Circus Company is proud to celebrate it’s first collaboration with one of the most emblematic and talented actors of the Jena scene. For sure you know Robag Wruhme for is past work on his own imprint Musik Krause and on Feud-Am-Tanzen alongside Monkey Mafia as The Wighnomy Brothers dj duet. This artist always stand out musically. From his past releases till today and across his remixes you can’t miss his unique personality in music. This four tracker provides a colorful musical palette of Mr Wruhme. From the dark and minimal side of Blech Beule to the “herbertish” Robadella and the magnificent melodical slow mood of 48° 52′ N, 2° 21′ (In between, that’s the location for Paris on the map in case you loose yourself…) While he was delivering the tracks Robag also requested a remix from Ark, another strong character of the Paris. Ark did a a brilliant work on this Blech Beule remix which gives a nice “avant goыt” of his upcoming album on Perlon which will be out in April. Supported by Steve Bug, Sebo K, John Tejada, Dave Aju, Sasha Funke, Reboot, Seuil, 2000 and One and many more..

Minimaland Feedback: Dirty, sweaty and full of funk

01. Blech Beule

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02. Blech Beule (Ark Remix)

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03. Robadella

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04. 48 52′ N, 2 21′ O

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CCS#044
Release Date: 15.03.2010

Little Helpers is a conceptual digital label courtesy of Andrew Rasse (a.k.a. Butane) and Sean O’Neal (a.k.a. Someone Else) launched in December 2009. Each track is a strong, reduced groove-tool aimed to satisfy the increasing number of digital DJs. Much like the traditional lockgroove vinyl, these tracks are suitable for looping, editing and layering. Yet at the same time, each track has enough variation to stand on its own. That is, each tune lies somewhere between a full track and a DJ tool — focusing solely on the rhythm or a singular idea rather than extraneous arrangements. On Little Helpers 05, label owners Butane + Someone Else represent the Little Helpers label to its full potential with six groove-tool tracks — offering elements of techhouse, techno, minimal and deep house.

Minimaland Feedback: If you’re looking for some tools or like to listen some of the most cutting edge minimal techno produced out there then this is a must buy. All the tracks are very enthusiastic, have a great rhythm and some groovy progressions. This will make some wonders in the dancefloors.

1. Little Helper 5-1

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2. Little Helper 5-2

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3. Little Helper 5-3

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4. Little Helper 5-4

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5. Little Helper 5-5

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6. Little Helper 5-6

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cat #: littlehelpers05
release date: March 9, 2010

For Remote Area’s 24th release we welcome back Amsterdam-based, DJ and producer, Lauhaus. Internationally known for his sounds as one half of Polder, his awesome solo productions also create a stir as he blends and clashes house and techno to produce his own exhilarating sound.
“Bring it” brings you a blend of digital vocals across disco feel undercurrents all pinned together with some hot percussive deep drum action. It’s guaranteed to bring the dance floor to a housey climax. Whereas “Moonshine” is a beautiful brew of unforgettable keyboard melodies that thread across, dive under and sweep over the driving beats and our favorite track of the Ep. “Cremita” brings nature to the fore with its relaxing vocals, bird song snippets and guitar riffs intertwined to create a chilled soundscape.

Minimaland Feedback: By now you should all know that both Remote Area and Lauhaus represent quality in the electronic musical world. Every thing this label launches is full of quality and every Lauhaus release follows the same pattern. This 3 track EP is a very exquisite one, with tunes to suit all of your different tastes, from the most deep  (you’ll certainly enjoy “Cremita”) to the most shaky dancefloor ones (”Bring It” is the one for you). Our fav  track – “Moonshine” –  stands in the middle of this two and it’s certainly a very nice one to be listened. Remote Area did it again.

a1 - Bring It

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b1 - Moonshine

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b2 - Cremita

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Remote#024
Release Date: End of March, 2010

Barem of minus and Foundsound fame finally delivers another bomb on foundsound records. and you get an emotive big room killer remix courtesy of paul ritch. plus you get two floor-pumping tech-house remixes courtesy of ronan portela and jorge savoretti.
on a1 – “heyday” – our argentinean friend Barem delivers an eleven-minute minimal anthem. both haunting and blissful, this track flows as if going from night into day. it starts off dark and groovy with reverberating vocal cuts, a bouncy bassline and captivating breakdowns. as the track progresses, it gently morphs into something perfect for any sunrise – with enchanting guitar chords, a perfect little house hihat, a perfect little clap, and an irresistible groove that heightens any party into the morning hours.on b1 – “heyday (paul ritch remix)” – you get just under nine minutes of club-storming tech-house with a remix from parisian paul ritch – known for releases on labels like get physical music, wagon repair, resopal schallware, drumcode, and the list goes on. this big room gem carries over the darkness of the vocal cuts from barem’s original version along with an almost proggy, early-morning intensity that is fueled by swirling melodies, enthralling delays and a groovy bassline that’ll have people bouncing and floating all over the dancefloor. on track 3 (digital only) – “heyday (ronan portela remix)” – argentina’s ronan portela makes a supersweet follow-up to his ep on Foundsound, piumino ep (found-22), which continues to be played and charted by super-duper djs like richie hawtin and others. on this remix, you get an uplifting, oh-so-fun-toplay, groovy-as-hell tech-house bomb that’ll have people bouncing through the roof. it’s powerful, delightfully intense, and perfectly groovy. on track 4 (digital only) – “heyday (jorge savoretti remix)” – jorge savoretti, another argentinean, of esperanza fame, delivers a deep and wondrously groovy tech-house nugget that’ll have peeps floating through a mesmerizing vocal loop, reverberated congas, a bouncy groove, and breakdowns that make ‘em go “wooooooo!”

Minimaland Feedback: Heyday is one of those anthems that all true minimal tech appreciators like and remixes like  this ones have always plenty to enjoy. Killer, like always on Foundsound..

a1 - Heyday

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b1 - Heyday (Paul Ritch rmx)

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Digital – Heyday (Ronan Portela rmx)

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Digital – Heyday (Jorge Savoretti rmx)

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Found#022
Release Date: 08.03.2010

Plenty has happened since Cobblestone Jazz released their last album, 23 Seconds, in 2007. The group toured the world virtually non-stop, soaking up inspiration and refining its chops on stage and in the studio alike. Member Mathew Jonson moved from British Columbia to Berlin, setting up a studio headquarters spilling over with analog machines and oddball audio equipment.

And longtime friend and fellow traveler Colin de la Plante (aka the Mole), a collaborator with the Cobblestone trio in the live project The Modern Deep Left Quartet, became the official fourth member of Cobblestone Jazz’s studio lineup. Now, in anticipation of Cobblestone Jazz’s second album—appropriately enough, titled The Modern Deep Left Quartet—the group surfaces with a teaser 12″. “Chance Dub,” which opens the album, gives us a first taste of the gentler, more subdued sound that came out of last summer’s album sessions. In place of the monster riffs and psychedelic freakouts of tracks like “India in Me” and “Dump Truck” is something deeper, smoother, maybe more reflective. A lone chord progression leads the way, brooding but still nimble; around it build swelling synth pads, sub-bass pressure, sprightly bass sequences and of course the high-precision rhythm programming that gives the group such a formidable sense of funk. It’s a mellower side of Cobblestone Jazz, but it also displays the power of restraint. Mixed and recorded in real time, like all the band’s music, the track is always evolving and always in motion, but it never feels busy. It’s simply driving, sensual, properly analog house music, the way it was meant to be.

On the B-side, “Chance,” offers a radically different take on the same material. The groove remains the same, but in place of the looped chord changes of “Chance Dub,” Danuel Tate takes the lead on Rhodes piano, with a long, rippling solo that gives the tune its easy-going sense of exploration. That’s also Danuel behind the vocoder, dropping a haunting vocal melody that sinks deep into the subconscious. It’s as deep and as defiantly late-night as Cobblestone Jazz have ever gone. And it’s the perfect introduction for the rich, dynamic, all-encompassing album The Modern Deep Left Quartet—the next chapter in the Cobblestone saga.

Minimaland Feedback: Cobblestone Jazz ensure quality and this release is one of the strongest examples of that fact. This tracks has all you may require in music: progression, attitude, spirit, beat and lots of rhythm, also a brilliant artwork.  A must have, collectors stuff.

a1 - Chance Dub

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b1 - Chance

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Wag#060
Release Date: 22.02.2010

Japanese producer Cherry returns to Bristol’s Four:Twenty in March with his second EP, the “World Waits EP”, backed with a typically superb remix from Areal/Kompakt producer Ada.
As with his first EP for the incredibly consistent Four:Twenty, “The Alex EP”, “The World Waits” is melodic, electronic house at it’s best. Unselfconscious and emotive, the Toyko based producer’s output sees him drawn in a myriad of influences to create something which sidesteps trends masterfully. Title track “World Waits” is a mammoth 12 and a half minute excursion into layering of melodies which is completely mesmerising. Simplistic drum programming, with just a smattering of variation, combined with an equally simplistic arrangement allows the dominant, nagging synth riff to steal your attention and hold it throughout.
Cologne’s Ada delivers an equally hypnotic take but pursues a more reductionist avenue. An 808 kit provides the backbone while the original’s riffs are tempered with filtering and a more sporadic structure. Subtle strings are also added and add just a modicum of intensity to great effect. “When The Truth Is” rounds the package off with a captivating mix of melancholic jazz piano, sinister soundscapes and drum/sub interplay which while certainly more sample based than it’s A-side, is no less original. This is yet another wholly ‘different’ release from Four:Twenty and showcases yet another great new talent.

Minimaland Feedback: Deep, Melancholic and Emotional… Cherry’s music will project different emotions in you. Ada remix is simply amazing, I must say that she is, nowadays, one of my favorite producers and everything she touches turns it into gold.

a1 – World Waits

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a2 - World Waits (Ada remix)

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b1 – When The Truth Is

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FOUR#053
Release Date: March, 2010

Berlin’s Minimood continues its foray into the realms of quality techno and tech inspired house following up recent stellar releases from Gregorythme and Fusiform & Mark Henning with this outstanding single from Cologne based Ziggy Kinder. Kinder is a producer that has been key in the success of Matthias Schaffhauser’s Ware label providing a string of superb singles that have seen him forge his place amongst Germany’s musical elite.
For his debut single on Minimood Kinder kicks off with the wonderful ‘Lucky Look’; the infectious and uplifting melody bounces and warps its way through the airspace luring you in for more. ZIGGY KINDER’S gravity defying magical touch finely reinforces MINIMOOD’s hallmark sound of seemingly careless simplicity camouflaging underlying musical genius. An outstanding dancefloor track that is already a hit with Dj’s everywhere.
The original is followed by an excellent remix from Minimood’s own Erich Bogatzky and volt.mar. Stripping the original back into more dubbed out minimal territory, the lush incidental melody stabs and wriggling clavs craftily blend for maximum seduction. Mysterious, edgy and slightly anxious, this new production team are already showing themselves to be masters of mood manipulation.
Finally Kinder closes the packaged with the alternatively titled ‘Look Lucky’, where he moves into darker club territory with this chugging monster. Drawing inspiration from classic techno forms but unbound by its rules, its classic old school groove is projected into more unpredictable contemporary territory through a bleep infested melody and some mind bending jittery and unpredictable percussion to form an irresistibly funky product. Pure quality.
Minimood continues to impress at every turn and this single is certainly no exception

Minimaland Feedback: You probably know Ziggy Kinder from his releases on Ware Records. He has been one of the stand outs of the label and now, in his first release on Minimood he confirms all his talent. Deep vibes and lots of good mood!

a1 - Look Lucky

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b1 - Lucky Look (Erich Bogatzky and Volt.Mar remix)

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b2 - Lucky Look

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MINIMOODEXTRA#003
Release Date: February, 2010

After a hugely successful parting shot of 2009 with Mark Henning’s “The Right Time” Hypercolour delve into the new decade with a killer foray into basement house music from Plasmik with their “Retune EP”.

Brothers Roman and Marcel Fritz have developed a formidable reputation from just a select handful of strong, 909-led house EPs for Offenbach’s Connaisseur and remixes for the likes of Tsuba and Crosstown Rebels. Their no-nonsense ‘real’ house ethic has won many a fan, including the Hypercolour team, who first picked the guys for a remix in 2009 and subsequently pestered the duo for a release.

That release is the “Retune EP”, four tracks of robust, deep modern house packaged with a remix from the label’s Alex Jones.

Whether it’s the simplicity of the title track and it’s one chord stab motif, the Pagan-esque skippy drum and flute combination of “Flute”, the warped vox of “Faces” or the dense off-kilter melodies of “Smoothly” each track is imbued with an earthy, analog feel which oozes charm. This feel, in no part hampered by some excellent FM bass tweakery and 909 work, is pure Plasmik.

Alex Jones’ rebuilding of “Faces” doesn’t harm things on this EP, either. His almost myopic, belligerent attitude to the avoidance of trends has resulted in much of his work completely polarising opinions but that is his greatest asset and it shows here. Rough, un-quantized drums sit loosely under shuffling loops while layered snares and a bizarre walking bassline make for a woozy piece of dancefloor tomfoolery which is as wonderful as it is unique.

This is a cracking start to the year from Hypercolour and potentially the last release from Plasmik for some time, so check it out

Minimaland Feedback: Retune me more!

HYPE#017
Release Date: February, 2010

The My Favorite Robot imprint follow up the awesome Vandermeer single ‘Positive Light’ with another bold release, this time in the form of James Teej’s cover of the Bowie classic ‘Space Oddity’ backed with a stunning set of remixes….
Taking on a cover version of a record such as David Bowie’s seminal ‘Space Oddity’ is not a task for the faint hearted, yet that is exactly what the much lauded James Teej has done with this latest single for the Canadian based My Favorite Robot label. Where many ‘dance music’ covers have failed in the past, with their leaning towards easy commercialism, this version of the much loved classic excels in every way, bringing a new vibe to a legendary composition and showing Teej’s talents as a first rate producer and a damn good vocalist to boot.
Teej has spent the last few years building an enviable reputation with a string of superb singles for the likes of Connect Four, No.19 Music and of course My Favorite Robot Records. He has also remixed for artist such as Trentmoeller and Solee and is signed for an album release on Matt Edwards excellent Rekids imprint.
The ‘Space Oddity’ single launches off with Teej’s original version, a warm, melodic and downright soulful recording that takes the ‘oh so’ familiar lyrics and gently morphs their intonation into a laidback and engaging vocal track. The backing track’s 4/4 rhythm is gently augmented by subtle rolling percussion whilst the rich organ parts give depth and character to this instantly likeable cover.
The remix package comes in four parts, the first of which is a dub from fellow Rekids artist Toby Tobias who turns in an epic ten and a half minute slow house workout build round a stunning bass heavy groove. Snippets of the vocal swirl round the mix before being joined by a simple acidic top line and Detroit inspired sythn stabs, this is perfect piece of late night tackle that is bound to be a big hit for the new year and beyond.
Next up we have label bosses My Favorite Robot who take a stripped back approach, delivering a deep and hypnotic version that lends itself perfectly to the cosmic slanted vocal. This mix draws you in from the opening bar and keeps you the hooked to the final fade.
Montreal based producer Maher Daniel steps up next and gives us an insight into why his music has been picked up by labels such as Get Physical, Bedrock and Souvenir. His remix turns up the dancefloor intensity a notch and provides a heads down house cut that is pure class.
Closing the package Toby Tobias returns with his fourteen and a half minute ‘Plane Love remix’, a monumental piece of dubby house that builds its way towards an intense and masterful climax; a wonderful conclusion in a great package.
The Robots and their merry band of musical minstrels are taking the good ship MFR into new and unchartered seas and the results are damn impressive. Roll on 2010….

Minimaland Feedback: Having a space oddity is good, having so many is near perfection…

Tracklist:
1 - Space Oddity (Original)

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2 - Space Oddity (Maher Daniel remix)

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3 - Space Oddity (My Favorite Robot remix)

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4 – Space Oddity (Toby Tobias dub)

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5 – Space Oddity (Toby Tobias Plane Love remix)

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MFR#015
Release Date: February, 2010

September 23rd 1999 was a monumental day for the Canadian electronic community… or at least should have been. This was the day the first Cynosure Recordings release, entitled “The Focal Point”, was launched out into the world. Comprising a combination of deep minimal house and jackin techno the record was steadfastly ignored and overlooked by the international techno community at large, setting a precedent and laying a course that the label has embraced as it’s burden for just over 10 years now.
Though Cynosure has provided a steady stream of fodder for the discerning DJ every few months since, music journalists the world over have by and large refused to mention it. No label profiles, no formal mention of collective works, and sadly no one hit wonders have graced the catalog. Conversely, the elite taste makers which make up the crème de la crème of the underground DJ community have continually charted and dropped track after track the world over . A strange phenomenon certain to boggle the mind of cultural theorists for years to come.
Admittedly the labels A&R choices have always gone against the grain of the populous dance music norm. Though he could be a accused of many things, “band wagon jumper” is certainly not a tag which label head Mike Shannon could wear comfortably or honestly. A devastatingly talented DJ in his own right, he has chosen to be an example both with his sets and the label of the most uncompromising possibilities that dance music has to offer. Never following, always leading, the rarest of a modus operandi. As such it seems all too fitting after a decade of living in the shadows that Shannon, the master of the piss take and techno’s prince of cats, should choose to deliver the label anthem “Under the Radar”.

Minimaland Feedback: Collectors Stuff

Tracklisting
side A – Under the Radar – Mike Shannon’s original mix
side B – Under the Radar – Ricardo Villalobos mix
side C – Under the Radar – Deadbeat mix
side D – Under the Radar – Rozzo mix

Digital Only – Under the Radar – Wasted Chicago youth dub mix (aka Justin Long and Mazi)
Digital Only – Under the Radar – Massi’s NYC deep dub mix (aka Massi DL)
Digital Only – Under the Radar – Massimo Di Lena’s Loon mix

CYN#040
Release Date: 25.01.2010