Emptiness isn’t a quality you normally associate with electronic dance music. From the crowd on the associate with electronic dance music. From the crowd on the dancefloor to the weight of the bass, it’s all about fullness, volume, density.

Reboot turns that opposition on its head with his debut album, Shunyata. The title comes from Buddhism and translates loosely as “emptiness.” But not just in the negative sense: it speaks also to impermanence, a state of constant flux.
It’s a great description of Reboot’s music, where everything is in constant and kaleidoscopic motion. And it’s also a fitting metaphor for the life of the Frankfurt-based musician, aka Frank Heinrich.

In just three years, since his first EPs under the Reboot moniker appeared on Cadenza and Below, he’s become one of electronic music’s hottest properties, releasing not only a slew of singles for labels like Cocoon, Love Letters from Oslo, Ricardo Villalobos’ Sei Es Drum and underground cult fave Motivbank, but also a pair of high-profile mix CDs for Cocoon and Ce%u0301cille. His live sets and DJ sessions have taken him around the world and then some, several times, playing everywhere from mammoth festival stages to the thatched-roof booth at Ibiza’s Ushuai%u0308a. (One look at Reboot’s booking schedule, and you can forget about any concept of “emptiness.”)

“Shunyata describes my way of life pretty well,” affirms Heinrich, who just last year left his full-time day job to focus on music. Shunyata might be seen as a response to all that flux. Heinrich took his time with the record, working on musical ideas that extend beyond the limits of a given track. From the sound designs to the grooves to the way the tracks evolve, they all interconnect; intricate polyrhythms wind through the music like ivy, binding the album together.
It’s those rhythms you’re likely to notice first: dazzling arrays of congas, bells, cymbals, shakers, woodblocks; sounds that sound like tuned water-drops or aluminum barrels; steely drum machines slicing the air like knives. But behind the layers of percussion there are stranger, shadowier elements at work: chimes, pings, electronic gurgles, scraps of faraway voices, field recordings, and beneath it all, a spongy, squishy bed of bass, comforting and all-encompassing. As Heinrich says, “All the sounds have to be in a constant flux. The track starts at one point and leads to somewhere completely else.”

Heinrich’s modular synthesizer system plays a key role in fashioning the music’s unusual contours. It’s an open-ended collection of devices—oscillators, filters, sequencers and esoteric functions—wired together and able to be re-routed in infinite ways. Not only does it sound better than any plug-in, but it also offers a fundamentally different way of working—a more intuitive process where chance guides discovery and sounds evolve with rare fluidity. There are no presets. The only rules are the laws governing sound’s movement through air. And everything is in a constant state of flux.

Shunyata is very much an album: its long, undulating lines and morphological structures reward deep,repeated listening. They’re puzzles that can’t be solved by themselves, but only by gathering clues from across the recording. At the same time, though, this is visceral, immediate music, crafted by a musician that understands the needs of the dance floor as it really exists—not as some abstract form, but as a living thing, a shifting configuration of bodies and souls that never plays out the same way twice.

DJs are going to find themselves reaching for every track in the package at one point or another. There’s the headlong tumble of the Detroit-inspired “Hermano” for joyous peaktime moments, the liquid spiral of “Down Pantha” for the hours where time stands still. “Rambon,” with its easy skip and glimmering melody, is like springtime on wax. Tracks like “We Only Just,” “Me Show” and “Save Me” offer darker vibes, heads-down and hypnotic. “Dreilach” goes even deeper, with a rippling bass melody that gets deep inside your chest, your brain, your veins. The title track seems to spin at two velocities at once, balancing a driving, linear groove with half-speed voices to create a sense of suspended animation—the perfect encapsulation of the album’s central theme. And “Uruana” and “Sanchez Says” bracket the album with percussive forays into far-out terrain, with trace elements of global folk sounds. It’s tribal music, no doubt, influenced by, and made for, a worldwide family of listeners and fellow creators. And ritual—whether dance-floor communion or the solitary pursuit of electronic sound—goes to the very fiber of its being. What comes out of that ritual is Shunyata.

Tracklist:
01 Uruana

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02 Me Show

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03 We Only Just

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04 Dreilach

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05 Save Me

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06 Shunyata

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07 Hermano

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08 Down Pantha

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09 Rambon

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10 Sanchez Says

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Label: Cadenza
Release Date: 06.07.2010

Cadenza Records was founded by Luciano and Serafin a couple of years ago and since the beginning they’ve always had a great roster featuring their releases. Despite this they’ve been adding a couple of guys to their crew over the years and, to names like Villalobos, Luciano, Digitaline and others, they’ve added others like Mirko Loko, Petre Inspirescu and Mendo in the most recent years. Today we are here to talk about Mendo and his newest release “Encantos EP”. As these two certified burners prove, back-to-basics house music is alive and thriving. And while hes been around the block a time or two, this essential double-A-side release confirms Mendos status as an artist on the rise. He is one of those guys that creates tremendous grooves and I really think that he is the proof that Cadenza style is here to stay and to ensure quality above all. This release urges for Summer party’s so let’s hope the sunny days show up to end this rigged Winter season.

a1 - Aventuras

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b1 - Encantos

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Cadenza#046
Release Date: 01.03.2010

t’s been nine years since Lucien Nicolet’s first record, and in that time he has earned his place among electronic dance music’s most celebrated names. He’s racked up singles for the likes of Mental Groove, Perlon, Desolat and of course Cadenza. He’s remixed everyone from M83 to Salif Keita, and his mix CDs for Fabric and Soma’s Sci.Fi.Hi.Fi. series have showcased minimal house and techno at their most sensual, supple and jubilant. And Luciano’s DJ sets have become the stuff of legend the world over.

Throughout his career, the Swiss-Chilean musician has experimented liberally with longer formats, including a live album for Thomas Brinkmann’s max.Ernst label and 2004’s groundbreaking No Model No Tool, a recombinant set of groove components. But in all this time he has released only one proper studio album, 2004’s Blind Behaviour, which veered away from the dancefloor in search of more esoteric pleasures. At long last, with Tribute to the Sun, Luciano delivers one of the definitive highlights of his career.

Not merely a “dance” or “electronic” record, Tribute incorporates musical styles from around the globe with Luciano’s inimitable rhythmic sensibility. It draws upon Luciano’s extensive experience as a mover of bodies and a reader of the crowd’s mind. Many of its grooves form an integral part of Luciano’s DJ sets, having been road-tested and continually refined. But it’s very much an album to be listened to front to back. (Most of the album’s cuts will also be made available as extended edits, for vinyl and download alike.)

Tribute to the Sun is above all a highly personal portrait of the artist. Informed by the ups and downs of the artist’s life, and the balancing act between life on the road and the refuge of family life in rural Switzerland, its moods run from the heavenly grace of “Celestial” to the outright madness of “Metodisma.” This is the fullest portrait yet of Luciano as not just an artist but a human being.

Four years in the making, the album finds Luciano collaborating with a cast of musicians as talented as they are diverse. Martina Topley-Bird, of course, is known for her haunting contributions to Tricky’s early classics, as well as for her solo career and collaborations with the likes of Danger Mouse and Mike Patton. Senegal’s Ali Boulo Santo, heir to a long line of griots and nephew of the legendary “King of the Kora” Soundioulou Cissoko, was said to be “born with a Kora in his hands”; he pioneered an electronic fusion of Mandingue Afrobeat in his recordings for Frédéric Galliano’s Frikyiwa label, and here his contributions continue to expand the possibilities for “world” music in new contexts. Switzerland’s Bruno Bieri is the inventor of the Hang, a kind of steel drum with a sound like a mountain stream; “Hang for Bruno” features both his limpid melodies and the contributions of the Israeli percussionist Omri Hason, a student of the Iranian master Djamchid Chemirani. Omri Is also part of Luciano’s live project Aether Nation.

“Los Niños de Fuera”: Fusing tribal singing and nimble handclap patterns with the flickering rhythms and walking basslines he does best, this is dizzyingly gleeful stuff—albeit shot through with sliding, melancholy harmonies—that balances innocence with intensity.”Celestial”: Sampling a portion of the singer-songwriter Keren Ann’s song “Liberty,” Luciano concocts a heady, heavenly song that builds and builds so gently, you’ll never notice your feet leaving the ground.”Sun, Day and Night”: Martina Topley-Bird’s voice nestles in a nest woven from coppery strands. Freeing himself from the tyranny of the 4/4 kick, Luciano explores rippling polyrhythms and basslines that rise to the surface like an underground spring. “Conspirer”: Contemplative and restrained, this one’s all about a flickering keyboard line that changes colors with the light. “Hang for Bruno”: Featuring the contributions of Hang drummer Bruno Bieri and the multi-talented percussionist Omri Hason, “Hang for Bruno” fuses the sounds and traditions of the Caribbean and the Middle East with bleepy electronics and 20th century classical Minimalism. Its ringing harmonics sound like signals from another world. “Fran Left Home”: With its electro-Latino swing and its keening, ambivalent melodies, this is classic Luciano in the vein of his Live @ Weetamix album. “Africa Sweat”: Luciano and Ali Boulo Santo push the definition of “world music” on this thrilling album highlight. Fluid Kora and Senegalese vocals pour like rainwater over a porous rhythmic foundation that branches like the cracks in desert soil. “Pierre for Anni”: A short sketch in which Luciano combines two of his great loves: Field recording and no-holds-barred electronic experimentation. “Metodisma”: The darkest, starkest cut on the album, this sets grinding electronic rhythms against whispers, whoops and screams: Catharsis at 128 BPM. “Oenologue”: Closing out the album, this single-minded groove pays tribute to the pioneers of acid and Detroit techno, a reminder that deep house and electro-acoustic fusions aren’t Luciano’s only stock in trade

- – TRACKLIST – -

01 Los Ninos de Fuera
02 Celestial feat. Liberty by Keren Ann
03 Sun, Day and Night feat. Martina Topley-Bird
04 Conspirer
05 Hang For Bruno
06 Fran Left Home
07 Africa Sweat feat. Ali Boulo Santo
08 Pierre For Anni
09 Metodisma
10 Oenologue

Release Date: 12.10.2009^
Label: Cadenza

For the second time we introduce to you Miguel Toro. The Venezuelan producer – resident in Berlin – strikes again with a massive Ep, this time released on one of the best labels of the market, surely with the most beautiful artworks: Cadenza Records. Is latin touch turns his standard tracks into something that European crowds love. “El Device” comes with three tracks that have been already supported by Robert Dietz, Sebo K, Anthony Collins, Italoboys, Nick Curly and many more and, in fact, they are well above the average things that we normally listen in the dancefloors. The Ep starts with “Sissteray”, a pumping turn-on stepped by an enthusiastic beat and some vocal samples that will drive you mad, a typical Cadenza track. In the b side comes a more laid back “Quassi” with a massive percussion (only doable in the best sound systems), a sharming step by step construction and a beautiful elements recycling. If you like it more deep and more subtle this is your track. A third track – “Always Late” – will be available if you buy it digitally… and you really should cause this will add a lot to your buy, this is the kind of track that will deliver a mass euphoria in the dancefloors, with a non-stoping rising path and, again, some looped vocal samples that really work delightfully in this one. Cadenza normally doesn’t miss, and engaging with Miguel Toro was another very positive choice for them. A must have Ep

a1 – Sissteray
b1 - Quassi
Digital Only – Always Late

samples here

CADENZA#035
Rls Date: 17.05.2009