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This section includes compiled posts from some of Lars Behrenroth's favorite (Deep) House and Tech blogs.
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Oliver Schories – Time Lapse (Steyoyoke)

2016-02-03 14_41_02-Oliver Schories - Time Lapse (Original Mix) in Oliver Schories - Time Lapse [SYY

Oliver Schories officially joins the ranks of the Steyoyoke clan with his latest release ‘Time Lapse ‘. With a catalog spanning a huge variety of labels from Suara, Kattermukke, Parquet and SOSO, we are elated to see Oliver drop his latest creation on one of our favorites.

Time Lapse ‘ is a force to be reckoned with, keeping the energy dark and mysterious, winding effortlessly through elusive vocals and wispy high hats. This is Steyoyoke’s brand of ‘ethereal techno’ at its finest, the beautiful and melodic combined perfectly with the raw and brooding.

Pete Oak absolutely demolishes his remix duties, creating a high intensity builder that Pete has come to master. Dismantling the vocals to piece back together between an addition of stabbing synths that bring your body temperature a few degrees higher. Animal Picnic and Aaryon join forces to create the final remix, fabricating a crushingly dark and enigmatic masterpiece that comes from a place of nightmares.



Artist: Pete OakAnimal PicnicAaryonOliver Schories
Release Date: 2015-02-01
Label: Steyoyoke

The post Oliver Schories – Time Lapse (Steyoyoke) appeared first on Music is 4 Lovers.

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These Eurorack Modular Synth Cases Are Made Entirely Out Of Lego


Lego, is there anything the little coloured blocks can’t do?

Every few weeks it seems like we report on a new piece of equipment, or something that is just plain fun, from the famed bricklayers, whether that be a fully functioning turntable, a Glastonbury stage recreation, miniature Moogs, or an analogue techno machine.

Now, the rounds are being made with the discovery of Berlin’s Daniel Mueller, who has let the word in on his Eurorack modular synth cases made of, you guess it, Legos. Unfortunately, Daniel is not selling the cases, but he has posted to his flickr page, with the intention to inspire:

“I am building cases for my music gear for a while now and just finished my second Lego Technic Eurorac Case,” says Mueller. “It is very stable and lightweight…and because of the fact that is build of Lego it is modular…that means you can attach more parts or change the depth, height,length…”

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Lotgenoten Celebrates 3 Yr Anniversary With Weekender In Radion


Lotgenoten – a boutique Amsterdam promoter of various party concepts (like Liefhebbers, Mi Casa Es Su Casa, Carpe Noctem and Nachtparade) – known to connoisseurs for its strong programming, intimate locations and eye for decoration – is celebrating its three year anniversary with a sterling weekender in off-centre underground haven RADION. With a wide array of artists, featuring the likes of Call Super, Dollkraut, Locked Groove, Hunter/Game, Serge (Clone) and Aera, and a specially decorated RADION, this is promising to be quite the escape this weekend.

Lotgenoten started out around 3 years ago – not immediately as a promoter, but as a third party event production collective, which arranged venues for promoters. After building up their network and gathering experience, the organisation decided it was time to take matters into their own hands and start hosting parties themselves.

See also: Aera MixHet Rijk Alleen _ Mi Casa-28

On the 30th of March 2013 the first edition of Liefhebbers was born. The illegal rave concept introduced a selection of DJs at its debut whom through the years have worked their up the ranks in Amsterdam like Ringo, Nathan Surreal and Paul Caïro. Aside from the house and techno coming from the decks, Lotgenoten tried something unique by incorporating live acts in the programming. The broad musical offer fell in good taste with visitors, resulting in Lotgenoten’s first string of loyal fans that still attend their parties today. The Liefhebbers concept made multiple successful returns until it eventually got a fixed spot at Ruigoord, the anything goes, hippie-esque mini state just outside of Amsterdam that offered a perfect application of the event’s approach

Another concept that Lotgenoten brought forward was Mi Casa Es Su Casa, held at club Nyx as well as at Ruigoord, a party where you could bring your own decoration and furnishing, or just bring along your old couch and give it to a fellow raver after the party was over. Carpe Noctem was another variation in Lotgenoten’s event ensemble, bringing forth a deeper focus on dance music, typically genres such as indie electronica, deep house and techno.


Before long, Lotgenoten stuck its teeth into special festival co-hostings, bringing its production value to such events as Amsterdam’s Open Air, Magneet Festival, Gaasper Pleasure, Graefenthal, and the mighty Fusion Festival with Ruigoord in Lärz, Germany. At these partnerships, Lotgenoten always tries to purvey its philosophy as much as it does during their own parties, says main man Brett Voorzaat: “We want people to forget about the ordinary and start thinking more creatively, crossing the boundaries of exciting, unchartered territory. That’s why we strive to throw the most unique parties, inviting people to share in quality music; all in favour of the total experience.”

On its upcoming three year benchmark, Lotgenoten can look back on a relatively short yet rich history, having built up a span of familiar concepts that have grown dear to many in this city. And not in the least place by creating a stage for unknown but promising talent like Reza Athar, Sigward, Nathan Surreal or Interstellar Funk, as well as solidified names such as Breach, Black Coffee, Jennifer Cardini, Job Jobse, GERD, Alex Niggemann, Detroit Swindle and many more.

This weekend will bring a perfect culmination of the last three years, at a venue that formidably lends itself to the Lotgenoten vision, with a team of DJs that will make it hard to go homeward.

Hunter/Game | Locked Groove | Eduardo De La Calle | The Drifter | Call Super | Aera | Dollkraut | Serge | Nuno Dos Santos | & many more (full line up)

February 5 + 6 + 7 | Lotgenoten 3YR Anniversary Weekender | Tickets | RADION |

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Sakamoto and Alva Noto again create electronics, scoring masterpiece

I suspect many electronic music aficianados have the soundtrack for the film The Revenant on repeat who haven’t even seen the film. Any new Alva Noto/Ryuichi Sakamoto collaboration will get the attention of lovers of minimal electronic achievement, with good reason.

And The Revenant might just be the perfect landscape for that collaboration. Its marathon portrait of bleakness and intense, lonely revenge make the film a platform for a perfect Alva Noto/Sakamoto score.

Carsten Nicolai’s long-running collaboration (as Alva Noto) with Ryuichi Sakamoto has been a benchmark in what electronic/acoustic synthesis can be. But even as a fan of their creative intersections, this soundtrack is special. It is an essay in texture, one in which eventually the boundary between acoustic and electronic disappear.

This interplay can’t be called new any more. Electronic sounds shares a timespan with the history of cinema. From the Theremin to the ANS Synthesizer (see Tarkovsky) to Louis and Bebe Barron’s homemade electronics to Wendy Carlos to Vangelis, film has often been the medium through which the world has come to know electronic sound’s most adventurous sounds for the first time. The big screen led the home stereo.

But, it’s a shame that after those leading-edge moments of cinema, we haven’t seen synths as the norm so much as the exception. Moreover, the fusion of synthesis and acoustic sound in film still seems a rare feat – even though it ought to be the perfect place to execute that synthesis, even for general audiences.

Ryuichi_Sakamoto_Carsten_Nicolai (1)

That means pairing the right people, though, not pairing the right technology. And this seems as good an example as any. I’m surprised when Nicolai and Sakamoto are called “unlikely.” Perhaps in pre-unification Germany, peering into the future, the artistic couple would have been historically or geographically improbable. (It’s not that the DDR was universally disconnected from the globe – electronic composers in the right positions had unique access, though perhaps not the band of East German brothers who started Raster Noton.) And that happy fall of the Wall here is hugely welcome.

But aesthetically, the combination seems rather inevitable. These are two minds who exemplify minimalism at its most essential and versatile, each comfortable across media.

Sakamoto is at the apex of his economy in the music for The Revenant. The thematic gestures in the string writing are as suspended as a breath caught in frozen air, as aching as a sigh. (Listen to “Hell Ensemble” or “The Revenant Theme.”) The constantly downward-descending modal minor writing is endlessly unresolved, balancing on edge. It is unmistakably Japanese, but also recalls baroque laments, an unending spiral descent of incalculable despair. Oh, and – somehow this sparing handful of notes is oddly hummable. That melodious romanticism, if stripped down, gets clawed to the bone as the plot progresses.


But even before getting to the electronic contributions, the recording production and orchestral writing are themselves purely timbral in a way familiar to synthesists. In more incidental moments, glassy string textures seem themselves to be almost electronic – pure surface, almost unmoving, executed expertly by Berlin’s Stargaze orchestra. Stargaze themselves are ideally tailored for the project, in contrast to the epic Hollywood contributions last year of the LSO to wars in the stars. Like the composers, stargaze are comfortable with music classical and new, electroacoustic avant garde and pop as well as the usual “sustain this string harmonic without us hearing any bowing for as long as the director damn well pleases” acrobatics.

Multi-instrumentalist Bryce Dessner (known to hipsters more for The National) fits nicely into this ensemble as a co-composer and member of the band. In fact, it’s not hard to imagine Sakamoto/Alva Noto/Dessner in future.

But aprospos to this site, let’s talk about electronics.

Raster Noton, the label Nicolai co-founded, celebrate a big landmark anniversary this year. And they come from roots in a Communist-era scene that meant scrounging electronics wherever they could be found, rather than the conspicuous consumption of pricey gadgets, displayed in lavish studio walls like hunting trophies. (Not that there’s anything wrong with that, but you get my point.)

What’s beautiful about Nicolai’s understated contributions to this record, as with past Raster Noton efforts, is that electronics can be naturalistic.

So, when we talk about The Revenant being shot in natural light, with no CGI, an epic wilderness expedition in itself, we can also be encouraged that electronic textures don’t feel out of place.

Here, electronics don’t represent alien flying saucers or futuristic cities or the insides of computers or pounding nightlife. They add colors and textures that blur easily with those in the orchestral score. They reveal the weight of moments of emotional desperation, of passion, and do so as economically as the string textures.


The coexistence of electronics with scored material is very much by design. As Nicolai told WXQR:

Specifically for this movie, because I knew it’s was going to be a classical score, I tried to record electronic music in a way that sounds very organic, that sounds kind of acoustic rather than electronic. So, I really tried to change the electronic sound in such a way that it could easily work together with the classically-recorded score.

The “Dream” sequences the two make together, with glacier-sized reverbs full of icy noise and urgent rhythmic pulses, are exquisite. As always, Nicolai lets the aesthetic of the medium be part of the timbral message.

But it’s interesting to learn that in this case, vintage DDR hardware or some elaborate software concoction aren’t the tool of choice, but iPads. The focus directly on sound itself seems to fit the score. Again, talking to WQXR:

For this, because I needed to be very flexible, I was basically arriving with many software-based synths and I did everything with basically one laptop. I composed everything inside that laptop, or sometimes I recorded weird sounds from natural things or iPads; I used a lot of iPads as well. Sometimes, I wanted to use just a simple recording of a stone or something, so I needed something of that quality of sound, so I just recorded it and used it and processed it so you can’t really hear that original sound inside it. I would know that for a specific moment that I would need something like that quality of sound.

Worth reading that whole interview:

Interview: Alva Noto on Co-Scoring ‘The Revenant’ [WQXR NYC]

Or listening:

But I think it’s worth climbing up on the mountaintops (ahem) and talking about the significance of this sort of work. We need to begin to appreciate electronics as an essential element in orchestral writing, in scoring. It’s lazy to call the synthesizer synthetic, to call the computer artificial. We need a reckoning for how they fit into our culture.

And while the film is about loneliness, this kind of attention for the medium shouldn’t be quite so lonely. So I’m glad to have this work as added inspiration. It does so much with so little, it makes a lot of us want to do more.

For more on this collaboration in general, Red Bull Music Academy have an extensive interview with both artists:

Video is also available from the RBMA lectures

NPR, as it often does, has the smartest review, from the end of last year on their First Listen program.

Listen to the soundtrack via Spotify – or vinyl, when it comes out later this month (but I can’t embed that, yet).

Photo stills courtesy 20th Century Fox.

The post Sakamoto and Alva Noto again create electronics, scoring masterpiece appeared first on cdm createdigitalmusic.

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Mix #189 By Nachtbraker


After receiving widespread recognition for books like “How Does He Do It?” and “Glorious Misunderstandings,” Maurits Verwoerd decided to start a career as a music producer.

Though few doubted his skills as an artist, most of Maurits neighbours thought different about his compositions, causing him to start producing music in the underground dungeons of Amsterdam. Coming out occasionally, but only at night, slowly made him well known among friends and enemies as Nachtbraker (Dutch for night hawk).

The signs of exposure to a wide range of genres are clearly hearable in his music, ranging from ecstatic slow grooves to unconventional dub tracks. Critics often praise him for adopting a wide pallet of sounds and subtle, detailed percussion. While his celebrated performances receive increasing recognition, it’s unquestionable that Nachtbraker will keep a lot of people comfortably awake for the coming years.

Download Soundcloud Artist Page


1. Ian Blevins & NY*AK – Work it Out (DJ Nature remix)
2. Soul of Hex – Sleep Mistakes
3. Harry Wolfman & Loz Goddard – Uncle Buck
4. S3A – The Georges
5. Munk – Hot Medusa (Kai Alce Remix)
6. Nachtbraker – Backstabber
7. Detroit Swindle – Howsmusic
8. Urulu – Orion
9. Frits Wentink – Worldwide Deluxe Edition
10. Jimini – Litlle World
11. Jonna – Through the Night (Kai Alce Distinctive Vocal remix)
12. Sendo – Legacy
13. Two Diggers – Queen
14. Urulu – Night Tube
15. X1 – Happy Hippie Hifi
16. Tommy Vicario jr. – Coping Strategy
17. Iron Curtis – Operator 123 (Live Mix)
18. Lay-Far – Like the First Time (feat. Magic Number)

The post Mix #189 By Nachtbraker appeared first on Deep House Amsterdam.

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