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viewing 1 To 18 of 18 items
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2x12"
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OSTGUT 114LP
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Marcel Dettmann releases Test-File, his first full Ostgut Ton release since 2013's Dettmann II (OSTGUT 028CD/014LP). The 2x12" sees the renowned selector and long-time Berghain resident in explorative form, combining compact experimental techno vignettes with writhing, dubby, and distorted longform dancefloor portals -- as well as a stoned and unexpected turn into house territory. At 22 minutes over six tracks, Test-File is a series of sonic contrasts united by Dettmann's uncanny intuition for patiently shifting, improvisational dance music. Three-minute opener "Test-File" bangs in with rapid fire kicks and tape-delayed electric zaps, reversing midway into a kind of electronic palindrome. The momentum is sustained on standout single "Ascending", where an overdriven bass wave surges through a tunnel of industrial noise. The release then emerges into the arch, squishy house of "Autumn77", filled with sirens, pads and sampled vocals/laughter. The second vinyl returns initially to rhythmic experimentation with the three-minute "Torch" lurching forward rattling and machine-like, interspersed by passages of groan and hiss. "Error (1st Take)" bubbles along dub-wise, tripping atmospherically though a haze of out-of-synch synth bursts. Closer "Metalloid" wraps it all up with a hypnotic, rubber band acid line and smudged 808s clavs.
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LP
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ATON 004LP
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Rauch is a sonic interpretation of the work of photographer Friederike von Rauch, composed collaboratively by Berlin-based producers Felix K, Marcel Dettmann, Sa Pa, and Simon Hoffmann. Arranged and mixed by Marcel Dettmann, the recording stands in dialogue with von Rauch's architectural images of post-World War II European monasteries, including La Tourette by Le Corbusier and Iannis Xenakis near Lyon, Roosenberg Abbey near Ghent and Maria Regina Martyrum in Berlin. The images were first exhibited together with the music on this LP as part of an installation for von Rauch's solo show insgeheim ("in secret"), held at the Goethe-Institut Paris during the international Paris Photo art fair in November 2017. While the complimentary relationship between the sounds of Rauch ("smoke") and the images exhibited in Paris invites interpretation, both can also be experienced as separate artistic entities. On the 42-minute-long LP, drones, modulating harmonic soundscapes, and implied rhythms maintain an abstract emotional core while occasionally taking on vaporous, amorphous qualities. Similarly, von Rauch's images -- often borderline abstract in composition -- resist being identified by location or spatial context. Nevertheless, they also hint at their spiritual origin. Rauch is part of an ongoing artistic collaboration between Marcel Dettmann and Friederike von Rauch, which includes 2011's Ash installation and three photographic works for Dettmann releases on Ostgut Ton.
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2LP
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SLCTRS 003LP
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Following celebrated compilations from Motor City Drum Ensemble (SLCTRS 001CD/LP, 2016) and Young Marco (SLCTRS 002CD, 2017), Dekmantel's Selectors series now continues with an edition curated by Marcel Dettmann. Although he's now known as one of the world's most celebrated techno artists, even Marcel Dettmann had to start somewhere. Long before he ever held court at Berghain (or its predecessor, Ostgut), he was just another young boy in Eastern Germany, one whose earliest encounters with capitalism involved spending every penny he could scrape together down at the local record shop. In those days, it wasn't techno that got him excited, but new wave, post-punk, industrial, and EBM acts like Front 242 and Depeche Mode. "It's music from my childhood," says Dettmann. "It's still relevant and still inspires me." That inspiration can be heard across this edition of the Selectors series, as Dettmann has put together what he describes as a "pre-techno compilation". Much like the previous Selectors editions, the compilation is not a mix CD, but a collection of tracks hand-picked by Dettmann from his own vinyl archives. Freshly remastered -- and occasionally reworked or re-edited by Dettmann himself -- the songs here are undoubtedly vintage gems, but they also represent a very personal journey into Dettmann's past. "It was a great opportunity to dig deeper into my own musical outlook," he explains. "The tracks come from a time before Marcel Dettmann became a DJ." Simply put, the songs here are some of the building blocks upon which he's built an incredibly storied career, and now he'd like to entrust them to future generations. Features: Front 242, The Force Dimension, Executive Slacks, Martin Dupont, A Thunder Orchestra, Twice A Man, Cabaret Voltaire, Kaa Antilope, Clan Of Xymox, Ministry, and Fad Gadget.
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12"
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OSTGUT 076EP
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For this remix EP of Marcel Dettmann's Dettmann II (OSTGUT 028CD/014LP) album track "Seduction," featuring singer Emika, Dettmann lets Deuce, Anthony Parasole and Ryan Elliot take control of the temptation. The long version of "Seduction" on the vinyl release brings the haunting and eerie character of this semi-ambient track to full effect, with the voice of Emika circling like a floating ghost. On Deuce's remix the resonance of the bass power turns their version into a brutal monster. Anthony Parasole's remix spirals into futuristic territory and targets the dancefloor with its dominant kick. Ryan Elliot's interpretation features dry hi-hats before the synth chords perform a courtship dance.
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2LP
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OSTGUT 014LP
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2015 repress; Double LP version. A sequel in a true sense, the album marks a return to the spirit of the first album, but things feel less tense this time around. Dettmann brings his recent experimental outlook and applies it to the album template, creating a record that lives and breathes with a naturalism rare for a techno album. Expertly paced, Dettmann II impresses especially with its carefully rising narrative. On first glance, as the album barrels into action with the particulate grit of "Throb" and "Ductil," Dettmann is in fine style. But to the careful listener, these tracks feel lightweight, like they're built from aluminum instead of steel. Each tune's central theme is a bit more out-there than usual, from the sheet-metal racket of "Lightworks" to the house-hinting chorus of "Soar," which is every bit as majestic as its title implies. He offers up some top-notch ambient material as well, like the trippy "Shiver," or the ominous "Outback," which features contributions from Levon Vincent.
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CD
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OSTGUT 028CD
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One of the most reliable names in techno and arguably Berghain's most prominent face, Marcel Dettmann has already once accomplished the difficult task of translating his pared-back techno sound to the album format. His debut self-titled album, released back in 2010, comprised 12 sculptures of obdurate stone and steel aimed at a pair of good headphones as much as they were a dancefloor. They showed a producer as adept at intricate sound design as he was rocking the world's best club. Since then, Dettmann has released another acclaimed mix CD and a string of singles which had him move away from that LP's tough textures and into everything from liquid ambient to the catchiest music of his career. But then there's Dettmann II. A sequel in a true sense, the album marks a return to the spirit of the first album, but things feel less tense this time around. Dettmann brings his recent experimental outlook and applies it to the album template, creating a record that lives and breathes with a naturalism rare for a techno album. Expertly paced, Dettmann II impresses especially with its carefully rising narrative. On first glance, as the album barrels into action with the particulate grit of "Throb" and "Ductil," Dettmann is in fine style. But to the careful listener, these tracks feel lightweight, like they're built from aluminum instead of steel. Each tune's central theme is a bit more out-there than usual, from the sheet-metal racket of "Lightworks" to the house-hinting chorus of "Soar," which is every bit as majestic as its title implies. He offers up some top-notch ambient material as well, like the trippy "Shiver," or the ominous "Outback," which features contributions from Levon Vincent. Dettmann also reaches for a rare collaboration on his second album. Kindred spirit Emika lends her spectral gasps to "Seduction," which stays stunningly antiseptic even as it weaves her voice into its wire framework. With Dettmann II's stretch of tracks "Radar" and "Corridor," the album finally takes flight into full-on club mania, fist-pumping, career-high material with all the subtlety of his old work molded up into a spiky banger. "Aim," which ends the record in lofty fashion, hints at a new direction for Dettmann, uncharacteristically melodic and even uplifting. Co-produced by René Pawlowitz, it bears the Shed touch but keeps it firmly in Dettmann's finely-honed world.
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12"
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50 025EP
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As a very special guest, Marcel Dettmann returns to 50 Weapons for a celebration of classic techno. On this 12" Dettmann affirms his love of purified, pumping techno -- this is #25 in the 50 Weapons 12" series. The idea behind the label name is quite simple. After 50 single releases the label will not be continued and instead look back on a series of unique electronic dance music. With catalog number 25, the first half is now complete.
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12"
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OSTGUT 061EP
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Marcel Dettmann delivers new original material on his mother label and again sets standards with his unique style. The dark brooding atmospheres of the first track "Range" set the mood of this EP with prodigious and strangely affecting sounds that seem to filter straight out of a machine-driven future. "Iso" has a percussive hiss that keeps a deep, underground feel. "Push" features a layered, robotic vocal with flanged hi-hats. Finally, "Allies" surprises with a jacking groove and a bittersweet synth.
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12"
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MM 157EP
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If you didn't just get back from a few months at the International Space Station, then you know that Music Man released Conducted (MM 036CD), Marcel Dettmann's mix CD. Attentive listeners noticed that Marcel didn't include any of his own tracks on this compilation, but the label has some good news for his fans: Marcel made an exclusive track for Music Man. "Landscape" is nothing but a wonderful trip, as you will hear. On remix duties is Answer Code Request.
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12"
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MM 155A-EP
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Music Man Records is proud to present a sampler of the second mix CD from Marcel Dettmann. The tracklist of Conducted (MM 036CD) includes a mixture of new-to-be discovered talents, old-to-be re-discovered gems, and a few usual suspects. Conducted is a timeless mix from one of the most important players in today's techno scene. This is the first of two vinyl samplers, including tracks by Bluemoon Productions (1990!), Morphosis, Signal and FBK.
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12"
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MM 155B-EP
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This is the second of two vinyl samplers, including tracks by Cheeba Starks (1996!), Vril, The Analogue Cops and Answer Code Request.
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CD
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MM 036CD
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This is the long-awaited second mix CD from Marcel Dettmann, resident at the notorious Berghain club in Berlin since even before it was called that, and one of the key artists on their label, Ostgut Ton. Dettmann's previous mix CD was named best mix CD of 2008 by Resident Advisor. In 2010, he released his debut album Dettmann to high critical acclaim. In the meantime, he has also been building the profile of his own label MDR, and of course, he remains one of the most in-demand remixers around. The tracklist on Conducted includes a mix of newly-discovered talents, old re-discovered gems, and a few usual suspects, such as Sandwell District, Redshape and Shed. Conducted is a timeless mix from one of the most important players in today's techno scene. Other artists include: Signal, Roman Lindau, Mono Junk, Reel By Real, Bluemoon Productions, The Analogue Cops, Vril, Milton Bradley, Silent Servant, Morphosis, Cheeba Starks Presents The Toupe Committee, O/V/R, Ben Klock, FBK and Answer Code Request. Includes a 24-page booklet with extensive track by track notes from Dettmann, plus pictures of the artists.
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12"
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OSTGUT 052EP
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One of the founding members of the Ostgut Ton family, Marcel Dettmann presents a new EP. "Barrier" documents Dettmann's unique textured sound design before diving into "Translation One," a frantic, quivering and snaking snapshot into the kind of techno the producer stands for these days. The sinister sci-fi tones of "Translation Two" warble and jive in glorious syncopation, its meandering theme hanging deliciously between paranoia and positivity. On "Planning," Dettmann further explores his inclination for intricate, tripping synth patterns.
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3LP
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OSTGUT 005LP
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3LP version. This is the debut long-player by Berghain's resident DJ, producer and remixer Marcel Dettmann. Intrinsically tied to the myth that is Berghain by now, the attached label Ostgut Ton and at the same time with the regeneration of no-frill, cleansed and powerful electronic music, Marcel Dettmann managed a daring feat: the production of a truly absorbing and veritable techno album. Spread out over these tracks, Dettmann transports the raw energy, the rough aesthetics and the simple grace of techno. A Berliner-by-choice, the difficult format doesn't bog him down. Neither does he give in to exhausting finger exercises that try to supersede his learned trade, nor does he confront the listener with hasty or brutal tracks that would rather feel at home pressed on a 12" in a DJ-case. Tracks like "Reticle," "Drawing," "Captivate" or "Silex" seem like the convergence of his striking efforts and discography up until now. You get contemplative moments with almost-weightless layers of sound that get used like melodies or chords, rotating with condensed, intensified and sappy snatches. Rigour and austere beauty go hand-in-hand. Surprisingly enough, with a genre that is aware of its own history, Dettmann never falls prey to the dangerous and seductive nature of nostalgia. However, Dettmann sounds as fresh and self-contained as techno nowadays can be. And more so, it once and for all establishes its eponym as a genre mainstay. However described or classified, his music is a successful meditation about the art form we call techno.
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CD
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OSTGUT 012CD
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This is the debut long-player by Berghain's resident DJ, producer and remixer Marcel Dettmann. Intrinsically tied to the myth that is Berghain by now, the attached label Ostgut Ton and at the same time with the regeneration of no-frill, cleansed and powerful electronic music, Marcel Dettmann managed a daring feat: the production of a truly absorbing and veritable techno album. Spread out over these tracks, Dettmann transports the raw energy, the rough aesthetics and the simple grace of techno. A Berliner-by-choice, the difficult format doesn't bog him down. Neither does he give in to exhausting finger exercises that try to supersede his learned trade, nor does he confront the listener with hasty or brutal tracks that would rather feel at home pressed on a 12" in a DJ-case. Tracks like "Reticle," "Drawing," "Captivate" or "Silex" seem like the convergence of his striking efforts and discography up until now. You get contemplative moments with almost-weightless layers of sound that get used like melodies or chords, rotating with condensed, intensified and sappy snatches. Rigour and austere beauty go hand-in-hand. Surprisingly enough, with a genre that is aware of its own history, Dettmann never falls prey to the dangerous and seductive nature of nostalgia. However, Dettmann sounds as fresh and self-contained as techno nowadays can be. And more so, it once and for all establishes its eponym as a genre mainstay. However described or classified, his music is a successful meditation about the art form we call techno.
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12"
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OSTGUT 033EP
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In anticipation of Marcel Dettmann's debut full-length, Ostgut Ton presents a remix package of four original tracks, courtesy of Norman Nodge and Wincent Kunth. From the very first bar of Norman Nodge's remix of "Shift," an urgent, pumping charge of fizzing electricity is let loose, letting the arrangement simply flow. More raw energy powers through his remix of "Unrest." Taking a recognizably metallic Dettmann-forged synth pattern, Nodge's frenetic yet respectfully withheld structure guides you sure and steady through the smokescreen.
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CD
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OSTGUT 005CD
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Following André Galluzzi's mix CD Berghain 01, Ostgut resident DJ Marcel Dettmann presents the second installment in this series, Berghain 02. It is his first commercially-available mix, ever, and contains exclusive tracks as well as long-lost classics. In the course of 72 minutes, Dettmann fathoms his very own sonic spectrum. Not relying on recent trends, Marcel draws his inspiration from frequent DJing at Berghain, his only benchmark for his purist approach to techno. Dettmann was born 50 kilometers outside of Berlin in Fürstenwalde. In 1992, he discovered techno and immediately bought a pair of turntables at an age of 16 years. He promoted parties in Dresden and Frankfurt/Oder which gained him reputation eventually leading up to a residency at Berghain's predecessor, OstGut. Since 2004, he has worked at Berlin's record shop institution, Hard Wax. Two years later, he finally started to produce his own tracks. His tracks for Ostgut Ton, his own imprint MDR and remixes for artists such as Ellen Allien and labels like Rekids reflect the unique and bass-heavy sound of the Berghain floor like no others. His understanding of techno is very much influenced by an old school ethos. His music is as much reduced to the basics as it is profound and in its roughness very distinct -- musical features derived from his experience as a DJ. His sets will never feature trance or overproduced records and when he goes minimal it's always reminiscent of Rob Hood's Minimal Nation. Fresh cuts from all around, including a previously-unreleased track from T++, this second volume shows that Ostgut artists know how to work a floor. Artists include: Tobias, Norman Nodge, Pied Plat, Planetary Assault Systems, Tadeo, Substance, Risqué Rythum Team, Samuli Kemppi, Kevin Saunderson, Clatterbox, Redshape, Shed, Kate Simko, Ryan Elliott, Deetron, Radio Slave, Luke Hess and Strand.
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12"
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OSTGUT 003EP
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This is Berghain resident, label owner and DJ Marcel Dettmann, who is already known from his successful debut hit, "Dawning" with Ben Klock. "Quicksand" is a bone-dry club tool, which doesn't even bother with minimal sound standards. Instead, it mind-bogglingly uses one sound in a very effective way, housed in a skeletal arrangement. The B-side strikes a more sublime note, reflecting the atmosphere of the wee hours on the dancefloor, when melancholic Detroit chords can touch the dancefloor to the quick. This is a softly pushing track with an emotional surplus.
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viewing 1 To 18 of 18 items
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