A near-twenty-minute EP from 1999.

‘A work of intimacy, love, struggle, grandeur and sonic adventure,’ recorded in Geneva during 2013-4.

I really felt the need to work on something like In Major in the moment I started it. It’s instantly joy!
And only back then, during the storm, I thought of working on an album…

Eighteen freeform electronic miniatures by Lorenz Lindner — aka Mix Mup — after his love of experimental ambient and soundtrack idioms.

None other than Mick Harris from Napalm Death, and his deadly Midlands iteration of Detroit techno. Transatlantic motor-funk from the mid-nineties, when Brummie club-night the House Of God was alive and kicking. Still stinging.

Excellent, tastily apportioned EP, kicking off with a synthy dancefloor chugger from Moon’s back pages, and debuting a fresh, desolate Purpleness, in Art Direction.

At last, after a long break… WM006.
A four-track EP by Morgan Louis — from the 004 showcase — plus three locked grooves.
Pedigree, locomotive, deep steppers.

Moritz from Basic Channel and Rhythm And Sound, alongside Vladislav Delay (Chain Reaction) and Max Loderbauer (Sahko): a dream crossing of classic Berlin techno, On-The-Corner Miles, Larry Heard, and Can.

At its most open, shifting and expressive to date. For all the music’s complexity and deep coherence, freedom is the key. At times it grooves hard; at others it’s lush, romantic.
With Tikiman and Marc Muellbauer.

A handful of LPs signed by Moritz!

At its darkest and most driving. The group is clear and unanimous — this is their best yet.

Meditative, absorbing dance music in true Moritz style — at times seemingly transfixed by its own elements, and minimal almost to vanishing-point, but quickly back ticking, kicking and amassing.

Tony Allen, Max Loderbauer and Moritz von Oswald; mixed by Ricardo Villalobos.

A kind of intimate scrapbook of the startling collaboration between the techno maestro and this long-standing musical collective based in Bishkek, devoted to the roots music of Kyrgyzstan. Loose-leaved but balanced, lucid and intimate, it sets out from stunning a cappella and virtuosic komuz and kylak, mouth harp and traditional percussion: not field, but expert studio recordings, using marvellous vintage microphones, made over several days in Berlin. Further, a few of these are deftly treated by Moritz, using Reichian de-synced double-tracking, and discreet effects. Also two ten-minute dubs: a deadly, signature Berlin steppers, plus its version; and an echoing, mystical drum session, recorded live on stage in Bishkek. And a side-long, dream-like summation: the locomotive, oceanic, clangorous, dread Facets.
Ravishing, rooted, searching music; beautifully presented.