Familiar friends of the label, French duo Jules & Moss return to Tiefschwarz’s ever-reliable Souvenir imprint with another stomping two-tracker designed for those late nights and early mornings. Situated at the very centre of a musical centrifuge, French duo Jules & Moss find themselves drawing upon an array of different influences spanning rock, jazz, classical but landing somewhere firmly rooted in the electronic spectrum. Their style is characterized by an atmosphere of their own making, laden with sleaze, enhanced with groove and drenched in originality. After releasing on Dirtybird, Monique Musique and Tiger Records, amongst a wealth of others, the duo show here exactly why Souvenir is the perfect home for their productions. On this EP, the pair never lose sight of the one very important thing: dancing. Making further explorations into electronic sounds, toying with heavy-hitting percussion, earworm vocals, spacious pads and funk-fuelled basslines.
French producer David K is ready to announce his debut album, ‘Out of Range,’ an off-the-radar mixture of romantic melodies on drugs, rocking beats à la parisienne, and sounds to turn you on, released on Tiefschwarz’s ever reliable imprint, Souvenir.
David K represents something that’s all too rare in electronic music today: an artist who makes music first and club music second. For him, emotion is paramount, melody is important, the pop format has its perks and original material is always better than a sample. Late at night and early in the morning, he can be found tapping away on his keyboards and throwing together arrangements on the fly (a pianist by training, he can’t bear to make music slouched over a mouse). His only goal is to make something that will keep himself dancing.
His roots are in Paris, where he lived his entire life until 2011. He started DJing in the late 80s on a makeshift set of gear, complete with a radio and tape deck, but once he hit his first rave in ’91 he went straight for the Technics 1200s. He was making a living as a teacher and graphic designer, but like some invisible cosmic force, the life of the full-time artist kept drawing him in.
Always involved in creating, composing, and mixing, he began his production career with the Boogabaloo EP on Sismic in 2002, a small Parisian house label. Not long after that he fell in with some key figures in the Paris’ underground club scene, such as Dan Ghenacia, who brought him into the Freak n’ Chic stable.
“This album has been 10 years in the making. Well, almost.” he points out. “I started to hold on to some of the tracks I was writing over the past decade or so. I suppose you could say that this album is a bit like a bedside-table book which transcends all of my influences, my musical history, and my idea of modern music.”
David has always worked conscientiously with the dance-floor in mind, though his sound has always dipped into the outer reaches of myriad genres; rock, funk and unashamedly straight-up pop, a confluence which draws on his honest inspirations. The range of influence can be heard right through the album Beyond drawing upon mere historical influence, he has also brought on board close friends including guest appearances which only help add to the album’s rich makeup: dOP frontman Jaw appears on “How Beautiful You Are,” frequent collaborator Opium (of La Boetie and Nouvelle Vague) sings on “Intro,” whilst old friend and Italian producer, Francesco Farfa, shares writing credits on recent single, “Come Up From the Darkness,” David’s own voice comes through on on “Show Me The Deal.” Like all of his records, the entire package is glazed in the quirky eccentricity, nonchalant percussion and irresistible hunk of sleazy and funk-fueled boogie that we’ve come to expect of his productions over the years.
In a world of increasingly short attention spans, 142-character, self-styled status updates, ubiquitous smartphones and Big Brother-esque governmental spying, David K shows that sometimes it’s good to just take yourself ‘Out of Range’ for a while.
Following on from their room-crushing, latin-afro-infused El Matematico EP on Katermukke in 2013, seasoned veterans returns Holger Zilske and Kai Preussner (aka Smash TV) return to Tiefschwarz’s consistently exceptional Souvenir label and get down to business with three brawny, burning-hot grooves infused with their signature flavour on ‘Robogeisha.’ An undoubtedly familiar name to any followers of dance music from the past 10 years, Smash TV have amassed an extensive repertoire of releases on various house and techno labels and rubbed elbows with some of the biggest names including Miss Kittin, Raz Ohara, Daso, Richard Davis, Dave DK, and remixed the likes of Claude Von Stroke, Kiki, Adam Freeland, Toktok and Marco Resmann. Oscillating between smooth and rugged, techno and house, dubby and in-your-face, Smash TV’s assured and organic style has earned the enthusiastic support of legendary producers and DJs alike. ‘Robogeisha’ brings their hybrid of sounds back once again, combining thumping kicks, cosmic stabs, stuttering percussion and Geisha vocal samples all into the one pot. ‘Fluffer’ directs its attention straight at the dance floor with a no-nonsense, head-down stomp. Final track, ‘I Won’t’ brings equal destruction with pitched down samples pinned down by tight percussion, and a wandering bassline that won’t let you stay still for long.
Whilst 2013 was another exceptional year for Tiefschwarz’s ever-consistent, no-nonsense Souvenir imprint, also marking the year in which they inaugurated their new NAU sub-label, 2014 promises no compromise in quality output yet again.
This time, Souvenir turn their attention to a split EP, calling on the combined talents of familiar names, friends and new faces. Nicson is a promising London talent is making new steps in the electronic scene with his releases on Upon You, Tim Green´s imprint Disc Over Music, Get Physical, Flumo and Holic Trax. Phil Stumpf & Reynold aka Sam Rouanet, and Fischer & Kleber (aka Robert Fischer and Niklas Kleber) are, well, quite honestly just amazing.
Nicson opens up proceedings with ‘Pretty Womens’ – warm, moody, acid tones and funky vocal cuts lie over a woozy bass line. ‘Mojar’ by Fischer & Kleber takes things a little deeper and darker with striding, live percussion, enveloped in pianos and haunting vocal slurs, constantly pushing up-slope, while Reynold & Phil Stumpf round things off with a pulsating, understated groove on ‘On The Move.’
These producers embody the spirit of free-flowing creativity that runs through much of the label’s output, presenting a wide and always unexpected palette of sounds and tempos – distinctive bass-heavy grooves, informed composition allied with a sharp-edged ear, and never lacking in a cheeky, natural sense of humour.
01 – White – Prompt Live Band
02 – Anyway (Rampa Remix)
03 – Make Some Noise (Radhow Remix)
04 – The Bad Guy Feat. Greg Turner
05 – Blue – Damien K. Sahri
06 – Le Borgne 007
07 – Elbow Grease – Dubfound
08 – Wrung Door – David K
09 – Distant Minds – Death on the Balcony
10 – Tears&Fears – The Jaydees – David K’s Frisco Mix
11 – Come up from the Darkness – David K’s Snowball mix
12 – Middle Age Romance – David K
13 – A Hymn to him – The persuaders
14 – Secret loop
David K represents something that’s all too rare in electronic music today: an artist who makes music first and club music second. For him, emotion is paramount, melody is important, the pop format has its perks and original material is always better than a sample. Late at night and early in the morning he dances alone in his studio, tapping away on his keyboards and throwing together arrangements on the fly (a pianist by training, he can’t bear to make music slouched over a mouse). His only goal is to make something that will keep himself dancing. David K’s roots are in Paris, where he lived his entire life until 2011. He started DJing in the late 80s on a makeshift set of gear, complete with a radio and tape deck, but once he hit his first rave in ‘91 he went straight for the Technics 1200s. He was making a living as a teacher and graphic designer, but like some invisible cosmic force, the life of the full-time artist kept drawing him in. His first record came out in 2002 on Sismic Music, a small Parisian house label, and not long after that he fell in with some key figures in the Paris’ underground club scene, such as Dan Ghenacia, who brought him into the Freak n’ Chic stable, and Phil Weeks, who put out one of his earliest 12-inches, Yo Chicago, on Robsoul Recordings. Cocoon, Guy Gerber’s Supplement Facts, Tsuba Records, Visionquest, and, more recently, Tiefschwarz’s carefully curated Sounvenir and sub-label NAU. His new single, alongside Italian-born house and techno producer Francesco Farfa for Souvenir sees the pair draw upon their unique, shared skillsets. Initially Farfa contacted David to enlist him for remix duties on one of his tracks.
Whether he is headlining at nightclubs or playing a marathon set for an underground afterhours event, Elon has a key asset in shaping New York’s vibrant underground music scene. And with this new EP, Stab the Slab, he effortlessly showcases the sophistication in the style and sound which has earned him this central positioning in both NYC and beyond. Since his first release in 2006 on Made to Play, Elon has produced several successful EPs and remixes on labels such as Get Physical, Clink, Dumb-Unit and Metroline. His releases, like Bummalo with Maceo Plex, Noose and Fuck Cuba EPs have received global support which led to the launch of his own imprint, ReSolute Label in 2011. On ‘Stab the Slab’, Elon has laid down layers of pitch-bending cow bells, wandering arpeggios – building to crescendo – bright chimes and energetic percussion, undercut with grooving basslines that venture to the deeper, dark side of his sound. The slabs are there to be stabbed.
As a thank you gift, we have a 60mins mix from our releases this year. Please feel free to stream or download to have a listen.
With love & best wishes,
Hot off the heels of mixing the thirteenth instalment of Berlin nightclub, Watergate’s long-standing mix series, Ruede (real name Tobias) Hagelstein returns with an Alien-invasion, space-history themed three track EP for Tiefschwarz’s ever-reliable imprint, Souvenir Music. Hailing from the rural surroundings of Berlin, Hagelstein is a longtime fixture of Berlin’s music scene, arriving in the capital in 2000 and kicking off a DJ and production career soon after. In addition to his own releases through labels like Souvenir, Output, and Kitsune, he’s released music with Fraenzen Texas as The Cheapers, a staple of the Upon.You label. Besides his keen and consistent release schedule, Ruede DJs regularly at Watergate, playing as a resident there since 2006. Ruede’s new EP for Souvenir keeps in line with his unique, interstellar sound; three quirky, eccentric cosmic cuts which stand unparalleled by other producers right now. Step on board and prepare yourself for an interplanetary journey, expertly produced and navigated by Mr Hagelstein.
It’s becoming a rarer and rarer thing nowadays, especially in this fast growing, overcrowded world of music, to find well educated musicians with the ability to read music and play instruments. Kenny Leaven (real name Andreas Braun), however, is one of the few. Besides running his own label Elenore Records since 2009, founding and organising Erfurts Bayou Festival, he is still producing quality music. Kenny’s new EP for Souvenir keeps in line with his unique, interstellar sound; two quirky, eccentric cosmic cuts which stand unparalleled by other producers right now. Both tracks on the single recall something of the Balearic euphoria of Todd Terje’s recent output as well as making humble references to the pumping analogue bass of Italo and more rigid early 80s electronic explorations. Step on board and prepare yourself for an interplanetary, cosmic journey through music history, expertly examined through a modern lens.
You come from the Mannheim Area, there is a charasterictic “Mannheim Sound” that blew up big a few years back, how could you define it and do you feel being a part of that scene?
Yeah always good times, group of friends with same thinking and music taste. The oslo gang is doing the music for passion, not for the fame. Still “underground”. These day is all about promotion and branding and its going really fast, it`s good to have that base!
Ali and Basti fell in love with the track “Sent The Money Back” when you played it live, could you tell us a bit about the way you play a live set, what equipment you use and how you prepare a track to fit in your shows.
Yeah I split of the track in parts: kick, snare, hihat, bass, sound1.. and so on. I change, or rearrange parts, use the vocals with a different beat.. It`s a open system. Sometimes I play tracks with complete arrange when there was no time to split of and jam along with my machines.
When I read the title “Give The Money Back” for the first time, I was wondering if there’s any story behind. So maybe you can tell us what you wanted to say with it.
No big story behind, I just reversed the vocals and the result is sounding like “sent the money back”. If u know backspin the vinyl you can hear the original famous song.
You are traveling the world permanently with your music, can you tell us a special story about one of those trips?
Oh lot`s of stories. The most u already heard and the best you can`t
tell for some reason.
“As an artist, Christian Burkhardt, is not content with existing within the realms of House and Techno, but is determined to further stretch its limits with his signature sound Originally from Heidelberg, Germany, he has carved out his own unique path in production, something which perfectly evident on ‘Send the Money Back.’ His earliest productions found there way onto Oslo, Raum, Musik, Deep Vibes and Area Remote; all regarded as contemporary go-to labels for quality House music. Over the years his productions have surged through the speakers of main floor events and fueled after-hour paries across Europe and beyond. His masterful use of technology meshed with the warm sounds of analog gear and over 13 years of music production experience. His success is measured only in the pleasure that he finds in making music. A feeling that may start in the club, but never ends there.”
You are a trained musician with a proper musical education, how does it help you to understand techno and house music and how does it help to produce it? I heard of people who had a hard time with the dissonance at first.
I think the traditional, academic approach to a musical education is mainly useful in terms of naming things for people. Giving notes, harmonies, rhythms, and other musical structures names, and therefore some sort of distinct identity, is really useful for beginning to develop some sort of deeper, personal understanding of them, which I believe to be absolutely necessary in the creation of great music (whether the names are known or not). So, having these concepts introduced so clearly and distinctly from a very early age is especially helpful. But, the process of ultimately developing an individual and deeper understanding of them really has so little to do with that in the end. The language is just a framework. Someone’s musical education is really a sum of their entire life, and everything they’ve heard during it. As far as my musical education is concerned, my understanding of and approach to house and techno has much more to do with the part I received through my parents’ incredible record collection, and my early experiences DJing at B-boy battles and producing hip-hop. I’m all about the dissonances. I have much more of an issue with the consonances!
You were born in the USA (like Bruce Springsteen), how do you see this EDM invasion that happened the last year? Especially from a country that never considered anything else than rock, hip hop, jazz, pop or country music.
All repetitive, unoriginal music is equally unnecessary and bad to me, whether it’s an EDM track or a more ‘underground’ one. But, the reason it’s popular is because people genuinely get some sort of fulfillment out of it, so I’m completely supportive of its existence and fans, even if I can’t imagine a greater misfortune than personally having to listen to it. I also really like this idea of a movement that was born in the underground in the USA finally reaching people there on a wider scale. Regardless of how much less profound the musical content is in its new popular form, people hedonistically dancing together is unquestionably a good thing, I think, and something that I’m positive is happening on a much wider scale globally with the rise of EDM.
When did you decide to move to Berlin and did it affect your musical views and lifestyle?
I decided to move to Berlin after I got kicked out the Royal Academy of Music in London. I was actually sort of a refugee, I guess, because I couldn’t stay in London without a visa… Anyways, because of the circumstances especially, the whole moving experience definitely shaped my musical views. During my two years at the Academy, my ideas on art and music making underwent a serious transformation, mostly in reaction to and in spite of the institution. So, moving to Berlin marked a consolidation of all of these ideas, and the beginning of a new chapter for me personally and musically. Basically, one in which I can do whatever the fuck I want! Not being a full time student is, of course, a huge lifestyle change as well.
What are your plans for the next months?
Now that summer is ending, I’m going into hibernation mode. Going to hide away for a few months, work on lots of new music, practice piano, read, and hopefully progress further in the infinite struggle to learn German (and Max/MSP). I’ll pop out for a dance now and again when I can’t bear the solitude any longer, and hopefully play a few DJ gigs as well.
Following on from highly regarded releases on DeepControl Records, F4T Music and Lokee Musik, Virginian-born producer Adam Longman Parker aka Afriqua makes his debut on Souvenir with ‘INSERT EP TITLE.’
His entire musical life has been shaped by an exceptional interest in music, through his obsession with his parents collection of Michael Jackson records as a young child, to his piano lessons at the age of 5, and then his progression to his first set of turntables at the prodigious age of 10.
It was not until he graduated and moved to London to continue his study at the Royal Academy of Music that he discovered the house and techno he’s dedicated to today. His approach is stylish and sparse; teeming with mood and groove, crackling and expansive – an approach and technique which surely goes some way to asserting his rightful position amongst the top producers working in electronic music right now.
More important than the parties, the plane rides, the magazine covers or the money, every great DJ is first and foremost, a collector. A discoverer of music. A traveller weaving through a sea of new sounds and honing down the multitude of records to those that matter most. It’s this drive for sonic exploration that’s responsible for Souvenir, the Berlin label spearheaded by Tiefschwarz and their french partner Arthur Vélasquez. In little over a year the label has...