The EP starts off with ‘Anaesthesulf’, a well arranged DJ tool, repetitive but complex. Well structured patterns surrounded by lots of hats, percussions and playful melodies. Followed by the second track called ‘We Are Tubes Inner Tubes’, a real dancefloor killer for the early morning hours. Trippy percussions, seemingly foreign vocals by Lisokot and twisted sample cuts topped with well selected effects give this tune the perfect shape. The B side continues with ‘Gavotte II’, a dark and pounding track with lots of variation and freaky sounds emerging seamlessly from the background. Mysterious melodies, a bouncy snare and occasional vocal cuts perfectly aligned in front of a pumping bassline. The last track is a remix of ‘Gavotte II’ by Bruno Pronsato who introduces a lot of melodic bits and samples, turning the track into a new interesting direction. Fancier of his work, will instantly notice the usual Pronsato style. Creatively built sound structures, cleverly arranged with a variety of new elements and headed by a funky beat.

On the digital release, we’ve included a bonus track named ‘Take Your Skeleton In The Closet’ that didn’t fit on the vinyl. Another well built production with an mysteriously obscure melody emerging between a rolling beat, full of interesting elements and layers that keep moving and somehow remind of ancient times. The whole release is an impressive and very well arranged piece of art that shouldn’t be missing in any DJ bag! From Berlin to Tokyo – see you barefeet on the dancefloor!

It’s rare that a sound so minimal results in something so engrossing, something that sucks you in and keeps you listening intently on what’s going to happen next. Akiko’s tracks feel like stories, captivatingly told through her experimentation with sound. Now based in Berlin, Akiko holds a hefty 15 releases to her name on world renowned labels such as Contexterior, Thema, Lick My Deck and Safari Electronique amongst others. ’7 Years’, Akiko’s first solo album, released in 2008 on District of Corruption is an eleven track showcase of this artists complex talent. Live performances in London’s Fabric, Berlin’s infamous Berghain and many more worldwide; Akiko Kiyama continues to develop, produce and release as well as pushing the boundaries of minimal techno with her live set’s performed around the world.

“In 2006, Bruno moved from Seattle to Berlin to do techno full time, and it wasn’t long before he made a name for himself. His debut 12″ was released in 2003 on Orac, a Kompakt distributed label, and was followed the next year by a full-length album, Silver Cities. Soon Bruno had the attention of labels like Philpot and Musique Risquée, both of whom released Bruno’s next EP’s. By 2005, Bruno’s live performance – an unusually nimble and improvisatory act – began receiving praise from XLR8R, The Wire, and dozens of underground European zines. It also piqued the interest of Ricardo Villalobos and Perlon boss Zip, who invited Bruno to play in their laptop super-group, Narod Nikki.

Around this time, Bruno formed a duo with Sammy Dee called Half Hawaii. The pair played at nightclubs around Europe and international festivals like Mutek, and released two slick minimal records on Perlon and Hello? Repeat. But Bruno’s real breakthrough came in 2007 when he released ‘Why Can’t We Be Like Us’, a strange and beautiful album that received a ’5/5′ from Resident Advisor and endless accolades throughout the blogosphere. This secured Bruno’s position as one of techno’s most imaginative and virtuosic artists, a reputation he easily maintained with his next two releases: the weird and sultry ‘Where’d You Learn to Kiss That Way’ on Hello? Repeat, and ‘Take 1/ Take 2′, a jazz-infected house jam he did with Daze Maxim, under the name Others.

In 2009, Bruno started his own label, thesongsays. It was partly a matter of necessity; he needed an imprint for his most ambitious work yet, a 38-minute epic called ‘The Make Up The Break Up’, so he decided to simply release it himself. Possibly his best work to date, ‘The Make Up The Break Up’ received a deluge of praise upon its release, including another ’5/5′ from Resident Advisor. Later that year, thesongsays released its second record, a debut EP called ‘What I’ve Lost’ by Benoit & Sergio. Dripping with half-ironic romantic sentiment, What I’ve Lost is a daringly unfashionable EP that, perhaps even more than his own tracks, reveals Bruno for who he truly is: a post-punk inspired techno artist that loves staying up all night, sipping whiskey with his pinky crooked.” (words by Will Lynch)

Enjoy the view, we‘ll be landing with the next track on a distinct planet soon. Once arrived you notice, that it‘s almost as if you could hear the solar winds, when you walk with Pheek through a lost world on the hunt for the unknown. Suddenly you hear a melody, where is it coming from? Turns out Pheek and Hubble brought their secret project EEBB to be launched into the orbit and its emitting sound waves. Watch the probe go into space while Hubble records the biosphere. Spheric noises surround you while following the team back into the spaceship.

All systems running, Hubble sets the coordinates for the trip back to earth. It almost seems like the engine is forming a pounding beat while we lift off. Now it‘s Mr. Neyen‘s turn to keep you entertained on the flight with an amazingly beautiful remix until we safely enter our own atmosphere. Want to be part of the next mission? Get yourself a copy of this wonderful EP and save yourself a place in Mr. Steger‘s Space Capsule!

After countless releases on labels like Logistic, Perlon, Karat, 7th City, and his own Minibar and Telegraph, we are proud to present his latest work called ‚The owls are not what they seem‘. As soon as the first track ‚Gredingotte‘ starts, you will instantly notice the typical Cabanne style. Ass shaking beats with funky percussions, melodic bits and pieces on top of mystic pads and deep subs. Sprincled with vocal samples surrounded by an array of hats and toms, the A side is a leet club track, ready to hit the unwashed raving masses! The second track ‚Maki De Sade‘ is deep, spaced out and super trippy. A warped melody wandering through your speakers and fading into twisted cuts and freaky noises. Pure afterhour madness and the perfect B-side track.