Collaboration between Live At Robert Johnson & Public Possession, both selecting some key label artists to remix “Gingko” a track taken from “Aksel & Aino”s debut Album “Lullabies for Insomniacs”. Including Mixes by Gerd Janson, Lauer, DJ City & Nice Girl ranging from Big Room Balearic Pop to tripped out Techno and classic house.
Futureboogie Recordings is calling time after ten years with a 20-track compilation that sums up the sound of the lovingly curated Bristol label. From throbbing arps and noirish guitar twangs to errant analogue blips and ceaseless, rolling grooves, it’s a different sound to what you might have heard five years back on the Summer Riot IV compilation, and certainly a long way from the early days. Consider Futureboogie 10² an ode to evolution as much as a toast to all the great tracks and the family of artists that have passed through the wide-reaching Futureboogie sphere since before the label was even a sparkle in the disco ball.
Over his two decades in the game, Philipp Lauer’s work always manages to mix the best of steely German engineering with deep emotion; industrial-strength beats with the warmth of an old sweater. On his new LP “Answers 2 Trouble” out on Permanent Vacation), the Frankfurt-based musician once again delivers the goods: nine tracks stuffed with elite beat making and delicious, 80s-influenced songcraft, drawn together by clever arrangements and expert pacing.
The Working Elite are Berlin-based spark plugs Thomas “Saap” Sabrowsky, of Extra Producktion, Terre des Pommes, ex-marine soldier, seasoned cook and barkeeper; and Daniel ”D´Lonely Al” Nentwig, who moonlights as The Whitest Boy Alive, co-directs Extra Produktionen, plays keyboard and electric bass for various outfits, and engineers at Berlin’s Butterama Recording Center. Suffice it to say, the pair have named their collaborative project suitably. The Working Elite create recreational music for dancers to shimmer through the days and nights of balmy season.
Especial returns to its concept of taking music it loves – in this case Sfire’s debut EP – and remixing them for a stand-alone release. Teaming up with Berlin’s Cocktail d’Amore Music, mixing desk duties are taken by newcomer Kris Baha, as well as label mainstays Jamie Paton and INHALT and the esteemed Lauer.
Esoteric break house from on Igor Tipura Unknown To The Unknown. Comes with a Lauer remix on the B side.
Live At Robert Johnson presents a second Lifesaver compilation. The label is calling the eight-track collection, which arrives two years on from the first instalment, “another episode of togetherness.” It presents music from the LARJ roster, with Roman Flügel, Portable, Orson Wells, Massimiliano Pagliara, Lauer, TCB and Benedikt Frey all chipping in with a track each.
We Play House’s Our Beat Is Still New series has been something of a soar-away success, introducing a new generation of DJs to the distinctive, heavily electronic midtempo pulse of Belgian new beat via a constant stream of tribute tracks from contemporary producers. Predictably, there’s more to admire on this fourth and final 12″, not least the bass-heavy throb and rubbery electronics of Locked Groove’s tribute to Belgian new beat/techno legend Frank De Wulf, “El Rio Negro”. Elsewhere, young rave revivalist Innershades drops the moody and intoxicating “Massive Overdose”, while Lauer impresses with the winding synths, juddering drums and saucer-eyed pads of “Planet Barty”. FCL’s stomping “It Began in Belgium” – all cheap electronics and proto-acid tweakery – is also pretty darn good.
Tere comes pommes002 reviving the worst or the best 90ies club music had to offer. The A-Side belongs to Daniel Nentwig aka one half of The Working Elite, one third of the now defunct Extraproduktionen and Whitest Boy Alives Keyboard-Wizard. Hes wearing his brandnew D Lonely Al sweater and presents “We can have it all”, a well hung slice of sparkeling proto house. Next up is the debut release of Cologne based Skateboard Pro Jeremy Reinhard aka Jeremaier. “Goldnugget” is something like the alternative college radio version of Show Me Love by Robin S. The EP closes with a Lauer remix.
New release by Phillip Lauer on Running Back imprint. Post-house-proto-disco-trance rockets fuelled by new wave and sound transmissions from middle-wave Caucasus.
We Play House 019 brings us Art Of Tones with Lauer remixes. Art Of Tones aka Llorca provides in stylish fashion with two original tracks on the A-side. ‘Take Me Higher’ is vintage deep house music that will get any floor moving. Disco and funk-infused rhythms are paired with a diva-like vocal sample and a bassline to die for. ‘Damped’ explores that territory even further, and uses a sample from a certain well-known record that shall remain unnamed her. On the B-side it’s all Lauer in fine form, delivering not one but two remixes, each of them providing a different take on ‘Take Me Higher’. The ‘Al’ remix is a little deeper, and the ‘Bert’ remix will be the more instant dance floor piece, but you really should play both of them.
Jee Day is the production alias of NYC scene fixture Dennis ‘DJ’ McNanyl. It makes perfect sense for McNany to further extend his Jee Day discography with this rather sunny outing on Tim Sweeney’s flourishing Beats In Space label which comes packing a remix from Sweeney favourite Lauer. McNany is at his best when marrying thumping, drum heavy arrangements with almost poppy vocal turns and “Sum Of Love” is a masterclass in this approach. Lauer’s remix adds just a touch more bottom end to McNany’s production and treats the vocal to gloriously thick swathes of delay.
After a string of twenty plus 12-inches, various high-flying mix-compact-discs, other audio-visual eccentricities and even books, she is finally ready to make a collection public that embodies the very character of Live At Robert Johnson and its affiliated club in Offenbach am Main. During this collection of 11 tracks, you will meet old and new companions; hear withdrawn songs and extrovert composi- tions, experience Frankfurt skyline techno-soul, hobo house and divergent disco. Starting off with new kid on the block Chinaski and an extended mix of the fragile “Lunch”, Live At Robert Johnson old hands Massimiliano Pagliara and Lauer are on top of their respective games, Roman Flügel sends warped and gifted droid funk, The Citizen’s Band precedes him, while newcomers Benedikt Frey and Orson Wells set good examples of their own. Not too shabby either: San Laurentino in his state of overjoy, Portable and Lcio bring their flutes of mellow madness, while the Tuff City Kids close of with “People Is A Crackhead” and some blue-eyed steppers business. Modern, old-fashioned, post-nostalgic, history-addicted and future-ridden all at the same time, “The Lifesaver Compilation” is exactly that: a life saving apparatus.
Mock & Toof are back with a new album “Temporary Happiness”. The first material to emerge from the new album is called ‘My Head’& it features vocals from young Swiss artist Ghostape. In a nutshell it’s one little catchy chugger with a heavy analog sound. The beats of the Boss DR-55 & the inimitable bass of the TB-303 lay the foundation. Clavs, bell lines and synth sweeps combine with Ghostape’s repetitive dubbed out vocals for a unique sounding electro-dub-funk inspired cut. Juju & Jordash take snippets of the vocal & weave them into an amazing raw, deep, techno remix that only they seem to be able to do at the moment. Lauer takes on the album track ‘Confusion Time’ and transforms it into a killer deep house number.
Lauer’s “Macsat Ring Down” follows an elliptic pattern fit for infinite play on any space floor. On “Mascat”, analog space junk flies in and out of an orbital framework built upon nearly nine minutes of bubbling bass and peripheral percussion. Space boogie at its finest. An anti-gravity exercise in repetition, Lee Douglas remixes “Macsat” for the flipside. Reaching a zen state through mantra-like looping, Douglas reworks Lauer’s sounds from a delicate and pensive place to a muscular and propulsive groove. Most if not all of the synthesized glitter from the original is eventually forgone in favor of blasted percussion and an unrelenting bassline.