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2LP
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KOM 387LP
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Double LP version. Gui Boratto's breakthrough full-length debut Chromophobia was released in 2007 (KOMP 056CD/KOM 152LP). As to what its title suggests, he shook up the techno game with a contrast of lushly colored minimal grooves and melody. Four albums in and countless EPs and remixes under his belt, the Brazilian producer's unique savoir-faire in carving out a functional album out of diversely routed singles and features is back at it on his fifth studio album, Pentagram. Here Gui Boratto lays down a nuanced 12-track narrative that reinvigorates his signature sound into a refreshingly different perspective that feels all too familiar -- including the return of "Beautiful Life" vocalist (and Gui Boratto's wife) Luciana Villanova on the single "Overload". Through his signature kaleidoscopic approach, Boratto delivers an album built as a far-reaching hub-and-spoke system, broadly inclusive as can be. From the opening cut, "The Walker" -- hot on the trail of Tears For Fears Elemental (1993), one of Boratto's "favourite 80's bands" -- to the hi-NRG euphoria of "Forgotten" and its pounding tech alter ego "Forgive Me". "I was going into two different directions", Boratto says; "the typical 'indie- electronic-rock' Boratto kind of production like 'It's Majik' or 'Like You' and a much more techno approach." The Brazilian producer further embraces the pop-friendly essence of his past work on tracks like "The Phoenix", featuring vocalist Nathan Berger, and "Overload", both melding acidulous synth lines with laser-precise breaks, vox hooks and drops calibrated for extended radio and club use, although sieved through his distinctive rainbow-hued musical prism. For the symbolists out there, the album's pared-down closer "618" duration accidentally happens to equate the proportions of the said pentagram. "Coincidence?" Boratto questions, and capsulizes, "not so ufanista and supporter of Brazilian neo-concretism, but I guess the Brazilian sculptor Lygia Clark also inspired me a lot. Not the meaning of her sculptures, but the shape of the hinge of most of her work." Whereas "Spur" (a field-tested 808 and 909-heavy "purist track") and "Alcazar" are sheer smooth-edged four-to-the-floor epics, the album also shares its lot of startling moments, such as with the John Barry-esque "Scene 2" and its refined string-laden buildup; or with "Hallucination" (feat B.T.), and the further James Holden-ish title-track "Pentagram". Pentagram, in its entirety, is alive and definitely just as manifold and hopeful as its architectonics are the stuff of science and dreams all at once.
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CD
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KOMP 146CD
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Gui Boratto's breakthrough full-length debut Chromophobia was released in 2007 (KOMP 056CD/KOM 152LP). As to what its title suggests, he shook up the techno game with a contrast of lushly colored minimal grooves and melody. Four albums in and countless EPs and remixes under his belt, the Brazilian producer's unique savoir-faire in carving out a functional album out of diversely routed singles and features is back at it on his fifth studio album, Pentagram. Here Gui Boratto lays down a nuanced 12-track narrative that reinvigorates his signature sound into a refreshingly different perspective that feels all too familiar -- including the return of "Beautiful Life" vocalist (and Gui Boratto's wife) Luciana Villanova on the single "Overload". Through his signature kaleidoscopic approach, Boratto delivers an album built as a far-reaching hub-and-spoke system, broadly inclusive as can be. From the opening cut, "The Walker" -- hot on the trail of Tears For Fears Elemental (1993), one of Boratto's "favourite 80's bands" -- to the hi-NRG euphoria of "Forgotten" and its pounding tech alter ego "Forgive Me". "I was going into two different directions", Boratto says; "the typical 'indie- electronic-rock' Boratto kind of production like 'It's Majik' or 'Like You' and a much more techno approach." The Brazilian producer further embraces the pop-friendly essence of his past work on tracks like "The Phoenix", featuring vocalist Nathan Berger, and "Overload", both melding acidulous synth lines with laser-precise breaks, vox hooks and drops calibrated for extended radio and club use, although sieved through his distinctive rainbow-hued musical prism. For the symbolists out there, the album's pared-down closer "618" duration accidentally happens to equate the proportions of the said pentagram. "Coincidence?" Boratto questions, and capsulizes, "not so ufanista and supporter of Brazilian neo-concretism, but I guess the Brazilian sculptor Lygia Clark also inspired me a lot. Not the meaning of her sculptures, but the shape of the hinge of most of her work." Whereas "Spur" (a field-tested 808 and 909-heavy "purist track") and "Alcazar" are sheer smooth-edged four-to-the-floor epics, the album also shares its lot of startling moments, such as with the John Barry-esque "Scene 2" and its refined string-laden buildup; or with "Hallucination" (feat B.T.), and the further James Holden-ish title-track "Pentagram". Pentagram, in its entirety, is alive and definitely just as manifold and hopeful as its architectonics are the stuff of science and dreams all at once.
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2LP+CD
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KOM 312LP
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Gatefold double LP version pressed on 180 gram audiophile vinyl, including a CD of the entire album. Returning to the full-length format after a couple of years well-spent in the 12" singles circuit, Brazilian groove architect Gui Boratto follows up his 2011 offering III (KOMP 090CD/KOM 242LP) with new masterpiece Abaporu -- an exotic and colorful journey into sound, spread over 13 richly-orchestrated club tracks that display the same penchant for ridiculously catchy melodies and infectious rhythms that already informed his revered 2007 album debut Chromophobia (KOMP 056CD/(KOM 152LP). In what may be his best work to date, Gui Boratto strings together various contemporary strands of pop-infused techno and house and translates them into his very own stream of groove consciousness -- also an act of cultural appropriation, as both Abaporu's cover artwork and title suggest: putting an inspired twist on Brazil's most famous modernist painting "Abaporu" from early 20th-century artist Tarsilo Do Amaral, they draw from the rich history of Brazilian modern art, where European and indigenous influences would collide in the most exciting manner. Elegantly swinging album opener "Antropofagia" elaborates on this by directly referencing the "Manifesto Antropogafo" (translated as "Cannibal Manifesto") from Oswald de Andrade in its title: Tarsila's husband was also a main proponent of the so-called Anthropophagic Movement that intended to literally devour European culture and turn it into something genuinely Brazilian. In a dazzling display of sonic depth and subtextual ingenuity, Gui Boratto arranges his lush synth-scapes accordingly, painting in broad, neoprimitivist strokes and bright colors that -- at a closer look -- reveal an immense wealth of retro-modernist touches and textural detail. Besides showing off its beautifully crafted melodic flourishes, the album's extended sound palette also flexes its dance muscles on a regular basis -- as eponymous minimal bouncer Abaporu or prime-time piano banger "Joker" prove with ease: a well-versed dance producer and engineer like Gui knows perfectly well how to lay out a narrative arc for utmost floor impact. Meanwhile, cuts like "Please Don't Take Me Home," "Get the Party Started" and "22" illustrate Gui's growing preoccupation with expertly tailored vocals or finely tuned guitar interludes -- updates to his sonic vocabulary that already lead to the fantastic summer singles "Take Control" and "Too Late." The extent of Gui's musical bravura becomes abundantly clear with "Indigo"'s masterfully directed ascension from a deceptively simple, laid-back glockenspiel melody to full-blown string drama in just a handful of bars -- an engrossing listening experience that primes the canvas for introspective, wistful groover "Manifesto," taking the album's emotional trajectory full circle. One of the Brazilian mastermind's most satisfying full-length efforts to date, "Abaporu" finds Gui at the top of his game, rewiring the electronic circuits that connect European and U.S. dance music to his own -- and our -- liking.
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CD
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KOMP 115CD
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Returning to the full-length format after a couple of years well-spent in the 12" singles circuit, Brazilian groove architect Gui Boratto follows up his 2011 offering III (KOMP 090CD/KOM 242LP) with new masterpiece Abaporu -- an exotic and colorful journey into sound, spread over 13 richly-orchestrated club tracks that display the same penchant for ridiculously catchy melodies and infectious rhythms that already informed his revered 2007 album debut Chromophobia (KOMP 056CD/(KOM 152LP). In what may be his best work to date, Gui Boratto strings together various contemporary strands of pop-infused techno and house and translates them into his very own stream of groove consciousness -- also an act of cultural appropriation, as both Abaporu's cover artwork and title suggest: putting an inspired twist on Brazil's most famous modernist painting "Abaporu" from early 20th-century artist Tarsilo Do Amaral, they draw from the rich history of Brazilian modern art, where European and indigenous influences would collide in the most exciting manner. Elegantly swinging album opener "Antropofagia" elaborates on this by directly referencing the "Manifesto Antropogafo" (translated as "Cannibal Manifesto") from Oswald de Andrade in its title: Tarsila's husband was also a main proponent of the so-called Anthropophagic Movement that intended to literally devour European culture and turn it into something genuinely Brazilian. In a dazzling display of sonic depth and subtextual ingenuity, Gui Boratto arranges his lush synth-scapes accordingly, painting in broad, neoprimitivist strokes and bright colors that -- at a closer look -- reveal an immense wealth of retro-modernist touches and textural detail. Besides showing off its beautifully crafted melodic flourishes, the album's extended sound palette also flexes its dance muscles on a regular basis -- as eponymous minimal bouncer Abaporu or prime-time piano banger "Joker" prove with ease: a well-versed dance producer and engineer like Gui knows perfectly well how to lay out a narrative arc for utmost floor impact. Meanwhile, cuts like "Please Don't Take Me Home," "Get the Party Started" and "22" illustrate Gui's growing preoccupation with expertly tailored vocals or finely tuned guitar interludes -- updates to his sonic vocabulary that already lead to the fantastic summer singles "Take Control" and "Too Late." The extent of Gui's musical bravura becomes abundantly clear with "Indigo"'s masterfully directed ascension from a deceptively simple, laid-back glockenspiel melody to full-blown string drama in just a handful of bars -- an engrossing listening experience that primes the canvas for introspective, wistful groover "Manifesto," taking the album's emotional trajectory full circle. One of the Brazilian mastermind's most satisfying full-length efforts to date, "Abaporu" finds Gui at the top of his game, rewiring the electronic circuits that connect European and U.S. dance music to his own -- and our -- liking.
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12"
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KOM 285EP
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Gui Boratto's Too Late is a wonderfully pop-infused 12" hosting two magnetic floorbusters and an abundance of style. "Too Long" starts off as a pleasantly-relaxed exercise in house and ramps up the immersion levels with finely-tuned female vocals that owe as much to classic pop stylings as they do to the textures of club music. "We Can Go" is a hearty banger, sporting a fierce bass line and some pretty gripping beats and distinctive male vocals, ready for world domination.
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12"
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KOM 239EP
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From Gui Boratto's album III (KOMP 090CD/KOM 242LP) comes "This Is Not The End," an indie-minded track that convincingly demonstrates Gui's impressive skill set when it comes to emotional narratives embedded in a distinctively monumental context. The song also features beautiful vocals from Luciana Villanova. On his own "2012 Mix," Gui tweaks the arrangement for ease of use on the floor. Those of you looking for a slightly more adventurous approach will find their satisfaction with Michael Mayer's rework on the flipside.
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12"
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KOM 252EP
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Gui Boratto's dark 2011 masterpiece III (KOMP 090CD/KOM 242LP) was brimming with deft highlights, but not every one of them was aiming at the floor. "Destination: Education," a slightly saturnine rhythm-study featuring the return of Gui's wife Luciana on vocals, now gets pushed into the spotlight by dancefloor gurus Terranova and Tale Of Us, both tweaking the track to its optimal danceability. A must-have for Boratto zealots and crowd-sensitive DJs alike, this 12" presents two heavy-duty bangers tailored to every party's needs.
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2LP+CD
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KOM 242LP
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2LP version, plus a free CD version of the album.
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CD
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KOMP 090CD
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Gui Boratto is truly that success story that aspiring dance producers dream of. From his Brazilian home of São Paolo as a student of architecture and design, he quickly found himself in the position as one of the country's primary pop/rock producers (including work for Steel Pulse). It was with his 2005 debut Kompakt release on the K2 sub-label Arquipélago that shot him into prominence and paved a strong path of singles that led to the now classic full-length Chromophobia (KOMP 056CD/KOM 152LP). The lead singles "Mr. Decay" and "Beautiful Life" remain two of the most unforgettable tracks in Kompakt history -- the latter official video with well over a million views on YouTube. It was his sophomore album, the 2009 breakthrough, Take My Breath Away (KOMP 070CD/KOM 190LP) which evolved him as a dance producer further into a realm of his own right as one of Brazil's most established musicians. His remixes for Pet Shop Boys, Massive Attack and co-producing Bomb The Bass further demonstrate this tremendous talent amongst us. Following a world-wide rollercoaster of almost 3 years continuously on the road touring, Gui Boratto found himself back in his São Paolo studio in early 2011. The results are here with III -- arguably his greatest musical accomplishment to date. Kicking off with the slow drive of "Galuchat," the sitar-ish instrumental embedded in the track sets a foundation of melancholic organic groove found throughout III. "Stems From Hell" will not disappoint the die-hard fan -- his masterful approach to the maximum and minimum of sound variation is pure peak-time. "Striker" was originally intended for his second full-length, but was left on hold and fortunately completed for III. Featuring vocals from Gui Boratto himself, his contagious bass line has no limit, recalling the likes of Echo And The Bunnymen. Gui began III with "The Third" -- a gorgeous play on the four/four pattern that suddenly moves from eight bars to only six. Hi-hats become almost shuffle-like in their flow. Gui Boratto said about going into producing "The Trap" that "the good thing about doing an album is the possibility of experimentalism." He lets his instinct totally flow as a Rhodes, piano and tremolo guitar converse with one another. Beauty and sadness remarkably collide. A sure album highlight, "Destination: Education" marks the return of his wife Luciana Villanova on vocals (who also sings on "Beautiful Life") -- a 119 techno/house crooner that will be a surefire favorite on the modern dancefloor. Gui lovingly likens "Flying Practice" as a part of the three bars that grace the album cover. Classic trance chording build a variety of moods and builds. A French horn makes the transition and conclusion. "Soledad" is directly inspired by and pays homage to Astor Piazzolla's "Soleda" and ironically, a little of Duran Duran's "Save A Prayer." This journey ends off with "This Is Not The End" -- an indie-minded track that demonstrates how masterful Gui Boratto has evolved his signature sound into something quite monumental. Again, Luciana Villanova's beautiful vocals captures the spirit of what Boratto brings to life.
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12"
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KOM 232EP
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Gui Boratto needs little introduction -- after all, he's played pretty much every corner of the globe, placing himself as one of the most in-demand producers and performers in dance music today. "The Drill" embraces the classic Kompakt schaffel but delivered in a chalice of class that only Gui Boratto is capable of drinking from. Bold, brazen, BORATTO. "Stems From Hell" is classic Boratto. Guitar-esque chording launches this depth charge that is just pure build.
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12"
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KOM 209EP
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"Azzurra" was one of the highlights of Gui Boratto's Take My Breath Away (KOMP 070CD/KOM 190LP). On this 12" version, he bumps up the bass, adds a vocal chorus and teleports the original into a new stratosphere. "Telecaster" is a dark and deep floor-leveller, where Gui's trademark bass pitch slides in and out of The Cure-ish guitar strums. "The Glam" features elemental percussion and a low-end synth ride that rolls with a menacing delivery certain to lay devastation on any dancefloor.
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12"
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DFRG 027EP
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On white vinyl. "Here we go with the new Defrag from our Brazilian friend Gui Boratto. I Feel Love is one of those very special records that goes far and further from the boring trends of the moment. As we like to say it's a 'timeless techno' tune, an open air magik track with vibrant pads full of synthetic feelings and processed voice that reminds the best moments of the disco from the '80s or, if you prefer, as our friends at Kompakt, you can define it: elegant techno."
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12"
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KOM 198EP
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Presenting two remixes of Gui Boratto's "No Turning Back," off of his acclaimed Take My Breath Away. "No Turning Back" has been declared the fan- and DJ-favorite everywhere. Take YouTube, who have a simple stream with over 135,000 listens! The Wighnomy Brothers wind the vocals through a sun-drenched bass drum and melody loop. Pure sunset rubdown. The Mole twists the original into completely moody, mental overdrive. Conjuring the early Sheffield house vibe of the Forgemasters, this is truly deep.
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2LP+CD
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KOM 190LP
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2014 repress; 2009 release. Double LP version with six of the eleven tracks from the album, plus the entire full length on CD. 2LP tracklist: A1. Take My Breath Away, B1. Ballroom, B2. Colors, C1. No Turning Back, D1. Eggplant, D2. Godet
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12"
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KOM 187EP
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With his debut release Chromophobia, Gui Boratto achieved almost everything you can dream of in the techno world. With his powerful live-set, he devastated almost every relevant club on this planet. His remixography is so huge, it belongs on your bookshelf next to weighty tomes like Gone With The Wind; yet, he shows no traces of exhaustion. After 2 years, he emerges with Atomic Soda, a taste of his forthcoming full-length Take My Breath Away. Coming soon to your nearest dancefloor.
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CD
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KOMP 070CD
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This is the hotly-anticipated second full-length release from architect, producer, musician and composer, Gui Boratto, born in São Paulo, Brazil. Two years have passed and much has changed since Gui Boratto shot to prominence with his Kompakt debut Chromophobia. A much-needed spot of color amidst the minimal milieu, Gui's mixture of fierce production skills and a blissful pop sensibility have characterized his trajectory to the techno heavyweight before us today. Amidst a rigorous touring schedule and busy family life arises Take My Breath Away. Laced with subtle critique and double-entendre, Gui's philosophical approach is adept at packaging the rough, smooth, bitter and sweet into a number of emotive and ultimately optimistic productions. Equally a statement of concern and call for solidarity, the title track conveys a sense of scale and immediacy with soaring melodic progressions and pounding bass. Epic and densely constructed, clattering metallic tones escalate to a howling climax before a deep-pulsed drive to close. "Atomic Soda" rasps with gritty, hovering synths and complex rhythms, phase transitioning into a monolithic bass stomp with staccato percussive modulation that was built to move. The bit-crushed melodies of "Colors" enters shimmering dream-pop territory, while "Opus 17" marks Gui's 17th album track, continuing the lineage of his debut with a mixture of droning Cologne, shuffling IDM beats and kaleidoscopic synth textures. "No Turning Back" jars with uneasy cyclical rhythms, developing a tension that breaks with a chorus as grandiose as it is energetic. Gui's wife Luciana Villanova provides the Midas touch yet again, contributing a stirring vocal reminiscent of her contribution to Gui's anthemic "A Beautiful Life." "Azzura" swings with delicate harmonic shifts, while "Les Enfants" features a tripped-out organ melody and live drum break to continue the brief descent in pace. "Ballroom" is strictly club material, probing with stabbed synth and the hardest kick on the record. Taken deep and destabilized with uneasy melodic tones, it provides a fitting introduction to closer "Eggplant." Patiently progressing from ascendant synth chords to a tightly-wound concoction of frenetic percussion and dissonant harmonic elements, "Eggplant" gathers enough momentum to make a vegetable move. Take My Breath Away is riddled with profound melody, layers of color, and modern deepness and is addictively danceable. It is also further proof that Boratto is worthy of any and all breathless adulation heaped upon him.
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12"
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DFRG 025EP
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"After the huge hit 'Tales from the Lab' by Gui Boratto, we are proud to present the follow up with a very special edition of remixes. A1: the first track grows out of the hands of Sian, one of the coolest producer actually around. In the 'No Lab Animals' remix Sian took the hook of the original track merged with a strong bassline and an incredible huge sound. The B side is by Axel Bartsch, already known for his productions on Sportclub, Kompakt, Spielzeug. His 'Dirty Disco RMX' is a sexy and polished tune with percussion, an hypnotic synth that will blow your mind and a funky bassline. Both tracks give new life to this anthem."
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12"
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K2 032EP
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"Since his debut 'Arqipelago' (K2/4) Gui Boratto has achieved almost everything a techno artist can achieve these days. His album Chromophobia, including the omnipresent single 'Beautiful Life' has been a firm favorite amongst DJs from every angle. It's the rare combination of brilliant technical skills, an uncanny ear for catchy hooklines and this razor blade-sharp grooves that make him an exceptional figure in techno world of today. With Anunciación, he's back where everything began: on Kompakt's dinky K2. Soundwise, it's a wee bit darker than Chromophobia but hey -- that's this winter's fashion. But don't worry, there's still a fair amount of soulfulness involved."
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12"
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KOM 161EP
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The second part of the Chromophobia Remixe series is purely dedicated to "Beautiful Life." The original version got re-mastered and re-cut in order to blow up each and every open-air summer jam. Gui Boratto himself provides a dense remix that translates the exuberant original into a dark and sexy club version. BPitch's Sascha Funke did what he does best: he transformed "Beautiful Life" into a cheeky little heartbreaker.
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12"
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GLK 014EP
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With Martinez remix. "With The Rivington EP, Galaktika treads the boards of electronic lyricism with strength. Produced by the Brazilian Gui Boratto, a composer that has published with the best labels on the planet, this track is the product of vibrant pads, gloomy melodies and the DJ's thorough vision of electronica. The Rivington EP is pure synthetic feeling, it is the catalyst that brings together the indietronic psychedelia of Morr Music with the dancefloor effervescence of Border Community.The remix of 'Rivington Suite' is the work of a well-known member of the family, Martinez, who turns around the emotion of the track and gives it a swift and pounding rhythm. The track is sustained on the darkness of minimal and the acoustic textures of electro: the entire cut is bathed with fragmented synthesizers that tie with a deep and hypnotic bassline. This remix is the perfect piece to liven up the dancefloor and break all bounds."
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12"
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DFRG 023EP
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"Gui Boratto doesn't need any introductions, actually he is simply one of the best techno producers around. 'Tales From The Lab' is a masterpiece featuring multiple sensations. 'Part 1' is a cool and insane tune, pumping groove based with guitar inserts and acid mind-blowing basslines. 'Part 2' is a pure dancefloor killer, in the very own Boratto style based on emotional melodies and soundscapes for massive crowd reactions!"
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12"
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KOM 158EP
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Gui Boratto has taken the techno universe by assault with his album, Chromophobia, so it's only logical that it practically begs for remixes. On the A-side we find an enormously exquisite "Mr.Decay" version by Robert Babicz, that has everything that a good remix needs, which keeps the original recognizable, yet is full of interpretations and surprises. On the B-side, darling of the hour The Field mixes "Hera," holding all the unmistakable, fantastic, futuristic qualities everyone loves about this track and about The Field.
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CD
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KOMP 056CD
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This is the long-awaited, highly-anticipated debut full-length release from architect, producer, musician and composer, Gui Boratto, born in São Paulo, Brazil. Those who have followed his steady stream of 12" singles are already well acquainted with his remarkable ear for coming up with emotive, savvy dance music. Whether it be his minimal-techno burners for Kompakt's K2 imprint, energetic house for Steve Bug's Audiomatique Recordings and Plastic City, and of course, there was "Like You," the sensational pop-techno anthem that broke him wide open on the international circuit early last year. Though he recently began producing under his real name (debuting with a remix for the film City Of God), what many don't know about Gui Boratto is that for over 10 years he has been one of Brazil's most in-demand producers having worked with such consecrated artists/bands as Pato Banton, Steel Pulse, Desiree, Manu Chao and many, many others. With Chromophobia, Boratto surpasses all experience and expectation with infinite catchy hooks, lazy synths, romantic vocals, and so many shimmering techno-colors, it'll make your eyes squint in the sunshine. Many scribes spoke that last year was the year techno learned how to make a proper artist album. Well, Boratto very well could be the first to perfect the art with this momentous release. It's easy to coin Gui Boratto as "varied" and "eclectic," however, Gui brings a vast spectrum of influences together with an uncanny sensibility to make arguably THE seminal Kompakt record filled with all the grace and roar in the world to shake the bottoms of the biggest dance haters out there, and get our fans so excited they'll feel like they're on their fifth caipirinha raving on top of the Sugarloaf.
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2LP
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KOM 152LP
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2022 repress. Double LP version. This is the long-awaited, highly-anticipated debut full-length release from architect, producer, musician and composer, Gui Boratto, born in São Paulo, Brazil. Those who have followed his steady stream of 12" singles are already well acquainted with his remarkable ear for coming up with emotive, savvy dance music. Whether it be his minimal-techno burners for Kompakt's K2 imprint, energetic house for Steve Bug's Audiomatique Recordings and Plastic City, and of course, there was "Like You," the sensational pop-techno anthem that broke him wide open on the international circuit early last year. Though he recently began producing under his real name (debuting with a remix for the film City Of God), what many don't know about Gui Boratto is that for over 10 years he has been one of Brazil's most in-demand producers having worked with such consecrated artists/bands as Pato Banton, Steel Pulse, Desiree, Manu Chao and many, many others. With Chromophobia, Boratto surpasses all experience and expectation with infinite catchy hooks, lazy synths, romantic vocals, and so many shimmering techno-colors, it'll make your eyes squint in the sunshine. Many scribes spoke that last year was the year techno learned how to make a proper artist album. Well, Boratto very well could be the first to perfect the art with this momentous release. It's easy to coin Gui Boratto as "varied" and "eclectic," however, Gui brings a vast spectrum of influences together with an uncanny sensibility to make arguably THE seminal Kompakt record filled with all the grace and roar in the world to shake the bottoms of the biggest dance haters out there, and get our fans so excited they'll feel like they're on their fifth caipirinha raving on top of the Sugarloaf.
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12"
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HHMA 005REP
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"Hardly any Brazilian artist has gained as much reputation in the past year as Sao Paulo-based architect, musician, composer and producer Gui Boratto whose spatial and mystical take on music has made him one of the most sought-after producers around. With his versatile releases on labels as varied as Speicher, Kompakt Pop, Circle, Killabeat and Plastic City. Dedicating himself to developing his own distinctive style, playfully light yet driving techhouse, Gui enchants people all around the world, 'Atol 2007' being a wonderful example of his masterful craftsmanship. Based on a beautiful melody that light-heartedly carries through the night, this record leaves an impact, especially on those looking for spirited club sounds. Backed up with two powerful remixes by some of the most talented and demanded producers around -- Frankfurt acid trance techno gods Hardfloor and Circle's Alex Flatner, this new Boratto record on the renowned Harthouse imprint should be going down a treat."
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