Ostgut Ton | Unterton | A-TON tracks on Soundclound

#ostgutton-official

Oren Ambarchi, Konrad Sprenger, Phillip Sollmann | Panama (Original)
Ostgut Ton | Unterton | A-TON

‘Panama / Suez’ is the first EP by trio @OrenAmbarchi, @KonradSprenger and Phillip Sollmann (aka @Efdemin). The three multi-instrumentalists collaborated with the goal of creating subtly shifting musical passageways: sonic routes that run between continents of musical category. The results are two variations of kraut-y, groove-based post-techno that unfurl through mutating polyrhythms and chiming, ethereal guitar play – a rare moment of guitar and techno in deep embrace. With a potential to sustain energy on experimental dancefloors, Panama / Suez lives from Ambarchi, Sprenger and Sollmann’s diverse input while reflecting a common penchant for both pop and the hypnotic. More info & pre-order: ostgut.de/ton/record/222

Electronic
1,372
Borusiade | Common Ancestor
Ostgut Ton | Unterton | A-TON

On her Unterton debut, ‘Their Specters’, @Borusiade offers four different takes on atmospheric, industrial electronics and chopped rhythms, composed around the themes of ecological and human self-destruction. More info: http://ostgut.de/ton/record/220

Electronic
2,574
Borusiade | Doublethink
Ostgut Ton | Unterton | A-TON

On her Unterton debut, ‘Their Specters’, @Borusiade offers four different takes on atmospheric, industrial electronics and chopped rhythms, composed around the themes of ecological and human self-destruction. More info: http://ostgut.de/ton/record/220

Electronic
2,060
Borusiade | Atlas
Ostgut Ton | Unterton | A-TON

On her Unterton debut, ‘Their Specters’, @Borusiade offers four different takes on atmospheric, industrial electronics and chopped rhythms, composed around the themes of ecological and human self-destruction. More info: http://ostgut.de/ton/record/220

Electronic
1,784
Borusiade | Forewarned Is Forearmed
Ostgut Ton | Unterton | A-TON

On her Unterton debut, ‘Their Specters’, @Borusiade offers four different takes on atmospheric, industrial electronics and chopped rhythms, composed around the themes of ecological and human self-destruction. EP opener “Forewarned Is Forearmed” sets the tone as a massive drum march, stomping forward between rolling snares, clanging metal percussion and guttural drones. More info and pre-order: http://ostgut.de/label/record/220 Listen at Apple Music: https://itunes.apple.com/album/their-specters-ep/1403468700 Bandcamp: https://unterton.bandcamp.com/track/forewarned-is-forearmed Deezer: https://www.deezer.com/album/66785772 Spotify: https://open.spotify.com/album/7qXwUgOQxVt4K5S4WeHnTW?si=Mfrq7Rx-Q2KukS-fNTuaAA Taken from the forthcoming Unterton EP: Borusiade | Their Specters [U-TON 13], out August 10, 2018. Pre-order EP as 12" vinyl in digital formats: https://unterton.bandcamp.com/album/their-specters Artwork: Ariel Schlesinger, http://dvirgallery.com/artist/ariel-schlesinger Catch Borusiade on the road: July 12 | Berlin | Säule | with Mark, @Christoph-de-Babalon http://futura-artists.com/artists-dates

Electronic
9,196
Phase Fatale | Reverse Fall
Ostgut Ton | Unterton | A-TON

Over the past four years, Hayden Payne aka Phase Fatale has earned a reputation as a techno innovator, both for the broad spectrum of dystopian electronics included in DJ sets as well as his deep understanding of synthesis and sound design in his own productions. Having previously released on labels such as Jealous God, Payne made his Unterton debut with last year’s Anubis EP. Since then he has settled into residences at both Berghain in Berlin and Khidi in Tbilisi, released his first LP on Hospital Productions and kicked off his own label BITE with a collaborative EP between himself and Silent Servant. On his debut 4-track EP for Ostgut Ton, Reverse Fall, The New York native has sharpened the rhythmic contours of his productions, creating an imposing wall of sound within the techno framework. Inspired in part by Crash, J.G. Ballard's dystopian novel on the fetishization of car crashes, Reverse Fall is uncompromising motorized, cybernetic techno – infused with haunting soundtrack-like flourishes reminiscent of films by directors John Carpenter and Dario Argento. A night drive accelerating at the pace of a dark, melodic bassline and distorted hi-hats. “Reverse Fall” is available across streaming platforms, as a single track and as an instant gratification download with the purchase of the full digital release. Listen at Apple Music: https://itunes.apple.com/album/reverse-fall-ep/1394765995 Bandcamp: https://phasefatale.bandcamp.com/track/reverse-fall Deezer: https://www.deezer.com/de/album/66459102 Spotify: https://open.spotify.com/album/42DjPohwGNsWkjnurRI1iz?si=P9S-wDG0S9yb__2L3l00Cw Taken from the forthcoming Ostgut Ton EP: Phase Fatale | Reverse Fall [O-TON 113], out July 13, 2018. Pre-order EP on 12" vinyl or in digital formats: https://phasefatale.bandcamp.com/album/reverse-fall All info: http://ostgut.de/label/record/219 Artwork: Richard Söderberg, https://www.instagram.com/sabotage999 | Layout: Yusuf Etiman Catch Phase Fatale on the road: https://www.residentadvisor.net/dj/phasefatale/dates

Techno
23,908
Phase Fatale | Incision
Ostgut Ton | Unterton | A-TON

Over the past four years, Hayden Payne aka Phase Fatale has earned a reputation as a techno innovator, both for the broad spectrum of dystopian electronics included in DJ sets as well as his deep understanding of synthesis and sound design in his own productions. Having previously released on labels such as Jealous God, Payne made his Unterton debut with last year’s Anubis EP. Since then he has settled into residences at both Berghain in Berlin and Khidi in Tbilisi, released his first LP on Hospital Productions and kicked off his own label BITE with a collaborative EP between himself and Silent Servant. On his debut 4-track EP for Ostgut Ton, Reverse Fall, The New York native has sharpened the rhythmic contours of his productions, creating an imposing wall of sound within the techno framework. Inspired in part by Crash, J.G. Ballard's dystopian novel on the fetishization of car crashes, Reverse Fall is uncompromising motorized, cybernetic techno – infused with haunting soundtrack-like flourishes reminiscent of films by directors John Carpenter and Dario Argento.

Techno
8,562
Phase Fatale | Empty Whip
Ostgut Ton | Unterton | A-TON

Over the past four years, Hayden Payne aka Phase Fatale has earned a reputation as a techno innovator, both for the broad spectrum of dystopian electronics included in DJ sets as well as his deep understanding of synthesis and sound design in his own productions. Having previously released on labels such as Jealous God, Payne made his Unterton debut with last year’s Anubis EP. Since then he has settled into residences at both Berghain in Berlin and Khidi in Tbilisi, released his first LP on Hospital Productions and kicked off his own label BITE with a collaborative EP between himself and Silent Servant. On his debut 4-track EP for Ostgut Ton, Reverse Fall, The New York native has sharpened the rhythmic contours of his productions, creating an imposing wall of sound within the techno framework. Inspired in part by Crash, J.G. Ballard's dystopian novel on the fetishization of car crashes, Reverse Fall is uncompromising motorized, cybernetic techno – infused with haunting soundtrack-like flourishes reminiscent of films by directors John Carpenter and Dario Argento.

Techno
6,430
Phase Fatale | Blackbox
Ostgut Ton | Unterton | A-TON

Over the past four years, Hayden Payne aka Phase Fatale has earned a reputation as a techno innovator, both for the broad spectrum of dystopian electronics included in DJ sets as well as his deep understanding of synthesis and sound design in his own productions. Having previously released on labels such as Jealous God, Payne made his Unterton debut with last year’s Anubis EP. Since then he has settled into residences at both Berghain in Berlin and Khidi in Tbilisi, released his first LP on Hospital Productions and kicked off his own label BITE with a collaborative EP between himself and Silent Servant. On his debut 4-track EP for Ostgut Ton, Reverse Fall, The New York native has sharpened the rhythmic contours of his productions, creating an imposing wall of sound within the techno framework. Inspired in part by Crash, J.G. Ballard's dystopian novel on the fetishization of car crashes, Reverse Fall is uncompromising motorized, cybernetic techno – infused with haunting soundtrack-like flourishes reminiscent of films by directors John Carpenter and Dario Argento.

Techno
7,842
Martyn | Voids One
Ostgut Ton | Unterton | A-TON

Martyn releases new album ‘Voids’, his first for Ostgut Ton ‘Voids’ is in a few ways markedly different than previous Martyn records; it features no guest appearances or collaborations and at 9 tracks, is musically stripped down to the essentials. It’s also a highly personal take on forging new paths forward in genres where the Berghain/Panorama Bar resident has long been known for his production wizardry and innovation: post-dubstep and UK garage. The LP is roughly split between these musical foundations, recontextualized with elements of Nyabinghi, drum ‘n‘ bass, and gqom to form snarling, bass-driven hybrids. The direction was hinted at last November on his ‘GL Outtakes’ – reworks of his landmark 2009 album ‘Great Lengths’. In contrast however, ‘Voids’ is also an attempt to work through personal trauma and loss, including recovering from a heart attack and dealing with the passing of close friend and fellow producer Marcus Intalex aka Trevino, to whom the track “Manchester” is dedicated. The sound of ‘Voids’ is big and unapologetically rough around the edges. It is music as therapy, drawing on the healing elements of music past, but is far from retrospective. Indeed, Martyn is no stranger to electronic futurism, as his numerous solo productions for Ostgut Ton, Dolly, Hyperdub, Brainfeeder, Ninja Tune, Warp and his own 3024 label (run together with visual collaborator Jeroen Erosie) have shown. On ‘Voids’, however, these futuristic sonic qualities coalesce into something darker, more biographical and untethered from expectations.

Electronic
10,064
Martyn | Nya
Ostgut Ton | Unterton | A-TON

Martyn releases new album ‘Voids’, his first for Ostgut Ton ‘Voids’ is in a few ways markedly different than previous Martyn records; it features no guest appearances or collaborations and at 9 tracks, is musically stripped down to the essentials. It’s also a highly personal take on forging new paths forward in genres where the Berghain/Panorama Bar resident has long been known for his production wizardry and innovation: post-dubstep and UK garage. The LP is roughly split between these musical foundations, recontextualized with elements of Nyabinghi, drum ‘n‘ bass, and gqom to form snarling, bass-driven hybrids. The direction was hinted at last November on his ‘GL Outtakes’ – reworks of his landmark 2009 album ‘Great Lengths’. In contrast however, ‘Voids’ is also an attempt to work through personal trauma and loss, including recovering from a heart attack and dealing with the passing of close friend and fellow producer Marcus Intalex aka Trevino, to whom the track “Manchester” is dedicated. The sound of ‘Voids’ is big and unapologetically rough around the edges. It is music as therapy, drawing on the healing elements of music past, but is far from retrospective. Indeed, Martyn is no stranger to electronic futurism, as his numerous solo productions for Ostgut Ton, Dolly, Hyperdub, Brainfeeder, Ninja Tune, Warp and his own 3024 label (run together with visual collaborator Jeroen Erosie) have shown. On ‘Voids’, however, these futuristic sonic qualities coalesce into something darker, more biographical and untethered from expectations.

Electronic
5,194
Martyn | Why
Ostgut Ton | Unterton | A-TON

Martyn releases new album ‘Voids’, his first for Ostgut Ton ‘Voids’ is in a few ways markedly different than previous Martyn records; it features no guest appearances or collaborations and at 9 tracks, is musically stripped down to the essentials. It’s also a highly personal take on forging new paths forward in genres where the Berghain/Panorama Bar resident has long been known for his production wizardry and innovation: post-dubstep and UK garage. The LP is roughly split between these musical foundations, recontextualized with elements of Nyabinghi, drum ‘n‘ bass, and gqom to form snarling, bass-driven hybrids. The direction was hinted at last November on his ‘GL Outtakes’ – reworks of his landmark 2009 album ‘Great Lengths’. In contrast however, ‘Voids’ is also an attempt to work through personal trauma and loss, including recovering from a heart attack and dealing with the passing of close friend and fellow producer Marcus Intalex aka Trevino, to whom the track “Manchester” is dedicated. The sound of ‘Voids’ is big and unapologetically rough around the edges. It is music as therapy, drawing on the healing elements of music past, but is far from retrospective. Indeed, Martyn is no stranger to electronic futurism, as his numerous solo productions for Ostgut Ton, Dolly, Hyperdub, Brainfeeder, Ninja Tune, Warp and his own 3024 label (run together with visual collaborator Jeroen Erosie) have shown. On ‘Voids’, however, these futuristic sonic qualities coalesce into something darker, more biographical and untethered from expectations.

Electronic
4,583
Martyn | Try To Love You
Ostgut Ton | Unterton | A-TON

Martyn releases new album ‘Voids’, his first for Ostgut Ton ‘Voids’ is in a few ways markedly different than previous Martyn records; it features no guest appearances or collaborations and at 9 tracks, is musically stripped down to the essentials. It’s also a highly personal take on forging new paths forward in genres where the Berghain/Panorama Bar resident has long been known for his production wizardry and innovation: post-dubstep and UK garage. The LP is roughly split between these musical foundations, recontextualized with elements of Nyabinghi, drum ‘n‘ bass, and gqom to form snarling, bass-driven hybrids. The direction was hinted at last November on his ‘GL Outtakes’ – reworks of his landmark 2009 album ‘Great Lengths’. In contrast however, ‘Voids’ is also an attempt to work through personal trauma and loss, including recovering from a heart attack and dealing with the passing of close friend and fellow producer Marcus Intalex aka Trevino, to whom the track “Manchester” is dedicated. The sound of ‘Voids’ is big and unapologetically rough around the edges. It is music as therapy, drawing on the healing elements of music past, but is far from retrospective. Indeed, Martyn is no stranger to electronic futurism, as his numerous solo productions for Ostgut Ton, Dolly, Hyperdub, Brainfeeder, Ninja Tune, Warp and his own 3024 label (run together with visual collaborator Jeroen Erosie) have shown. On ‘Voids’, however, these futuristic sonic qualities coalesce into something darker, more biographical and untethered from expectations.

Electronic
3,877
Martyn | Cutting Tone
Ostgut Ton | Unterton | A-TON

Martyn releases new album ‘Voids’, his first for Ostgut Ton ‘Voids’ is in a few ways markedly different than previous Martyn records; it features no guest appearances or collaborations and at 9 tracks, is musically stripped down to the essentials. It’s also a highly personal take on forging new paths forward in genres where the Berghain/Panorama Bar resident has long been known for his production wizardry and innovation: post-dubstep and UK garage. The LP is roughly split between these musical foundations, recontextualized with elements of Nyabinghi, drum ‘n‘ bass, and gqom to form snarling, bass-driven hybrids. The direction was hinted at last November on his ‘GL Outtakes’ – reworks of his landmark 2009 album ‘Great Lengths’. In contrast however, ‘Voids’ is also an attempt to work through personal trauma and loss, including recovering from a heart attack and dealing with the passing of close friend and fellow producer Marcus Intalex aka Trevino, to whom the track “Manchester” is dedicated. The sound of ‘Voids’ is big and unapologetically rough around the edges. It is music as therapy, drawing on the healing elements of music past, but is far from retrospective. Indeed, Martyn is no stranger to electronic futurism, as his numerous solo productions for Ostgut Ton, Dolly, Hyperdub, Brainfeeder, Ninja Tune, Warp and his own 3024 label (run together with visual collaborator Jeroen Erosie) have shown. On ‘Voids’, however, these futuristic sonic qualities coalesce into something darker, more biographical and untethered from expectations.

Electronic
3,851
Martyn | World Gate
Ostgut Ton | Unterton | A-TON

Martyn releases new album ‘Voids’, his first for Ostgut Ton ‘Voids’ is in a few ways markedly different than previous Martyn records; it features no guest appearances or collaborations and at 9 tracks, is musically stripped down to the essentials. It’s also a highly personal take on forging new paths forward in genres where the Berghain/Panorama Bar resident has long been known for his production wizardry and innovation: post-dubstep and UK garage. The LP is roughly split between these musical foundations, recontextualized with elements of Nyabinghi, drum ‘n‘ bass, and gqom to form snarling, bass-driven hybrids. The direction was hinted at last November on his ‘GL Outtakes’ – reworks of his landmark 2009 album ‘Great Lengths’. In contrast however, ‘Voids’ is also an attempt to work through personal trauma and loss, including recovering from a heart attack and dealing with the passing of close friend and fellow producer Marcus Intalex aka Trevino, to whom the track “Manchester” is dedicated. The sound of ‘Voids’ is big and unapologetically rough around the edges. It is music as therapy, drawing on the healing elements of music past, but is far from retrospective. Indeed, Martyn is no stranger to electronic futurism, as his numerous solo productions for Ostgut Ton, Dolly, Hyperdub, Brainfeeder, Ninja Tune, Warp and his own 3024 label (run together with visual collaborator Jeroen Erosie) have shown. On ‘Voids’, however, these futuristic sonic qualities coalesce into something darker, more biographical and untethered from expectations.

Electronic
3,441
Martyn | Voids Two
Ostgut Ton | Unterton | A-TON

Martyn releases new album ‘Voids’, his first for Ostgut Ton ‘Voids’ is in a few ways markedly different than previous Martyn records; it features no guest appearances or collaborations and at 9 tracks, is musically stripped down to the essentials. It’s also a highly personal take on forging new paths forward in genres where the Berghain/Panorama Bar resident has long been known for his production wizardry and innovation: post-dubstep and UK garage. The LP is roughly split between these musical foundations, recontextualized with elements of Nyabinghi, drum ‘n‘ bass, and gqom to form snarling, bass-driven hybrids. The direction was hinted at last November on his ‘GL Outtakes’ – reworks of his landmark 2009 album ‘Great Lengths’. In contrast however, ‘Voids’ is also an attempt to work through personal trauma and loss, including recovering from a heart attack and dealing with the passing of close friend and fellow producer Marcus Intalex aka Trevino, to whom the track “Manchester” is dedicated. The sound of ‘Voids’ is big and unapologetically rough around the edges. It is music as therapy, drawing on the healing elements of music past, but is far from retrospective. Indeed, Martyn is no stranger to electronic futurism, as his numerous solo productions for Ostgut Ton, Dolly, Hyperdub, Brainfeeder, Ninja Tune, Warp and his own 3024 label (run together with visual collaborator Jeroen Erosie) have shown. On ‘Voids’, however, these futuristic sonic qualities coalesce into something darker, more biographical and untethered from expectations.

Electronic
3,624
Martyn | Manchester
Ostgut Ton | Unterton | A-TON

“‘Manchester’ is dedicated to Marcus Intalex, who passed away one year ago today. I met Marcus sometime around 1998 and our musical lives have been intertwined ever since. He put out my very first record in 2005, and I put out his first music as Trevino on 3024. We always stayed in touch, but life, touring, and generally being busy made it harder and harder to spend quality time together. After his passing, I once again realized the importance of putting more effort into friendships and not let the people you love turn into ’Facebook contacts’. That's what this song is about for me. As much as this track is made in memory of Marcus, it is also dedicated to the city of Manchester, a place I very much enjoy being, with a music scene that is thriving and supportive of each other in hard times. I hope you enjoy the music.” [Martyn, @3024world] Listen at Spotify: https://open.spotify.com/album/4CP4KNda0Fm47Pi3d1IBMm?si=vo8xUQqwQceR1Eigq5j9LQ Apple Music: https://itunes.apple.com/album/manchester/1380238190?i=1380238660 Deezer: https://www.deezer.com/de/album/64437502 Taken from the forthcoming Ostgut Ton album: Martyn | Voids [OSTGUTCD43/LP29], out June 22, 2018. Pre-order Album as 2xLP, CD or in digital formats: https://ostgut.bandcamp.com/album/voids All info: http://ostgut.de/label/record/216 Artwork: Jeroen Erosie, http://erosie.net | Layout: Yusuf Etiman Catch Martyn on the road: http://ostgut.de/booking/artist/martyn/dates

UK Garage
21,715
Mark | Know No Out Only In
Ostgut Ton | Unterton | A-TON

0-160 BPM in 15 minutes. On his Unterton debut, Mark continues down a path of dark and psychedelic beat science. At times tranquil and hypnotic, other times charging forward between cracked whips and whiplash left-turns. Mark: July 12 | DE | Berlin | Säule August 11 | DE | Berlin | Berghain | Ostgut Ton Nacht | LIVE Taken from Mark | The Least Likely Event Will Occur In The Long Run | 12" EP | u-ton 12 | out on Unterton May 11, 2018 | http://ostgut.de/ton/record/215

Electronic / Drum & Bass
6,116
loading...