new MOTE: Samuli Kemppi – Dark Matter EP

Samuli Kemppi

Dark Matter EP



Release Date:
01. March 2010

12″ & digital downloads

01 Dark Matter
02 Wormhole
03 Structure Formation

Track 03 is digital-only!

Info :
Luke Slater’s Mote-Evolver label is enjoying an impressive run of form. Having chalked up one of the standout cuts of the autumn in the shape of Cari Lekebusch’s “Spindizzy” and dropped two floor-shaking futuristic techno megabombs from Ortin Cam (“Carnage” & “Felt”) either side of the new year there can be little doubt that the long-standing label is as relevant now as it ever has been.

One of the key players in Finland’s techno scene, Samuli Kamppi has a reputation for making forward-thinking, boundary blurring electronic music. Coming up to his tenth year as a producer, his knack for blending the best of the past with cutting edge sounds has seen Samuli appear on labels as diverse as Ovum, Siesta, Komisch and Prologue; providing all the credentials necessary to understand why Samuli?s style has consistently drawn attention from all corners.

Dark Matter kicks of this EP of ultramodern techno. A futuristic and intense soundscape constructed from straightforward driving beats, low-down humming bass, wobbly stabs and haunting echo-laden effects. A deeply hypnotic record.

Wormhole continues the futuristic theme with a mesmerizing concoction of minimized techno ambience that builds slowly through steady pulsing layers of whispered melodies, droning bass and waves of thick, distorted squelchy sounds.

“Dark Matter”


“Structure Formation”

Buy: (physical) (physical) (physical)
Beatport (digital)
JunoDownload (digital)

Samuli Kemppi

Nitzer Ebb – Industrial Complex (German edition)

Nitzer Ebb

Industrial Complex (German edition)

Major Records

MAJ 0258.020

Release Date:
22. January 2010


01-01 Promises
01-02 Once You Say
01-03 Never Known
01-04 Going Away
01-05 Hit You Back
01-06 Payroll
01-07 Down On Your Knees
01-08 I Don’t Know You
01-09 My Door Is Open
01-10 I Am Undone
01-11 Kiss Kiss Bang Bang
01-12 Traveling
02-01 I Am Undone (Alan Wilder Remix)
02-02 I Am Undone (Christopher Kah Remix)
02-03 My Door Is Open (Terence Fixmer Remix)
02-04 Once You Say (Tom Furse Remix)
02-05 Once You Say (Celluloide Mix)
02-06 Once You Say (Orphee-Eeproh Remix)
02-07 Once You Say (People Theatre Remix)
02-08 Once You Say (Collapsed System Mix)
02-09 Once You Say (Suessenborn Sinessence Mix)

Info :
Initially formed in Chelmsford, Essex by school friends Douglas McCarthy [lead vocals, guitar], Vaughn ‘Bon’ Harris [vocals, percussion, guitar] and David Gooday [percussion] in the mid 1980’s, Nitzer Ebb were influenced by the harder sounds of the early electro pop scene, but also distilled elements from several other genres until they had created their own identifiable sound characterised by powerful rhythms, minimal sequencer bass and hooklines and fierce, chanted vocals.

The trio caught the attention of PWL producer Phil Harding, who not only produced their 1985 debut single Isn’t It Funny How Your Body Works?, but also helped them set up their own label, Power Of Voice Communications, on which to release it. Their impassioned techno rage was captured perfectly on three further singles: Warsaw Ghetto (1985), Warsaw Ghetto Remixes (1986) and Let Your Body Learn (1986), which raised their profile to the extent that in mainland Europe they were soon regarded as leading exponents of the new Hard Beat or Electronic Body Music (EBM) scene.
Signing to Mute Records (the UK’s biggest electronic record label) in late 1986, they released the brutal beats of Murderous (1986) and international funk aggression of Let Your Body Learn (1987) as the opening salvoes in what would prove to be a long-term relationship with the company. The latter single was a smash hit in the clubs of New York, while their next release Join In The Chant (1987) was an early hit on the nascent UK acid house scene. Their subsequent debut album That Total Age (1987) neatly encapsulated the essence of the band, combining irresistible rhythms with controlled anger and energy to create a classic slice of hard-edged proto-Balearic techno. It became for many fans the definitive example of the Nitzer Ebb sound.
This infectious mix attracted the attention of fellow Essex lads and label mates Depeche Mode, who invited the group to accompany them on the European leg of a highly successful world tour, exposing them to large – and appreciative – live audiences. Returning to the studio after the tour, they completed their next album Belief (1989) as a duo following the departure of David Gooday, while Mark ‘Flood’ Ellis became their new producer and steered McCarthy and Harris towards a more refined sound. With their own world tour now in the pipeline, they recruited Julian Beeston to assist them and he soon became a regular contributor both on and off stage.

The third Nitzer Ebb album Showtime (1990) revealed a less confrontational sound and an accessibility that appealed particularly to audiences in the US. The single Fun To Be Had (1990) even received a groovy remix by the grandfather of funk George Clinton and reached no. 2 on the US dance chart. For their fourth album, Ebbhead (1991), they showcased a more considered, orchestrated songwriting style that still threw in plenty of hard industrial beats and raw guitar samples. Promoting the album with a global tour that took them from the southern US to northern Siberia, they were beginning to enjoy the fruits of their truly international appeal.

However, by the time of their fifth album Big Hit (1995), Nitzer Ebb had been through a major metamorphosis. Gone was the techno rage of yore, and in its place was a greater use of ‘real’ instruments, especially guitars and drums. The new songs were also more complex, dividing their fan base into those who simply wanted them to go on making Electronic Body Music and those who supported their desire to develop. McCarthy and Harris recruited a new third member, Jason Payne [percussion], to their main line-up, and also brought in John Napier [guitar, percussion] to assist with live performances.
Big Hit seemed to be the final release by the band, with all concerned beginning to concentrate on various solo and side projects, a practice McCarthy, Harris and Beeston had actually started in 1989 when collaborating with the German group Die Krupps. McCarthy has subsequently been a regular collaborator with both Alan Wilder (formerly of Depeche Mode) on his Recoil project and French electronic producer Terence Fixmer as Fixmer/McCarthy, while Bon Harris relocated to Los Angeles and worked as 13mg and as a member of Maven.
However, the turn of the millennium saw the likes of respected DJ/musicians such as Richie Hawtin, Derrick May and LFO’s Mark Bell pay tribute to Nitzer Ebb by remixing some of their classic tracks for a series of 12” releases on NovaMute, while 2006 saw Mute honour their enduring influence with a CD/DVD retrospective entitled Body of Work. This coincided with the group starting to play live again, since when they have graced many festival stages, toured in their own right and recorded new songs.
Finally, almost 15 years after the release of their last studio album, Nitzer Ebb are releasing the fruits of these recent recording sessions as their brand new album, Industrial Complex, on the German label Major Records. A comeback after such a long hiatus is difficult for any act, with the inherent danger of sounding either dated if it veers too close to past glories, or irrelevant if new recordings are too different to previous releases, no matter how good the material may be. However, with Industrial Complex Nitzer Ebb have expertly mastered the challenge and delivered a piece of work that sounds fresh and modern but without denying their past. Musically and vocally diverse but without being uneven, they focus on the essence of each track (something they’ve always been particularly good at) and thus Industrial Complex works perfectly on the dance floor and at home on headphones. The album features several songs that have become staples of the band’s live set since its reformation, including the irresistibly energetic Once You Say (which features Depeche Mode songwriter Martin Gore on backing vocals) and marching rhythms of Payroll, while the dark, brooding Never Known has featured in the soundtrack to Saw IV.


Major Records (physical)
MuteBank (physical)
PopOnaut (physical)
InfraRot (physical)
MusicNonstop (physical)
Amazon GER (physical)
Amazon UK (physical)
JPC (physical)
Indietective (physical)
musicload (digital)
iTunes (digital)
Amazon GER (digital)
Amazon UK (digital)
MediaMarkt (digital)
JPC (digital)

Nitzer Ebb
Major Records

Shut Up And Dance! Reloaded

Event Title:

Shut Up And Dance! Reloaded




15. January 2010
23. January 2010
03. February 2010
08. February 2010
30. May 2010
07. June 2010
08. June 2010
28. June 2010
08. July 2010
10. July 2010
11. July 2010

Short Info:

Choreographies by Martin Buczkó | Sebastian Nichita | Tim Plegge | Kathlyn Pope | Nadja Saidakova | David Simic | Xenia Wiest

SPACE CONTROL AREA, for interest only!
Choreographed by Kathlyn Pope
Music by Delia Derbyshire, Clara Rockmore

Choreographed by Sebastian Nichita , Martin Buczkó
Cello Zoë Cartier

Choreographed by David Simic
Music by Arshak Ghalumyan , Balanescu Quartet (mit John Lurie)

Choreographed by Xenia Wiest
Music by Patrick Soluri

Choreographed by Martin Buczkó
Music by Infinit

Sonett XVIII
Choreographed by Tim Plegge
Music by Philip Glass

Choreographed and staged by Nadja Saidakova
Music by Luke Slater (The 7th Plain)

Info Text (german only):

Mit SHUT UP AND DANCE! RELOADED stellt das Staatsballett Berlin unter Beweis, welche choreographischen Talente im Ensemble schlummern. Das Projekt für die Choreographen des Staatsballetts Berlin fand erstmals 2005 im Magazin der Staatsoper Unter den Linden statt und konnte 2007 erfolgreich im Club Berghain fortgesetzt werden. In dieser Spielzeit ist der Spielort die große Bühne der Komischen Oper Berlin. Sieben Choreographien stehen auf dem Programm, darunter fünf Uraufführungen: von David Simic, der zum ersten Mal dabei ist, dem Stuttgarter Tim Plegge, von Xenia Wiest, die mit Klang-Kompositionen experimentiert, Martin Buczkó, der seine Musik teilweise selbst komponiert und von Kathlyn Pope, die an die Anfänge der elektronischen Musik erinnert. Nadja Saidakovas „Egopoint“ erlebte seine Uraufführung 2009 bei den Berliner Festspielen | spielzeit’europa. Und das siebte Stück „Among Myselves“ ist bereits 2005 entstanden und erweist seinem bereits verstorbenen Choreographen Sebastian Nichita eine Reverenz.

Buy Tickets:

@Staatsoper Berlin


Shut Up And Dance! Reloaded
Komische Oper Berlin
Staatsballet Berlin
Luke Slater

out now: State Of The Union – Dancing In The Dark [Infacted Recordings]


State Of The Union


Dancing In The Dark


Infacted Recordings


fact 3132


Release Date:
22nd January 2010




Dancing In The Dark
(Heimataerde Remix)

Dancing In The Dark
(Digital Frequence Remix)

Dancing In The Dark
(Pulse State Remix)

Dancing In The Dark
(Cryogen Second Remix)

Dancing In The Dark
(Die With You Remix)

Dancing In The Dark
(Martyr Art Remix)

Dancing In The Dark
(Sthilmann Remix)

Dancing In The Dark
(Stahlnebel Remix)

Dancing In The Dark
(De Tot Cor Remix)

Dancing In The Dark
(Electrovot Remix)

Dancing In The Dark
(Thanos Mylonas Remix)

Dancing In The Dark
(Mordacious Remix)

Dancing In The Dark
(Art Deko Remix)

Dancing In The Dark
(Led Manville Remix)

Dancing In The Dark
(Neuromatik Remix)

Dancing In The Dark
(Fatal Rupture Remix)

Dancing In The Dark
(Aqualite Remix)

Dancing In The Dark
(Enter & Fall Remix)

Dancing In The Dark
(Polarized Remix)

Dancing In The Dark
(Sidechain Remix)

Dancing In The Dark
(Reizstrom Remix)

Dancing In The Dark
(Red Flag Remix)

Dancing In The Dark
(Nydhog Remix)

Dancing In The Dark
(Ladder Remix)

Dancing In The Dark
(Orphee Remix)

Tracks 16-25 are MP3 bonus tracks!


Info :
With the release of their last album “Evol Love Industry” State Of The Union managed to get a real breakthrough in the european electronic scene. Besides bands like VNV NATION or ASSEMBLAGE 23, State Of The Union became a driving force in the “past futurepop” movement. Songs like “Timerunner”, “Fall from Grace” or “Radioman” became real clubhits in the scene. With “Dancing in the Dark” the band delivers another floorsmash for their fans and the clubs around the globe! The new MCD delivers a never before tried out new release concept. Leaving out the original track (to be exclusively found on the next State Of The Union studio album) the MCD comes with 25 (!) versions of “Dancing in the Dark” (15 in audio + 10 in mp3 format). A must for all clubmaniacs, DJs and dark dancers!


Full Track Streaming:


Buy CD:


Buy Digital:
Infacted Recordings
Beatport Classic


State Of Union
Infacted Recordings