along the way. Ace!

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