Adam Port - I Never Wear Black (Simple Symmetry Remix)
&ME - One On One feat. Fink (Bedouin Remix)
Rampa - Newborn Soul (Redshape Remix)
For the first time in label history, Keinemusik is putting out an EP with just remixes. The moniker for this: Doppelgänger. The reason for this: Well, we like remixes and were curious to find out how other artists, artists that we appreciate a lot, would approach our material. Why now, you might ask. Why wait for the catalogue number KM038? See, we just wanted to offer those guys a decent pool of tracks to choose from.
Simple Symmetry are going for Adam Port’s “I Never Wear Black” on Side A, transforming the original into a dramatic ride through gong echoing frenzy and riff-heavy e-guitar emphasis. The original’s guitar lead on the other hand gets some synthetic treatment, just to be backed up by spaced out synth melodies and an organic bassline.
The second chapter sees &ME’s and Fink’s gruelling comedown score “One On One” turn into a meditation over groove, courtesy of Bedouin. The guys are going for a sparse, sophisticated arrangement, opening space for Fink’s shattered croon, yet raising the temperature after the break into a threatening, string-laden climax.
The closing assignment is handled by Redshape. He’s repositioning Rampa’s “Newborn Soul” through his very own dark recourse on Electro-Techno. The producer enigma even more so adds some EBM flavour to his signature sound, incorporating a catchy synth bass and heavy, stomping beat. Floor quaking material indeed.
Thanks to &ME’s latest and quite attention getting contributions to the Keinemusik catalogue, there might be certain speculation in the air about what contentual path his upcoming material might chose. Well, speculate no more, the new tracks are in.
In a reading group one might sum it up like this: “Avalon”, the A-side, could be read as a crossover of “The Mists Of Avalon”, “The Tin Drum” and “The Jungle Book”. Rendered into club-lingo, that means: profoundly filtered tribal drums and a feverish haze of noise evoke a certain tropical vibe that is whipped up by the snaredrum frenzy of a hyperactive marching-band-leader. Highly energetic stuff leading into a soothing break of heavenly voices, sounding as if Guinevere herself is yearning for the next mighty drumroll to wreak havoc on the dancefloor. This fragile melodic insertion aside, you won’t find many sentimental concessions on this tune, yet an irresistibly pounding floor-appeal.
You might rather shed a tear of joy on the flipside. You’ll definitely find “The Rapture” on there, consisting of standing notes, keyed in synth-accents and consolidating synth-layers held together by piano-chords that perfectly are resonating the sense of pleasure, after the peal of peaktime-thunder has faded away from the floor.
Quim Manuel O Espirito Santo - Senhor Doutor (Adam Port Edit)
A thing Adam Port has been rendering services to in the past and that this new Keinemusik-release as well is contributing to: sprucing up the image of the guitar. In the course of music history the instrument certainly has been propped up hip-wise as cock-extension and abused for sleazy rockisms a bit too often. Port’s rehabilitation of the six-string comes in shape of “Ganesha Song”, the A-side of KM036. You’ll find some twang, rhythmically boosting the dynamics, be it implemented as a micro-loop within the beat-structure or slightly distorted as the leading theme of this tune. Another felicitous attempt of Port to merge peaktime-appeal with sound-nerdism and his refining method of groove.
More guitars on the flipside, but this time embedded into a whole ensemble that transfers Mariachi-impression into the context of Angolan folklore. Port approaches the source material of Quim Manuel O Espirito Santo’s with all due respect, while crafting his edit, but also with an adequate verve and modernistic percussive décor to tease a veritable floorfiller out of “Senhor Doutor”.
Two very different approaches to get some feet on the floor, showcasing Adam Port’s never ceasing will for artistic diversification.
Out of tranquillity and contemplation, Rampa is reaching out once again. To seek contact, to give and take energy, to offer an even mind-expanding touch. All in guise of two new tracks that, quite fittingly, make this “The Touch” EP and #35 within the Keinemusik release-catalogue.
The title track on A combines all the reflective qualities of the newer Rampa-sound to a mantra that soon will be chanted collectively across dancefloors all around the world. He thoroughly is aiming for the intensifying pull into deepness of a perfect loop. He’s letting go of anything redundant like all too distracting rhythmic elements and therefore opens space for an OM-like, bass-deep interplay of synth-notes and meditational sounds in the background.
“528 Hz” on the other side borrows its name from the concept of the Solfeggio Frequencies. Within the scale of supposedly healing sounds, this very figure is known to be the frequency of repair, representing the energy of love. And an ardent declaration of love this tune is indeed. Within the sound-vocabulary of recent Rampa-releases it might be the logical next chapter after “Trust”. A synth-space-odyssey, emphasized by e-drum-highlights, pulse-quickening tribal-frenzy and a supernova-like blast of energy culminating after the break.
&ME’s last two EPs on Keinemusik have been hitting the bulls eye of public perception immediately, his KM034 for sure will meet high expectations from DJs and crowd alike. What should one do within this sort of spotlight? Boil up the same old formula? Milk the cow? Play it safe? Well, &ME is rather going for the ‘don’t overthink it and just do whatever you like’-option. Which in case of this “One On One”-EP is a collaborative effort with English singer/songwriter-enigma Fink that’s letting musicality rule over functionality.
The titletrack on A comes creeping over the floor like an ash cloud. Built up on a grainy beat-pattern, having all lightness dashed out by droning bass, before Fink’s vocals are exorcising the ghosts of a heavy comedown. “One On One” has shaken off the facility of peaktime-consensus, before the straight kick comes in, but even that unmistakeable floor-referral is invalidated by gloomy harmonies after just a few bars. An obvious move against leadsingle-standards, but considering its omnipresent dark narrative and ultimately condensed vibe, “One On One” is without a doubt one of the strongest &ME cuts ever.
The offering on B1 might be considered as a bit more handy, but still: “Cape Coast” is rather grooving along a serious jungle-delirium than delivering easygoing beach-pleasure. A lot of hissing and chirping and rattling going on in between dense synth- and bass-layers, while live-recorded percussions are escalating into frenzy. Tribalhouse of a rather demonic breed.
Finally, Fink is stripping down the original outline of “One On One” into a sinister and subtle Dub-interpretation on B2. Blurred delays, sparse synths and occasionally implemented kick-detonations, reminding of an alarmingly lowered RHR. Meaning even wider room for his charisma breathing croon.
Quite a few months have passed since Adam Port released his last original material on Keinemusik. It’s been almost too long. But then again, every expert will confirm, you won’t see a “Sonnenfinsternis” every other week.
Port’s new EP is going under the name of that very astronomical curiosity and accordingly, the like-titled cut on A can only be the result of a rare cosmic constellation. It starts with a spoken word field recording. Could it be, someone secretly recorded parts of the internal pre-release labelmeeting? We’ll leave that to your imagination. But then, all solid facts. A forceful beat, decorated with hihat-hiss, stoically pounding synthbass, rattling snare-staccato and space-opening synth-layers. Finally, some siren’s wailing, just in case someone didn’t get the immediacy of this material. Classy floor substance, that is, with the scarcity value of an eclipse.
“Working For It”, as the first track on the flipside, is rather going for the deeper realms. This coproduction with Jennifer Touch, a singer/producer that just moved from Leipzig to Berlin, is built up on a cosy, warm synth-priming, that Touch congenially contrasts with her undercooled wavy vocals. An emotional rollercoaster, if you will.
Looking back over the Keinemusik portfolio, seeing all that Rampa has created for the collective, is it any wonder that all and any new material from the label boss receives every ounce of our trust. A trust that lends its name to his latest offering. A four track EP. Each a different story to tell. Making this a hella versatile record.
It opens with the title track, the floor-mantra within this bunch. A ruminant groove, backed by lifting and dropping notes, launching a catchy synth-figure and adding up layers until all tension drops into a break that’s as curative as a therapy session. A track that, out of unshakable serenity, unleashes an irresistible energy. Trust.
Entropie comes closest to what we might be consider a Rampa classic. Percussive loops that are scooped up within even more banging and clanking – check. Lurking synth-bass in the back – check. Vocal samples with tribal descent – double check. Generally, you’ll find a whole lot of folklore in this rhythm rich affair, that is continuously jazzing up to highest levels of ecstasy.
The flipside opens with Defiled, led by a prominent synthline, that goes through various filter highs and lows, getting bludgeoned by some vigorously swung claps. Raw, naked floor material lacking any flourish, that seems to fire up a jackhammer during the break.
Headsup concludes the set. Triggering the smell of watered sidewalks, lit only by flickering neon light, immersed in the depths of delay, this late-night-story finds some redemption and warmth within the glow of its soulful vocal samples.
Almost exactly three years after NR&, a project uniting &ME’s and Rampa’s production with the voice of New York Disco-House-siren Nomi, dropped their debut EP, we finally can announce a new chapter in this ongoing transatlantic menage. This very “Spoken For” EP is comprised of two new tracks, that again fuse songwriting with floor-demands and showcase the same crackling and pulse quickening passion that instantly has become NR&’s trademark. So here’s the evidence – a long distance relationship is not necessarily doomed to get boring after a while.
“Taste Like” on A might be conceived as the club-affair of those two new joints. A tune indulging in self-control, extending the pre- eruptive moment of excitement to track length. There is Nomi’s unmistakeable sexed up oration, flanked by an affirmative thunderstorm of claps, then a bass heavy bridge, overflowing into a noise brushed finale. Altogether a tasty flavour carrier for an effective floor heating.
“Spoken For” is not only the title track, but also the hymn coming out of the flipside ambush. There is no kick necessary to underpin what Nomi’s charismatic croon is laying down. Therefore a wise choice to let the arrangement of interspersed field recordings, percussive details and piano- and synth-decoration exercise in unobtrusiveness. Safe to say, this tune will refine many future peaktimes anyway.
Long time overdue: a new David Mayer EP that’s added to the Keinemusik release roster. But the time Mayer invested into his current body of work seems more than worthwhile. There’s no other way around it than declaring: with this “Jaded EP”, David Mayer is back with a bang!
With the eponymously entitled a-side, he is cutting to the chase as hardly ever before. The mission is obvious: take no prisoners on the floor. The ingredients he is blending in his machines for that matter, should push every vital rate up into the red zone immediately. A groovy bassline enclosed by a rustling and analogue vibe that leads into a single note hook with immediate signal effect. Mayer weren’t Mayer though, if he wouldn’t let his knack for details show within the middle part. But as a whole, this tune is characterized by an almighty peaktime bounce.
Bold on the other side is rather going for some soothing sex-thing. Crinkling shakers, harmonic caress and percussive teasing are heating up an atmosphere in which Sooma’s croon is loosing any ambiguity. What is she saying there? “Touch me and do it right.” You might address this to the quality of the entire track itself. After going through Mayers hands, this thing will unerringly trigger every pleasure spot.
It’s been just a few months ago, Rampa carved his last EP-notch into the Keinemusik-release-tally. But here he goes again, delivering his second KM-offering this year, an almost prophetically headlining track called “Newborn Soul”.
This tune virtually is the score to the current situation of its creator. A lurking, tension building piece that’s coping without a kickdrum for more than 50 % of it’s running time, just to place it in floor-shaking boost in the exact perfect moment. A percussion and synth- flavoured build-up somewhere between tool-characteristics and stylish peaktime-emphasis, that’s rising like phoenix from the ashes.
“Mascha” on the flip can be appreciated as a classic Rampa. Analogue sounding, washed out intro, irresistible tribal-grooves including analogue filter and delay-rides, percussive cushioning and folkloristic chants that will invoke nothing else but rowdy floor-ecstasy in this context.
With his last EP offering on Keinemusik, &ME displayed himself once again as supplier of anthems that easily reconcile style with general floor purpose. You would think, such an universal and inexhaustible tune as this very “After Dark” can only be a lucky hit. But no, he’s knocking out the classic material just like that. Another example? Catalog number KM028, his brandnew “Trilogy” EP.
The titletrack on A initially places a synth arpeggio behind a kick that in dryness is hardly to excel. The beat of “Trilogy” is then seasoned with rimshot patterns until the saturated bassdrum comes in and paves the way to the dancefloor. &ME even refines his knack for stoic grooves on this jam and once again shows his sure feeling for suitable vocal features. Sabotas croon comes devoid of big gestures and still knows the ropes to appeal to the collective mentality of a clubcrowd.
On the flipside, “Woods” is living up to its name from the very beginning. Woody percussions are thumping within an almost subtropical scenario that’s frequently pervaded by mighty synth clouds. And once again, there’s an arpeggio sneaking in that at some point is taking the lead in this strictly instrumental affair. Add a break building that will educe a floor’s complete euphoric potential without going for the rather mindless escalation and there you have it: a B-side that’s actually more of an A-competitor.
With an ever increasing back catalogue under his belt, would anyone still assume, Adam Port’s next creative steps are easy to predict? Au contraire! Here’s his new Keinemusik release you hadn’t reckoned with. This very “I Never Wear Black” EP shows him changing tune drastically and that in the true sense of the word.
Just have a closer listen to the A-side “I Never Wear Black”. You’ll discover those metallic sounds of straining strings, that he’ll group with layers of shakersounds and a guitar loop that one can read as expression of Port’s interest in Progrock and Balearic history. A loop that will pluck whole dancefloors into trance-like condition. Port goes for the big effect through minor means. No vocals, manageable arsenal, no overreacted break-hysteria and still a dense, vibrant and ecstasy triggering ride stretching over more than seven minutes.
“E Sound Edit” on the flip presents a quite similar feeling. Once again, Port is aiming for analogue grip und implies all the splinters of sound that come naturally when carving out a vital piece of music. “E Sound Edit” is far from perfectly tared, sterile soundslickness. There is hot blood running through all those latin samples, the swinging piano and the recurring use of guitar and surely its vibe will not only get a floor moving, but also bring about broad grins to many faces.
We don’t know what good old Louis Jordan would’ve thought of a House-gambler like Rampa, translating his “Let the good times roll.”-credo into the clubagenda. Quite possibly he might’ve forked out some sax samples for Rampas next cuts, after revising this upcoming KM026, the “Good times / Roll” EP.
“Good Times feat. Aquarius Heaven” on A evokes its feelgood vibe on a crinkling collection of percussion elements and therefore redeems all the trademark-claims one could address towards the rhythm-fond originator. Not to forget this synth-hook, that’s adjusting the potential of this track right into the middle of the floor and at some point stretches out into a trippy organ-jam. All last restrain then should be swept away when Aquarius starts his nasal croon. “There’s a moment in the night, when everything is right.” And you might’ve guessed it, he’s talking about the moment, this tune is spinning.
“Roll” on the flip embraces us with sassy snare-snaps, a full bodied kick and secretly whispering hihats. This beat, containing a rather subtle realization of Rampa’s percussive fetish, builds up alongside comfortably warm synths and a bassline raising the temperature another notch. A warm-up-weapon full of dynamics that finally drifts towards a chord meditation dropping any burden left. You could call it a complementation of the “Good Times” – and no doubt, the combo of this two-track-ensemble will get the best out both, the peaking and the tension building moments of the night.
Five years of Keinemusik. Workparty Number Five. The twentyFIFTH KM release in total. Release subsequent to the FIVE labeltour. Before anybody could come to the conclusion, there might be higher powers or math pro’s involved in this, check out this information: on the release, as it has been with all the previous Workparty joint ventures of the Keinemusik collective, you’ll find four cuts. Contributors are again: Rampa, David Mayer, &ME and Adam Port. Using the anniversary as an opportunity, the tracks have been spread over two vinyls for the first time and – as another premiere – wrapped into a gatefold cover, amazingly decorated by the artwork of Monja Gentschow.
Leading us into the ring is Rampa’s “Mod” on A. A crossing of analogue and digital methods, recommending this piece as the unmistakable floor offensive within the batch. Realizing how percussive slaps and the central synth-motif are escalating in call and response, it seems obvious that “Mod” is not to be taken as the shortcut for ‘moderate’ in this case.
David Mayer’s “Smoke” on B is going for a dry and percussive approach itself, although executed in his typical signature sound – intent on the details and all about the subtlety. “Smoke” is a genuine grower. Crackling and rolling in seductive coolness and puffing one or another ganja-cloudlet into the air.
Yet more percussive spleens to be found on C, when &ME is unrolling his “Birdland”. Compared to the two predecessors, he is opening up to a pronounced songwriting architecture and almost tenderly implemented analogue elements like bass runs and piano chords, that are dramatizing this piece until it is consolidating to an impelling floor-affair.
For the grand finale, Adam Port is getting the legendary Stereo MCs on his side. Just for Rob Birch’s vocals, “Place” has to be seen as the most anthemic moment of this EP. But Port’s sensitive instrumentation, all the deep sentiments within the beat and the effective sparing of the bigger gestures, are doing their bits to help shaping this one to be a foreseeable classic for the emotional peeks on a dancefloor.
Remember Adam Port’s last contribution to the Keinemusik-Discography? It’s been the absorption of a Pop-tune by an almighty Techno-roller. Compared to that, it seems, Port has equipped himself with velvet gloves to shape this KM024.
Already side A, going under the name “Shifter”, passes on almost all opulent gimmickry. It rustles in brittle lofi-attitude instead, just like an Electro-postcard sent from the 80ies. Port is designing a coolness of sound that’s carried by shaker-grooves and saucy synths, that’s not hesitating to hand out clap-slaps and that deploys flickering hi-hats all the way. With this update of classic Electro-aesthetic, you wouldn’t have to go without bass-massages, though. They are just coming more from the fingertips this time. An enactment of the rather minor gestures, utilised precisely enough to stuff every bold peaktime-jingle-jangle out there in its leatherjacketpockets.
”Snowbeach” on the flip unrolls the warming organ-blanket instead. It’s a manifesto of deepness that seems to exhale yearning sighs every 16 bars. Prominent use of shakers, guitar licks and piano-accents are condensing this instantly heart capturing House joint, until a synth-liftoff beams it into completely extramundane dimensions. Again, Port is aiming less for peak-tailoring than for durability. A clever move that might base “Snowbeach” as a long stay resident in many record cases.
Catalognumber 23 – what else is to say? While we’re feeling the spirit of William S. Burroughs blessing this very vinyl-enigma, &ME went particularly mysterious ways to transcend the category ‘dance track’ for this one.
The meditation through bass had been the major discipline of some of his latest cuts, but what you’ll find on this A-side, one could certainly call the perfection of somnambulistic peaktime-fever. The way he’s kneading the lower frequencies, how he’s channeling the expansion and decay of bass must inevitably lead to some aroused moaning. Good vocal-selection, for that matter! Then there are those tension building synths and a staccato-frenzy in the break that might be the ultimate ecstasy-trigger of the season.
“Locust” on B comes in with some smoothly looped E-guitar-coolness, adding whispering hi-hats and a comparatively rich percussive architecture. But then again: rolling bass barrels like a signature and a defence breaking build up that’s ensued by liberating pressure compensation in mighty breaks.
Two demonstrations of understated and sophisticated peaktime-emphasis, so to say. Or differently put: a flawless double-A-side.
We don’t know, whether this guy is sleeping at all. He just released a new EP under his RAR moniker. He seems to be nonstop assembling and fiddling on some delay pedals and what not. Let alone all the touring. And then he comes up with a KM022, that sets directives and also lives up to them, as if it was nothing.
“Keep House” is the agenda on A1 and everyone who shrugs now about what the house should be kept like – clean (?), tidy (?), locked (?) – should be taken to the next dancefloor by this joint. Of course we’re talking genre-aligned maintaining-mentality here. It needs to be House and it needs to be House forever – what else? When Rampa offers his service to the art form, you can expect a bit more than the usual 808-knitting pattern or jingling preset-piano. He approaches his mandate with a trademark percussive dryness and generous bass-embrace in the kick-range. He slips in little sound-anomalies and weirded out effectrides like Brad Pitt smuggled subliminal dick-pics into “Fight Club”. And by building up a more than mighty groove, he lands on a constitution of House Music that for sure can be behold as state of the art.
Side B, running under the name of “Chai Jen Jen” is aiming for some slighty deeper realms. Inbetween sample-postcards from last Thailand-break (many of the samples and the vocals were field recorded on Chatuchak Market in Bangkok), synth-variations and snare-slaps, it is first and foremost this organmotive in the centre section that will cause self-indulgent trance rapture over whole heated up floor-populations
With David Mayer’s share of keinemusik’s current Workparty edition still providing solid fuel for heated clubfloors, he already shovels two fresh loads into the furnace.
KM021 has just surfaced in a moment when electrified Techno-music seems to drown in an ocean of preset-dullness. Well, Mayer has come to provide a rescue tool with his Sunhole on side A.
You’ll recognize this somewhat trademark-becoming percussive fetish of Mayer as this track’s Modus Operandi. Yet, it has rarely been as detailed and surgically implemented as in this banger. What’s that – a second hand ticking? And over there – is it a woodpecker in the field? Sunhole supplies all the answers in a thumping, yet no friskiness avoiding manner. You’ll get a stoically rolling beat, asphalting the floor, to build a cannonproof foundation for this arrangement’s main attraction – a filtered and delay-heavy synth-affair.
Flip around and find a competitive jamboree of subtle background-brainwaves other would straightaway use as lead-ideas for their tracks. Well, this matchingly titled Lead comes in with a hard hitting kick and gets into the groove via filter-rides to peak into clanking noisy Industrial-thunder that immediately will electrify every steel-toe in hearing range. Generally: only roughness in this cut, crispy bounce and ghostly whispers all over. Most definitely for the win, this double broadside.
So there we are. Teenage years are over, the wild times are still ahead, though. Keinemusik turns twenty – all hands in the air! In celebration of this biographical moment of glory the whole crew is circling up in brotherly and sisterly embrace. Make an high-angle shot, what does it look like? Like a ring of course. So therefore you’ll find the signet ring on this picture disc’s A-side. The flip is tagged with what this symbol of companionship is leaving, once it’s used properly. So there’s a signed and sealed big up to everyone who has supported keinemusik so far. No. 20 prettied itself up a bit and commends itself as a nice little collector’s item. Still as a decent spinning item as well, containing those pumping features:
On A1 (aka the ring side) David Mayer opens up with “Machinedrum Calypso”, a relentless Tech-monster with classy percussive decoration, lurking single notes, malicious synths and a roller coaster ride of breaks and full tilt. Perfect opener!
Next in line is “Think”, falling out of &ME’s hardly failing machines. Initially, the kick tends to hide behind some cryptically cut vocal-scraps, but once it’s grooving at full level, there’ll be no dry corner left on the floor. Add some sub-bassy guts massage and some highly effective break-stuffing and you have a picture of this guy’s current sure shot.
The seal side contains another surprising new Adam Port-cut. “Burana” starts out as a funked out, crackling Disco-beat-skeleton, incorporates a tongue in cheek bassline and some offset hi-hats and once in a while is raising up to cloud nine of synth-paradise. Devoid of any vocal trace there is a potential secret favourite grooving from second row.
Rampa is aiming for an unlike feisty spot landing for the grand finale. His “AY” offers microscopic fiddling on his percussive tribal rataplan and some decent feverish shaman dance. As a counterpart, he inserts an übercool bass into the background and if needed, an übercool bass into the foreground as well. One glimpse should show that ‘peaktime’ is written all over this bitch.
Clear calls on KM019 on behalf of &ME. You’ll find heavy pounding floorchunks on this plate, rigid material, requiring blood soaked dancing shoes. Boulders of tracks, smashing every hint of Techhouse-dinkiness, every little melody and every other imaginable fal la la. Take A-side “Shallow” as an example. God knows where that name stems from, you’ll hardly find any shallowness in here. Highly arousing, this surge of subbass, about to flood everything redundant out of this tune. Electrifying, this very kickdrum, on it’s rough and relentless march. Impressive, how those percussive patterns are layered. Leaving no brainwave unswitched, that hook-sonar, transmitting into space, making the ultimate rave locatable.
And then there is “Heist” on the flip, presenting a kick that is about to give out face-slaps all the time, sporting snare-samples like whiplashs, adding some freewheeling break-banging to kill every remaining inhibition, and putting a mono-flourish into place as the ultimate signal to let yourself go. Any questions? Well, the answer will always be: Just because.
Adam Port & Here Is Why - Our Fate (AP Club Version)
Here Is Why - Our Fate
Here Is Why - Tonight
As you might remember, the last keinemusik release has already seen some significant vocal support from friendly countries. It’s been a modus operandi, Adam Port is extending quite a bit on his km018 edition. The friendly country being Leipzig for that matter and input coming courtesy of Here Is Why, the synthy Wave-Pop-moniker of Good Guy Mikesh. It is in fact an almost inevitable cooperation. There have been quite a few partynights, where crossfaders were shared and the Here Is Why-sound has been celebrated within the keinemusik-camp since day one.
On A1 you’ll find the clubversion of Here Is Why’s new single “Our Fate” in an unmistakable Port-ish condition. The beat stoically marching, escalating into a loop-excess, taking in some of the dirt that made Ports last tune “Black Noise” such an irresistible weapon. The lusciously chopped bassline is aiming in but one direction (the floor), the vocalpart evolves from craving in the background to full bloom within the break, until some field recordings and percussive ornaments throw your feet back into this fateful goose-step. A banger, again.
The flipside consists of the original and the bonustrack “Tonight”. It is Here Is Why’s first single-release since their highly recommended full length debut “HRSY”. At the same time, it’s their first works coming to life in full on band-mode. “Our Fate” is classic Here Is Why-material factoring in catching and heartwarming vocalhooks, gently orchestrated synth-tension and all those knowing 80ies hints. “Tonight” comes along in a way more spaced out mood, riding a wave, that might surge somewhere within the Atlantic and then pour out whether into the black nothing of the Galaxy or a subtly scored dancefloor.
There it is, keinemusik number seventeen. We know what you’re thinking. You think you know how it works. You think, those keinemusik fellas will again be doing their little rotation thing, one producer getting a record out after the other, then a Workparty-joint venture at some point and then it starts all over again. Au contraire! This seventeenth edition is breaking the known beautiful, perfectly curled cycle. Just like that, so that no one gets bored. This record here is an appetizer for a collaboration-effort between Rampa, &ME and Nomi, the New York based singer that provided the recent movement of flamboyant Disco-queerness with its sexiest and catchiest hooks, teaming up with Hercules & Love Affair and doing her own project Jessica 6.
Side B will take care of everyone who is expecting a safe playing house-rehash of the afore mentioned acts and tenderly let a lashing snare slap every preconception out of sceptic faces. “Enemy” makes no mistake about being manufactured in Berlin. Its stoic, technoid intent to pave the way to the floor with utmost straightness might seem like a contrast in comparison with Nomi’s warm timbre, but after some bars, you’ll find both in unrestrained, loving embrace.
On the flip they turn the heat on even more and go for the ultimate, heartwarming club-anthem. “Broken Toy” is sneaking in with discreet percussions and some random field recordings on top, until the intro gives way to an instantly touching piano-accord. As soon as Nomi’s notably affecting vocal parts are hitting the mark, it should be evident, that this cut is applicable in various situations. It will inflame floors into rapture of love, it will be perfect iPod-material for lonely midnight-strolls and it makes a perfect new choon for the weeks and months to come.
Until now, David Mayer needs to be on every radar as a young producer, breathing new life into classic Techno-virtues. Within his productions it seems to be the men-machine pulling the strings. They are grooving through plant floors, they are pumping blood into boilers and with just subtle manoeuvres, they are altering the soil temperature from stonecold to sweat inducing, depending on the current requirements.
Mayers new offering is directly taking on those qualities, while entitling it “Celsius”. It is indeed glowing floormaterial. It’s taking a rampant Techhouse-beat into a well heated Techno-basement, to add more and more condensing arrangements and finally open up for the instantly catching synth-hook. While he’s at it, Mayer controls a whole lot of scenes on the side. What he is offering here as particular finetunings and detailed soundmanipulations might lead into hourlong journeys under headphones. At the same time, the floor-efficiency of this tune couldn’t be more in your face.
Then there’s the synth-tool on the flipside, leaving the kickdrum’s thickness behind, opening the door a bit more into the crystal clear synth-arrangements. Without a doubt, it’ll equip you with a tool, that’s letting the crowd feel save in the believe of having a little breather, to finally cook them in their own excitement in almost no time.
Itʼs that time again – Workparty 3 is here. &ME is opening that new cycle, thatʼs projecting the state of play within the keinemusik-camp, with his very own version of autogenic training. Hearing those soothing vocals, one could mistake this even for some kind of floorséance. But, of course, “Everless” wonʼt let you sink into deep relaxation. Au contraire – its percussive spleen, this, not unlinke a swarm of hungry hornets sounding, converging Acid-Drone and the relentlessly pumping groove of this cut will rather cause uncontrollable excitement within cleverly modulated peaktime-passages.
Next in line, Adam Port is getting in touch with his percussive fetish again, pushing it into new dimensions with the appropriately named “Drums on Parade”. Port seems to find himself in the middle of a military parade, avoiding all too overstated rigor through revealing hints of Jazz and some serious shaker-temperament. As the centrepiece of the arrangement, youʼll find a drumsolo that at no point seems to loose sight with its goal of ultimate ecstasy. Thanks to Ports effective and dynamic buildup, it will of course be the partycrowd thatʼs loosing it completely over this one.
Rampaʼs collaboration with Hollis P. Monroe opens the flipside with a rather mellow affair. They get Monroeʼs Canadian buddy Overnite to croon his take on post-breakup-blues over a straightforward and deep arrangement thatʼs seasoned by lashing claps and some mild synth-flavor. Overnite, the wise man that he is, wonʼt wallow too whiny in melancholy, though. With capturing every glimpse of hope he can get, he comes up with some of the catchiest vocals you will meet this season accompanied by a soulified House-anthem. This tune is already predestined for the twilight hours of all the next open airs to come.
On face one of this new keinemusik, Rampa opens the doors for interpretation with headlining it „So Many“. What could it be about? About so many DJs placing this sureshot into the ‚must play‘-regions of their record-wallets? About so many girls and boys losing it all when someone pumps this shit? Any way, this thing here is a serious peaktime-issue. Framed by shaker-obsession and South Bank-atmosphere, this joint is going ways quite typical for Rampa. He’s starting it up and calming it down, pushing the dynamics to utter ecstasy, but still letting its soul breathe subtly.
An effective build-up, never letting go of elegance – that’s a formula, you might come across on the flipside as well. It is a cut named „Everything“, quite possibly the secret A-side of this release. It starts off with Meggy moaning an affirmative „mmmhhmmm“ into the first bar. She’s following it up with catchy and explicit lyrics, that will leave no pant unbonered. Those not less than explicitly spanking claps and the overall pumping sex appeal of this tune will then ultimately loosen all hormonal congestion a dancefloor could suffer from. If the descriptive trio „crazy, sexy, cool“ wouldn’t be occupied already, it now had found two new hymns to dance and do other nasty things to.
The realisation of KM013 – a catalogue number that might cause suspicion here and there – is up to the always unerring Adam Port. But no need for superstition: this single is indeed a definite lucky pull.
Port is pressing every button here, he’s hinting at his percussion-fetish, he’s cutting the vocals like a top chef, he’s amplifying the snare when it is supposed to give the audience this little extra kick and he’s coming up with an unexpected surf-lick, to spice things up with some extra coolness. In “Someone to Love”, soulfulness and peaktime-suitability are melted that consistently, that the addressed search for love will be an easy one within the next months. Love can be found on all the floors, this sureshot will be pumped on.
B1 is rounding up this almost thematic release quite perfectly. It is Port’s renowned “I Love You”, that has been winning hearts already in its digital form on Souvenir Music. From now on, it can be even touched, it can be gently put on a turntable and adored in all its physicalness.
One could say, &ME is following quite big footsteps when naming the A1 on his new keinemusik-release “Purple Rain”. On the other hand: Prince’s shoe size might measure a decent 4,5. That’s not even big enough to collect the plaster that will crumble from the ceiling after igniting this very floor epiphany. With this tune, &ME is following the path of reduction and straightness, he already opened with his preceding releases. We’ll find explicitness in its lyrics, claps as gratifying as in an enduring spanking session and a carpet of white noise that could be modeled after the addressed rain shower or maybe even after a smearing broom, that’s clearing the traces of sweat and the juice of arousal “Purple Rain” most definitely will leave on the dancefloor.
With “Glaced” on the flipside, &ME is taking three minutes to build it up spectacularly, just to change plans abruptly and throw it into another, quite unexpected direction. The then occurring and ongoing bassminiature won’t leave your head for some time to follow, that’s for sure. Let alone your legs.
David Mayer is back with a bang. You might remember his last productions as downright atmospheric and in touch with one or another nerdy fixation on detail, well, those new cuts point to the place where elation is boiled up, more than anything he did before. The A1, named “Moment” is still keeping it a bit low key. If youʼd actually translate this piece of music into a moment, itʼd look like the one Ridley Scott presented us in “American Gangster”. With Frank Lucas being placed in some wooden hut in the outback of the Golden Triangle, dealing the deal of his life, sharply calculating within a mind clouding climate. With fantasy, youʼll hear the jungleʼs deepness and the vibrant heat beside the kickdrum. It is a percussive, hypnotic floor-monument, surely obsessed with detail, but above all keeping the balance between deep- and straightness.
But still, it is also a build-up for those things happening on B1. Safe to say, “Word Is Bond” is Mayers least compromising peaktime arrangement to date. Youʼll find a hard punching kickdrum, some sound-turned chrome-finish, type ʻtechno classicʼ, two compelling breaks and some full on melodic catchiness via keyboard-hook. It is the enhancement of everything you used to praise when hearing his work. And when the vocalsample claims a delivery of the “real shit”, the constitution of this pumping monster wonʼt fail to honour this pledge at any moment.
Not unlike the first chapter, Workparty Two mirrors the status quo within the Keinemusik camp. Featuring Rampa, &ME, David Mayer and Adam Port, it covers all of the crews producing stakeholders, starting off with Adam Port’s “86”.
A track that slowly blows itself up, letting a jolly bassline shimmer in the background, plucking its way through to imply distant memories of Ports classic track „Boogie Bass“. However, „86“ takes one step further. With its catchy saxophone samples, a swinging vibe and its irresistible build-up it peers towards peaktime much more than Ports 12inch debut.
Following up on 02, Rampa lights up some kind of afterburner to his last and ever startling Keinemusik-single „Work“. „Meggy’s Desire“ develops itself in a surprisingly minimalistic manner, galloping along in reduced beatpatterns and heading towards a soulful vocal part, which is ought to open up every one’s heart. With the whole thing being rounded off with emotive piano-arrangements, it will sure make its way into those setlists that prefer class to the all too trivial.
The opening of the flipside belongs to David Mayer and another one of his compelling techfunk-monuments. Naming this one “Blank Sheets” is nothing but an understatement, as it’s not blank at all. It actually carries the gloomiest groove we have heard in a while. Whilst his earlier works were breathing a rather subcooled machine room atmosphere, this piece is definitely his hottest iron so far.
As soon as the challenging punch of his first bars appear at the beginning of 04, one could assume, &ME made an arrangement with his B-side partner. „Empire State“ also emits a somber, technoid vibe, and its frantic pulse leaves no one cold. In difference to his catchy arranged Keinemusik Milestones „F.I.R.“ and „One Day“, &ME takes on the mantra of the essential groove. In its break, however, he will spank the whole floor’s booty with his whole heart and some drumrolls.
Adam Port - Corrosive Love (Alex Dolby & Santos Remix)
Adam Ports last release on Keinemusik was going under the name “Chemistry”. Now with this new one, it seems heʼs revealing some sort of contentual paradigm or at least an ongoing partiality for the chemical process, as itʼs called “Corrosive Love”. And it shows, although on a different scale. When there is a love being corrosive, it is the one for classic Acid-sounds that never before found their way on a Port-release as accentuated as in here. Still, this piece is not just a trivial nostalgic tryout, it is more of a reworking of influences being modelled into Portʼs modern, yet reserved trademark-sound you would recognize instantly. The track is growing subtly, in its build-up, but also when it comes to choosing its layout. Speaking of it, the most distinct element for that matter are most definitely the vocals sung by fellow producer Ruede Hagelstein. Without a doubt, the chilled approach to Soulmusic, he is carrying in his voice, makes them an exceptionally fitting leitmotif. Youʼll find Port letting the repetitive patterns grow from second to second, being accompanied by his variation of an acid line. He is pushing expectations and floor-hysteria to the edge of immensity within its break, but still avoids an all too explicit and simple peak. Chances are, this is his most characteristic piece of work to date.
The Alex Dolby & Santos-remix on B1 is aiming more for the straightness potential as for the reflective moments. Still, the vocals are in the centre of attention, as they are too strong and concise to be anything less. The variation can rather be found in the percussive layout of the track. One motive, two congenial approaches – one more than worthy KM009.
As it seems, Rampa & Re.You converted keinemusik into a boot camp for a while and pulled a couple of all nighters in the studio until they came up with the most distinct Techhouse-flavored drill-instructor-anthem we have heard in years. This peaktime-monster goes by the name „Work“. With its reserved buildup, its dry punch and the spare percussive layout, it’s consciously laying a couple of false trails. Just wait until the first break kicks in, it might get you sweating when just testing it on iTunes, on the floors it is most definitely the weapon of choice to aim for beeline mass hysteria. The Masters at Work-Treatment saw those vocalparts evolve to a dance-classic, it is safe to say this rework is conferring the utmost honor to the original. What else is to say? Put Your Back In It!
A1: One could suspect several different motives behind “One Day”. The most obvious one might be the proof, that &ME’s well of peaktime-material won’t run dry anytime soon. As his Keinemusik-debut “F.I.R.” (KM002) and his contribution to Workparty One (KM005) did before, “One Day” fuses all his by now characteristic ingredients to create an everlasting set-highlight. Those are most notably the compelling construction, the typical sounddesign, that uses techhouse-parameters as filter for the emotionality and the sexappeal of Funk and Soul, and his subtle outlines of Pop-grip. He’s shifting vocalsamples against each other, until hookline and break fall in love with each other and the track, being driven by hard hitting cymbals and an overall stringency, dissolves in a an almost rigorous rave-moment.
B1: The Tiefschwarz-edit doesn’t choose an overall different perspective to work up the source material. It slips some of the current creator’s trademarks under its traces, though. A little bit of Jazz-elegance here, some percussive fine-tuning there – their soundtectonics are pushing more or less in the subtexts of the track. In contrast to the original, the edit refuses to focus as much on instantly hitting functionality. Instead, it descends into the remote gaps, the very direct coherence of the original chose to pass over.
David Mayer appears within the Keinemusik- category system as the subtext virtuoso, as an amplifier of effects on a microscopic level. He made it already clear with his digital only debut „Nacktenordner“ EP, which was the very first release on Keinemusik, and then stressed it through his contribution to the Keinemusik #5. „Crime“ is Mayer’s first own vinyl release on Keinemusik and nothing less than the updated improvement of his trademarked sound parameters.
A1: „Crime“ shortens the distance between reduction and sophisticated soundmodelling on one hand and clear peaktime qualities on the other, far more consistent than any of his previous productions. His armory of engine room-acoustics is accompanied by vocal sounds, that hint towards his parttime obession with the obscure, but nevertheless shape a hook that definitely sticks in your head. But besides all emphasis on details, with its subbass aggregation and the dry punch of its snare, „Crime“ directs to the floor the straight way. Doing so from the first bar and on, it will eliminate the last man standing and make him dance after the first break at the latest.
B1: The Re.You edit reduces the immediacy of the original and adds some percussive patterns to the groundings. The accentuated bassline seems to build up a linear structure, but after an excess length break, it is reborn as a groove affirmation par excellence. The version inverts some of the aspects of the original and enforces others, but generally, it is set on eye level in the battle for the higher rotation count.
Digital only: This Beatport-Exclusive comes from our friends from lo*kee in London, Sebastian Voigt and Tom Gillieron (together aka Indoor Fireworks). Their mix sounds as if it was laid out in CinemaScope, it opens up a few angles left out by the original and, despite being lush and rich in details, comes across deliberately stripped down. It focuses less on peak time effects and more on crisp cyber funk and shines as a cleverly staged afterburner.
There are three reasons to celebrate. First: This is Keinemusik #5 – the first little jubilee in their string of releases. Second: When this release hits the street, Keinemusik will be one year old – again, a little jubilee. Third: will become more clear, when this disc is spinning in a club.
This fifth release on Keinemusik is labelled Workparty for a reason. Without some bead of sweat when stamping the record sleeves, when rushing over to supply several record stores, when taking care of updating the blog or when organizing parties, Keinemusik wouldn’t be where it is today – a label with a steady output that found its place in the Berlin Technoscene. Workparty One is a joint venture of all Keinemusik-producers. According to the occasion, it will be released as a special package inclunding a T-Shirt und a tote bag, along the regular run. And that, of course, could make a great present if there’s someone else celebrating an anniversary.
A1: Rampa – Falk
“Falk” starts out to be an unmistakable imperative for some hands-up-animation. The beatframe is about to push the floor to a tightness that lets you wonder, whether the sounds of rapture are coming from a crowd rubbing each other up or actually from the tune. To make that clear: “Uuh” and “Yeah” are a couple of samples leading the way to the most soulful break you heard in months. A break that will crumble down to explicit straightness and unfussy efficiency again. Definitely a big one.
A2: David Mayer – Ball
Davids first vinylrelease on Keinemusik is his most conclusive consolidation of everything, he set up with his previous works on the “Nacktenordner” EP. It’s a blend of massively pumping grooves and engine room-acoustics with a smart kickdrumdesign and a dramatic composition that builds up on reduction but nevertheless is able to incorporate unexpected details.
B1: &ME – Youth
&ME comes up with a track that might be seen as the advanced continuation of his world-, or lets say floorformula, that already caused quite a stir when he released “F.I.R.”. “Youth” elevates from a clever directed buildup, modulates vocalsamples to concrete hooklines, piles layers of deep sexappeal over another and reveals by means of an almost song-like fetish for structure this absolutely evident, yet subtly and sophisticatedly constructed peaktime-smasher.
B2: Adam Port – No Pain
Around the vocaltracks of a song by Leipzig based band Shandy Mandies, an aesthetic is being built that could be seen as an antithesis to the sound Adam Port became known for. “No Pain” doesn’t find its deepness in the polyrhythmic patterns of Tribalhouse-standards, but in more remote interspaces, in which Port fleshes out the backbone of a slowly rising groovebastard to a compelling forerunner of New Wav-ish Shoegaze-Techno.
Adam Port - Chemistry (Catz ‘n Dogs & Till von Sein Remix
Ports last effort „Boogie Bass“ is still to be found in every tastefully stuffed DJ-bag, his remix for the new Tiefschwarz-Single “Trust” is much anticipated and right here he’s coming along with a new cut called „Chemistry“ – his debut for Keinemusik. The ones that discovered him with the last one will have to discover even more on here. The ones that are following him for a while now will be affirmed in what they already know: His name is Adam Port and he plays House.
A1: Side one holds the original. Countless percussive details and the jazzy vibe that was introduced with „Boogie Bass“ are playfully arranged around a thick and concise bassline. They are just waiting for sex-laden vocals that will assure, this is not only a groovemonster, but a deep and soulful and catchy tune that won’t leave your ears for days. It never gets predictable, though. It’s blending an elaborate dramaturgy with peaktime-efficiency, that’s just not to be mistaken.
B1: The Catz ‘n Dogs & Till von Sein-Remix on the B-side is pushing even harder towards floor-frenzy. It chops most of the percussive arabesque, cuts the vocalsamples to staccato-pieces and leaves a Techhouse-groove that’s sneaking towards a snare drum that finally will tear every club to pieces. Immediately, that is.
Rampa is back with another take on versatility. While the last works were characterized by an almost song-like catchyness and full on party-impetus, the new ones aim more towards seriousness and a deeper approach to make you sweat.
A1: “Wife” starts out with a straight Techhouse-introduction, picking up more and more House-references as soon as the first break is over. When the vocal sample kicks in, slightly reminiscent of the possibility of being recorded tooth-brush-in-mouth under the shower, you might find relief in the fact that its originator obviously didn’t loose his sense of humor. Pass break number two and you will be assured that deepness and peaktime qualities don’t necessarily have to seclude themselves.
B1: “Man”, in comparison, shadows a bit wider and darker. A saturated kickdrum meets cagy percussions meets bell-decorations meets vocals that let every bassline look pale. As in the counterpart, functionality, precise timing and a passion for details pair without letting loose until the last beat is over.
This EP is about to clarify two things. First: &ME is still backing his obscure fondness for syntax, funny additional characters and acronyms. So, the A-side is called “F.I.R.” (and nobody knows, what it stands for. If you just read it as a word, it makes a cool sound, though. Just as if you would get a ruler to vibrate and pull it over the desk), while the flip is entitled “+++”.
Second: it clarifies something about its creator. &ME is non of those bouncing show-offs that would forget to play the next record in a club, just because he is so busy with pointing both forefingers at himself all the time. &ME is the type of guy that would coproduce stuff for Hell, Lotterboys/-girls or Terranova without really taking so much credit for it. We say: cut it! Days of modesty are over.
A1: “F.I.R.” is the essence of everything &ME stands for, a true and flawless peaktime-beauty. It joins his intuition for stringency in structure, his sensibility for a sophisticated and safe walk over the shaky bridge from House to Pop, the precision of laying out a track to be unmistakably danceable, but not intrusive and last not least his ability to pitch a female vocal-sample to let it sound like a Rick Astley-outtake. Safe to say, that this might be his sweetest work so far.
B1: “+++” on the other hand appears to be some tricky chicanery. It starts like a lot of B-sides start, as a reduced space for little reflexive experiments, or however it is whitewashed when a track just isn’t that spectacular. But then, there is a kickdrum-monster arising out of this housy self reflection, a monster, that grabs some percussions and vocalsamples as companions and culminates into a massive break, thfor sure no pending questions.
David Mayer Nacktenordner EP
David Mayer - Nacktenordner
David Mayer - Paneek
David Mayer - Eifkoenig
David Mayer - Oenske
David Mayer – sure, it could be the guy next door. Or it could be the guy, copying your homework five minute s before the lesson starts, back in the days in school. This David Mayer right here takes a quite common civil name and turns it into a sophisticated producer-imprint.
He delivers his first cuts for Keinemusik with a natural supremacy just as if he would be doing this for years.
The titletrack is slowly elevating out of a died away machine- room- corner. It’s taking its route, passing a bassline, that’s varnished in deathly funk, culminating in a subtle call to rave.
The following Paneek is essential Floorcraft, a focused groovemonster that he’s fleshing out with delicate accents just as if he was Paul Bocuse and the track a truffle-ragout.
Eifkoenig is drafted that crispy, that with every kickdrum the speakers seem to cough out a trace of graphite. It is a playground in which he lets rhythmpatterns fall apart masterly and in the next second gets them back together just like that. It is his celebration of structure and
complexity that goes as far as the superior agenda of reduction gives way.
Oenske is oscilla ting between Deephouse-followings and Trance-outlines. It is without a doubt the most reflective work within this bunch, but at the same time it’s not meant to be pushed off into an unrecognized set – niche. It is as functional as Paneek is, the only differe nce is, there it is subtlety and here it is the decidedness of a straight and gloomy Techhouse-modification that gets finalized for the peaktime.
Those four tracks might be just the beginning, they are though the ultimate proof, that David actually did his homework. Anytime.