Release Date: 06 Jun 2011

No stranger at all to electronic music, the ever deep and acidic Billy Dalessandro makes his EP debut on Archipel with a four track package entitled “Bootsy’s Bass“. The title itself is in whole indicative of what one shall find within these aural weavings. 

The title track “Bootsy’s Bass” is endowed with darkened, warped and yet highly funky low-Hz magick which slithers and slides precisely and effortlessly amongst devilishly charming percussive architecture. “Piri Piri” takes on heavy and plush Detroit styles hues applied with Dalessandro’s trademark hearty funk laden brushstrokes whilst “Piri Piri 303″ gives rise to a subtle and softly intense pit of bevelled acidic magma, sticking to an irresistibly nostalgic palette but with much novel clarity and contrast. “Teo’s Lullaby” is the softer of the four but remains highly enveloping in its warm characteristics and carefully orchestrated contortive manoeuvres, forming a deeply heart heating core; a most engaging set of glossy ribbons of multi-hued light gently wrapping around one another in an eternal spheric dance.

Tracklist:

1. Bootsy’s Bass
2. Piri Piri
3. Teo’s Lullaby
4. Piri Piri (303 Mix)

DIGITAL STORES: Beatport.com | What People Play | Amazon.com | Junodownload

*FEEDBACKS*

* Someone Else
track 1 s dope

* Funkatron
Loving this EP. Go Billy

* DJ Pawas
nice n old school!! will play piri piri for sure

* Todd Burns (Resident Advisor)
I love this vibe!

* Niederflur
good stuff from dalessandro! I like all tracks in

* Franco Cinelli
I like the OldScool Vibes at the Piri Piri track!

More info:

http://archipel.cc/

http://www.facebook.com/archipelmusique

http://twitter.com/archipelmusic

http://soundcloud.com/archipel

http://www.youtube.com/archipelmusic

Release Date: 23 May 2011

Niederflur need no re-introduction as their mightily constructed rhythm-scapes should by now be a loved and appreciated staple fully embedded in the minds of many. The duo make their return to Archipel, following up their 12″ release with a release entitled “Tapewurm EP” on Archipel’s well established digital series.

Five pieces in all, Niederflur bring us their finest aural constructions embedding a multitude of multi-layered hues and textures into their sonic tapestries. “Tapewurm” hints at their earlier directions traversed on Minus while increasing their energy to a further level of driving intensity while still remaining exceptionally deep and hallucinatory. “Stakkato” oozes vibrant electricity with its old-school electro tinted windows looking outward and inward to a bio-mechanical world of the most intricate and hypnotizing structures.

“Reinraum” rolls smoothly like wind shaping dunes of sand and slender clouds carpeting a mysterious night sky as acidic curves of fizzing light carve their way through deep royal blue night air thick with warmth and moisture while “Asphaltsee” takes on a heavily Detroit inspired palette ripe with molten low frequencies and acidified illustrations drawn via travelling alone on a night freeway letting street lamps draw trails on contented and drowsy retinas.

“Schleichfahrt” again touches upon darkly tinted old-school electro soundscapes in an immaculately formed manner as flickering mercury vapour lamps form layers of lime hued glass riding currents of invisible energy as they traverse abandoned street-scapes of perfectly aged extra-terrestrial concrete.

Tracklist:

1. Tapewurm
2. Stakkato
3. Asphaltsee
4. Reinraum
5. Schleichfahrt

AVAILABLE IN STORES NOW!

* Beatport.com

* What People Play

* Junodownload

* Amazon.com

* Traxsource

* Soulseduction

* Boomkat

* Zero-inch

* Djdownload

* Web-Records

* djshop.de

* Electronicbeats

*FEEDBACKS*

Todd Burns (Resident Advisor)
Love the Tapewurm. Great track. This whole record are in the roof off the mouth with thumping party beats.

Alejandro Vivanco (cadenza,supernature,fumakilla)
thanx for the techno sound

De-bug Magazine
Simply amazing with Niederflur.. follow the review next days.

Mr. Statik
Archipel delivers the goods once more, great release from Niederflur, this is the real techno deal!

Lineas de Nazca
nice work keep it up..big fan of archipel

Sven Laux
Good to see Archipel back with some more Techno influenced tracks. Reinraum is my fav on this one. Thanks!

Benjamin Fehr
niederflur is always very special and great! love it. in my bag!

Miss Sunshine
very nice tracks, simple and groovy, very nice starter! also love the Asphaltee! Nice retro acid feel.

Andrew Grant
enjoying the deep adventure know as Tapewurm

Butane
Very hypnotic release! Reinraum is truly an aural feast for the ears. will play a lot!

Agaric
super release – really like these tracks as they sound  so fresh & creative!

More Info:
http://archipel.cc/
http://www.facebook.com/archipelmusique
http://twitter.com/archipelmusic
http://soundcloud.com/archipel
http://www.youtube.com/archipelmusic

Release Date: November 18, 2010

We’re very pleased to welcome Sweden’s Ingemar Stalholm to Archipel with his debut album “Mental Garden Still Life” which is a darkly warmed holographic portrait lit with aurora dangling at the edges of silken high atmosphere clouds. The album is a mainly 4/4 driven affair although there are pieces which drift into the abstract realm

such as ’9%’ and ‘King’s Caf’ where flakes of glowing ashes spiral about in spherical night breezes, delicate melodies being spun off of the cusp of swaying rhythms. There are lighter slabs of 4/4 such as ‘Koan’ and ‘Gordian Pop’ which provoke an immediate state of perfect twilight hypnosis spent watching the fading daylight cast gordian knots onto the wall through the branches of dark trees.

‘Eschatology’ and ‘My Mental Garden’s traverse ultra deep territories where eyes slide shut and intricate phosphenes begin to take over one’s field of vision in a state of half-sleep dreaming. ‘A Night At The Airport’, ‘Adapt’ and ‘Stupidity Takes A Break’ cover the grounds of very early dawn as the blanket of night is lifted and subtle clouded trails emerge in the hazy blue-green glow of another one of Earth’s revolutions and the dew begins to drip down the brows of still sleeping forests.

Ingemar’s situation has always been that of a paradox: the lament of having been born too late to have taken part during the defining moments of techno and electronic music, with gratitude, and the dependence of the internet to connect with like-minded people all over the globe.

Constantly trying to capture the beauty of nature and the profoundness of thought, inspired by late nights and hypnotic grooves, and fueled with nothing but love for the music Ingemar sets out to take the best of yesterday with him and proudly continue into uncharted sonic territory.

As the story began…

Pheek: Initially, I had made a sample pack and I wanted to release a few EPs of artists. I wanted to do conceptual releases and started with a sample pack. Nothing much more. Then I wanted to do one vinyl.. then.. then:

2004: First series of non-official pre-Archipel projects are realised. Some sophisticated releases with special packaging and such.
2005: Archipel is launched. The original idea was to compile a sample pack and then collect demos made from the samples and release them as a netlabel, all for free. First official CD release by Somfay.
2006: First vinyl release: Jesse Somfay vs. Pheek – Galapagos Excursion Joint 1
Entry on Beatport and the age of selling mp3s. At first, the label would sell hi-quality and still give away free low-res. Then we decided to adopt a model where we would sell for 3 months and then put it for free.
2007: First 2×12″ for the album of Pheek.

2008: Mutek Showcase
2010: 5 years of like-mindedness.

When did you first meet JP in person?

Stefny Winter: I first met JP (Pheek) in person in 2007. I had a record release party in NYC where I resided at the time. He was a big influence on me with that EP, so I had him flown out to perform for the celebration at Bar 13. Of course there was an instant connection and well, you know the rest.

Jesse Somfay: I met flesh JP in the summer of 2005 when he held my album launch party for Between Heartbeats. This was probably 3/4 of a year after I had met him online. Meeting him was incredible and I could feel the creative energy around him and especially in his home where I stayed. I was still fairly new to all of this at the time, having only just played my first shows the winter of 2005 in February and March, in the US, and I was still quite naive. JP has played an enormous role in my life by being there as a guide and mentor to me. He is an excellent, dare I say, perfect, teacher. He let me learn to fall and to get up again [not only in the arts but on a personal level as well] and he has always been here to talk with. He is more than just a great friend to me, I see him as a part of my family, an elder and wiser brother.
Vincent Casanova: The first time I met Pheek in person was at Club of the Visionary in Berlin. I saw Pheek from a distance of about 10 meters chatting it up with a young lady. I dashed over and interrupted them saying PHEEK! JP looked up at me as if my face was melting and after a few seconds of staring inquisitively broke into a huge smile and said VINCENT! I was like ‘Yo buddy!’ and we hugged. Though I had never met Pheek before that time, I feel meeting him in person confirmed ideas that I had about how he was- a gentle, intergalactic magi of sorts, with a warm aura encapsulating his body and immediate surroundings.
Niederflur: We met JP (Pheek) first when we played a show together in a small German town called Kassel. It was kind of a big party but even through sound check we initially clicked. Next day we had some spare time, which we spent together visiting a exhibition of modern art and it was obvious that there was a connection beyond the usual party chat.
Marc Neyen: Well it wasn’t too easy to meet him as he wasn’t playing that often in Europe but luckily he had a gig planned in Brussels while I was living in Amsterdam. So I decided it would be a good opportunity to meet him and have a good night out as the line-up was promising with Pierre, Miss Fitz, Kabale und Liebe, Pipovitch and his highness himself. The location was cool too, on some boat on a canal. Well I don’t remember too much what we talked about and had trouble understanding what we screamed at each other due to the volume in the club but I remember him playing one of my tracks in his set which was nice as I had never heard them in a club before.

Jin Choi: Some friends informed me about Archipel. I think it was Markus Müller (Festplatten, Connaisseur, Traum) and Adam Kroll (Traum, Cocoon), who was a fan of Pheek’s music back in that time. It was early 2006 or so and there happened a lot of new stuff in music. I was out of electronic music for many years and only knew old school stuff from Cologne from Kompakt, some old Detroit and some Berlin sound. I dropped out of techno late 90ties as it got conceptually repetitive and was amazed to find out mid millennium that so much was happening again… I started to produce techno in late 2005 to early 2006 and so Archipel was one of the first “modern” labels that got introduced to me in that time… JP is a super cool person. And I think we connected very well from the first moment on.
Joshua Smith (Time For Trees): We used to have a really unique way of treating guest artists who came to Colorado to play for us. What we would do is pack into the club where the party was at, get drunk in as expedient a fashion as possible, and then proceed to verbally berate whoever was onstage. The list of people that I have loudly referred to as “bitch” includes Bruno Pronsato, Troy Pierce and of course, Pheek.

So, Pheek played his set, my friends and I were incredibly rude and boisterous, and somehow this behavior managed to endear us to him, and we all ended up friends with the nicest guy in techno. There’s a great photo that was taken at Mutek of me leaning over the table on stage up in the Savoy at Metropolis screaming at and shaking my finger in the face of Pheek, who is smiling and laughing. This, I think, pretty much sums up our friendship: drunken yelling through smiles.

Jonathan Canupp (Ten and Tracer): After only a few moments of discussion, it was clear that JP was a really amazing fellow and could connect immediately with our little crew. Joshua and I also carried out our duties as comedic hecklers and we shouted a number of terrible things at JP – he really loved our awful humor and he encouraged me to give him some of my music. After a couple months of communicating, I made the L-Msaria B-Lglass tracks and he enthusiastically offered/asked to release them. We’ve met a number of other times in Colorado and Montreal and it has always been a real pleasure to hang out with JPatskies.

What was your view of net labels before you hooked up with Archipel?

Neyen: I didn’t really know about net labels before! I discovered Archipel pretty much at the same time as I discovered the rest of the scene and it just seemed a bit odd to me that people give away their music and work for free.
Niederflur: A few years ago the whole idea of net labels had different meaning then today. There was kind of a promise of more creative freedom and artistic democracy in it. Considering the development of physical sales in the past years this changed and it will probably be the only way to distribute music in the future. Even the sales of files are descending, so the reality is that giving away music for free will more and more be unavoidable. We do not like this development in total, but it is a fact.

Somfay: In the beginning I had no idea. It was as much a mystery to me as I am sure it was to JP. I had no idea where it would go or how much it would grow but I had good intuitive feelings about it mainly because of JP’s attitude about the project. It was exciting not knowing exactly where things would go, and it still is, although there is now a very strong foundation for us to rely on and we have become family because of it. I know JP is always very balanced in attitude about where he wants things to go and I feel that this is one of the keys to Archipel’s continuing growth and success. His sense of balance and his ever willingness to continue to tread unknown waters. JP is a true innovator with Archipel and I struggle to find more labels with this same love of unknowing and mystery and most importantly the need to bring beauty into the world rather than make an enormous profit. Yes we do have to make a living and it is certainly not easy but this is something I know JP has made sacrifice after sacrifice for and that proves to me beyond anything that he truly is in this for the beauty and sharing of that beauty.
Canupp: Personally, I think that Archipel has established a more challenging and intelligent catalogue of electronic music than the average electronic (minimal/dance) label. They have shown confidence in releasing a huge range of styles, but managed to maintain a core audience and some esteem from other producers and DJs. It’s incredibly difficult to balance intelligence/creativity with accessibility and pop sensibility – really any attempt is admirable. Fortunately for the Global electronic music community, I believe that Archipel has achieved a remarkable balance and have kept a solid lineup of artists and releases. I’m pleased that JP/Archipel have achieved the visibility they have, and use that visibility to introduce some more interesting art into the scene.

Tell me about the first time that you heard the word Archipel

Smith: “Really, that’s how you pronounce it? Are you sure?”
Pheek: Archipel is the French equivalent for “Archipellago”, which means, an or many island in the middle of no where (ex. Japan, Hawaii). It came from the feeling of being isolated in my way of thinking and making music. I often and still think I’m alone to like this or that kind of music, made in a specific way. I know there is others but very few so I had the idea of building a community of producers who would be alike.
Jason Corder (offthesky): …I’m not sure on the exact moment I first heard the word Archipel but I remember hanging out at JP’s place many years ago when he took me aside – very sternly – saying “I have this crazy idea i want to tell you about (with his serious face on)”. I’m really happy he’s crazy enough to have an amazing idea like that (and also run all the way it)!
Jin Choi: I think the name of the label actually says it all: It is a group of small islands, all individual, yet close as a group or community. All artists are really different, yet there is a strong qualitative binding element. And all people I met until now were super nice.
Somfay: The meaning of the word Archipel, or Archipelago, is something which rang very true to me at the time although I did not know how truly meaningful it would later become for me. We, the Archipel family, are a group of islands, an emergent cluster of like minded and like souled beings with very similar creative desires. Through each of our personas we are able to add unique perspectives into something greater.
Niederflur: We first heard about the label years ago, don’t really remember exactly. Pheek kind of was always there, so we didn’t discover him through the label.

Describe what Archipel means to you in 5 words

innovative, passionate, insight, creativity, originality
archipel means more than words
lush emotional out of boundaries
supercalifragilisticexpialidocious.
amazingly diverse collection of artists
music by people with heart
hypersonic brain improvement discovery world
great platform for artistic freedom

How have your relationships/friendships and your role with in the label, in the time you have spent working with it?

Anonym: To be the first artist released on Archipel was an honor.

Lee Curtiss: Pheek was one of the 1st people to take notice of my work in the Studio and had always been such a sweet guy and huge supporter of my work. While I was working on putting together my 1st release years back, was sending music to Matthew Dear, one track of which he wanted to put on his Fabric Mix CD. I had not signed the track to anyone and needed to have a home for it to get it licensed for the mix. I wrote JP about it and he immediately responded saying he would love to put it out but had a full schedule. He then basically started the label Kalimari so we would have a home for the track and be able to get the track licensed for the mix. JP also was an integral part in me playing my 1st shows in Canada including the Mutek festival. He’s a wonderful guy and I thank him for his help and for pushing me early on.
Niederflur: Creative freedom, respect between musician and label, things like this. We always find that in Archipel. It is always a very fair communication between JP and us. We came to a point where Niederflur and Minus didn’t really go into the same direction anymore, so we started thinking about where we could find a new home for some of the material we had produced at the time. That was only short after we had met JP for the first time so it was an easy choice to send the stuff over to him. The fantastic part then was that he liked all of the tracks right away so we knew we found someone who looked for the same things in music as we do. Working with Archipel is extremely nice for us and we definitely plan to continue that.

Somfay: Music is communicating something much deeper and intricate than writing alone can convey so whatever emotions and thoughts are going through an artists mind, whatever they are feeling, we can feel it too from our own perspectives, their ideas and emotions are transmitted physically into us and into each other. For me especially this holds to be true because I hear every release when I write the infosheets/onesheets for our records. I’ve heard every artist on the label and, although I have not met a lot of them or even had communication with them, their transmissions have touched me, quite a few of them very deeply.
Smith: My most positive experience with the label was when we had Pheek and Stefny out to Denver for one of our Make Mistakes parties. It was super rad to see both of them, as it had been a couple of years since JP and I had seen each other, and I hadn’t even met Stefny yet. Anyway, it wasn’t even the party that was great about the experience, it was going to a Family-Fun-Center and playing miniature golf and riding the Go-Carts with them…getting to spend time with JP is pretty much one big go-cart ride.
Corder: Mostly anymore I look for friendships through label connections – and a sense of serious promotional support from the label to the artists. I think Archipel does pretty gracefully networking and conjoining awesome artistic minds from all over.
Neyen: I’ve spent the time finishing my album which will come out on Archipel this fall and it seemed like the right choice to release it there as I consider Archipel my home label. Besides working with JP has always been a pleasure without complications and the label still releases music that I can relate to.
Canupp: Archipel provides a different outlet for my music and introduces my work to a totally different audience (as Ten and Tracer They have also facilitated the emergence of Les Freres Courvoisier as the amazing super-duo of fake French brothers they are today. Working with Archipel inspires me in a different direction and challenges me to pursue processes and styles that I wouldn’t normally realize. Such inspiration is rather rare, so it’s a real pleasure to have in my life.
Pheek: I’d have to say the initial core of the label, JS Baillat (partner et designer), Mateo Murphy, plus Somfay have been extremely supportive and are very close friends. The label wouldn’t be what it is now without these two, for sure. As the label grew, other people joined to help such as Cantin, Douglas the elf and of course, my precious Stefny who currently does A&R.

What is your favorite release(s) on Archipel

Pheek: This is more or less like asking a mom to name her favorite kid of the family, basically impossible to answer. If I release it, I love it. I really do. That is pretty much my way of deciding if I release an EP. There are some tracks that I think will be anthems for the label such as “Small Pebbled Forest” by Somfay, who really made the label known to many people. “Gerdur” by Russian Linesman that is quite magical too or “Sex Island” by Les Freres Courvoisier. But the real pleasure of running my label is to be able to say that I’m building some sort of legacy that I want to leave behind as a very personal selection of emotional moments, caught in sound.
Jin Choi: My favourite release is this early mellow and dubby Archipel release of Somfay  with this drop-like sound raining down [note: "Small Pebbled Forest"].. Just lost the track title now.. maybe you know. Anyway: brilliant track! I still listen to it.

Anonym: I prefer the earlier works on Archipel. When it was still more experimental and the concept of using other producers samples from the sample pack was still fresh and working well.

How has it been working with your husband on a venture like this?
(Owning/Running/Managing Archipel as a record label/source of income)

Stefny: It has been fun, challenging, frustrating and rewarding all the same time. We both have a passion for music and make a great team. It isn’t by any means a source of income, especially these days. JP wanted to quit the label but I talked him out of it and took on most the load which gave him more time to work on his own projects. We do it for the love of it and to keep releasing the music that we like (an “avant garde” sound) and want to hear as well as give artists with the same passion exposure they deserve.”

What is the most positive and gratifying experiences with the label

Pheek: Meeting people on the road is certainly my reward for running the label. I felt like many times, I attracted people like me,  many times I met people who really saw through the label, understanding it beyond certain points I even saw myself and that brought really amazing discussions and emotional moments of communion. Same thing for certain gigs where people would show up, really knowing the label and would be interaction on certain tracks I would drop. Really magic and I will never forget those times.
Stefny: I think it’s when we are able to pay our artists and to hear the excitement and gratefulness of an artist that releases their music with us. Also when on tour getting to meet some of them and developing an even more personal relationship outside the computer is even more rewarding.
Somfay: I am always influenced by the music I hear JP choosing to release. Often times it amazes me what people come up with and the diversity and quality of it all blows my mind and caresses it at the same time. Diversity itself is something I take very seriously in the artistic world as I have an unending palette to satisfy.   When I release something on Archipel there is always a special influence I have because of my connection to the label and the music its artists release.  It’s a completely independent experience from any other label. This also has to do with it being family but it allows me to be free within reason and show my techno chops with a very contrast laden atmosphere. On Archipel I like to be warm and glowing and also a little dark at the same time but also very hypnotic and heady. It allows for a combination of all the things I like in techno but don’t often see combined as one. This in turn influences my other projects whether they are electronic or not.

What are the most important values you look for when affiliating your work with a label and how has Archipel fulfilled them?

Stefny: Archipel’s goal is not to reach number one on the charts but to reach the listener and release timeless music. It doesn’t move with the trends and we will keep releasing music that we believe to be quality for those who are interested in not only “dance” music but the whole spectrum of sound and who really want to listen.
Jin Choi: I nowadays only release on labels where I like a) the music and artistic environment and b) the people on a personal level. I need a “connection” and mutual understanding on both levels. I think this is the only way to be artistically free and consistent. I don’t want to compromise in my music – or at least I try not to get compromised.. oh, and.. I hope JP and Stefny agree to this, but we (my wife and I) really got to be friends with JP and Stefny. We love them – and we still try to lure them to Berlin to open up a Canadian breakfast restaurant.
Smith: The best way to work is to do it with people you can have fun with, that way it’s more like play than job, and that’s why Archipel is great to work with, it doesn’t adhere to a sound, but to a sense of camaraderie that transcends the imaginary labels we’ve slapped on electronic music. That’s what you want a relationship with a label to be like, someone you trust, not someone you’re working for or being friends with. In an industry that sometimes appears as infantile and shallow, working with Archipel is a jump in the deep end of musical friendship. So, that’s nice.
Our relationship has changed from being one of just a superficial bantering back and forth about silly things, to a very deep bantering back and forth about silly things. JP and I have a lot of common views on things, but are just different enough to keep our conversations feeling fresh.
Neyen: I’m following the scene now for about 4 years and there’s tons of new labels that come as they go and despite not focusing on more commercial or danceable music, Archipel has survived and will celebrate 5 years now which makes me sort of happy. Pheek himself has been around for more than 10 years which is already quite an accomplishment and I hope things will continue to go well for him and Archipel as I see it as one of the few labels that stubbornly keep on releasing music that follows a certain esthetic while ignoring trends, therefore making it hard to maintain the effort and to survive in the industry.

Casanova: Pheek is a genuine person with genuine values (and extreme skills) as a musician and his ideas about music are so passionate and original, that he can’t help but build a great and rare library of musical creation for the world to access. Pheek’s dedication is boundless and he is able to execute the plans he has in a reliable and consistent way, this much should be acknowledged and praised for the world of music is not an easy one to succeed in. I have never heard more futuristic music live than when I first heard him on a big sound system, that was quite a trip and can never be imitated by anyone else.
Canupp: Archipel is truly important and I hope that it continues to grow and achieve greater visibility. They are one of the few outlets that aims high above the lowest common denominator and encourages people to challenge themselves with new music, new ideas, and different ways of reacting to art and music. Not only that, but JP and Stefny are very lovely people. I hope to continue to collaborate them for as long as time allows – and may many more people be influenced by them.
Anonym: It has been an honor to have worked with Archipel. I have always been proud of what Pheek has done with the label and wish him continued success through out all of his life.
Niederflur: Well, it’s complicated to sum this up. It’s a very special label, because it’s so personal. You never get the impression here that it could be a business issue. It’s more like to be with friends and do the things you love.
-

Somfay: It, and a certain few artists who know who they are, taught me most of all what it is to love unconditionally, as an artist and as a soul. To learn to love through one’s work, this is something precious and incredibly rare. I have nothing but everlasting gratitude for it. As cliche’d as it may be, we, Archipel, are truly in this together.
Pheek: One thing I feel is, my label has been following me through my life, as a friend, almost, as a storyboard. Some releases came out at very special moments and the synchronicity was amazing. Some people followed us since the beginning and like I’ve often said, it built a common sound track for the lives of many.

Pheek’s “Channeling” release for our 5 year Anniversary Party this Saturday (20 November 2010) at Espace Réunion. Montreal, Canada
More info: http://www.facebook.com/event.php?eid=162020870479818
http://contemplation.archipel.cc/invitation/

Archipel has been a family and a community, in constant growth, for the past five revolutions around the sun and we’ve had so many excellent personal and shared experiences within this hive of great minds through this time. 

We are so proud to bring you together with us in celebration of our five years and five years yet to come. We have limited edition CD’s available in 5 different colors available on www.cdbaby.com. Now we have a digital release out July 14th 2010. Available on Beatport, whatpeopleplay, Juno, Itunes and more.

We’d like to mark this milestone with “Alike Minds: 5 Years Archipel Of Music” which is a very condensed hint of what we’ve done and what we aim for in the future. What are we aiming for? The greatest of mysteries. We have come about by synchronicity and it has brought us here. As the branches of our tree grow ever more and stronger still we are as much in this mysterious adventure as you are.

This is something shared and we are proud and happy to have shared and to continue sharing more with you. In this compilation we’ve selected twelve pieces from some of our best (although we view all our artists in the brightest light!) artists. Pieces cover a vast range of feelings and tempos as much our community as a whole embraces variety.

Pieces range from the soft fizzing ambiance of Offthesky through to the mesmeric funk of Jack Rock, Time For Trees and Vincent Casanova. From the warm and bright hypnosis of Sula, Louer, Niederflur and Sensual Physics to the thick heady slabs of techno from Smirk, Stefny, Pheek and Flourish.

We hope you enjoy where we’ve all been and will join us on the journey to where we are going. In any case, we are always, here and now, Archipel.

Canadian techno artist Jean-Patrice Remillard, known as Pheek, will release his 10th album on Archipel, his own imprint. After waiting 4 years to produce a new album, Pheek worked on nailing down a technique of automatic writing to his music.

Take a tour: http://channeling.pheek.com/

For immediate press release

Pheek will release his new album “Channeling” due for October

Canadian techno artist Jean-Patrice Remillard, known as Pheek, will release his 10th album on Archipel, his own imprint. After waiting 4 years to produce a new album, Pheek worked on nailing down a technique of automatic writing to his music. Once the concept in place, he used it to bring his intricate techno into a tale of surrealism, where non-sense take a fragile signification in the end. if the album were a painting, it would be a detailed landscape, rather than a focused portrait unassuming, until you take a step closer and realise the detail with which the brush strokes have been laid down.

With a precise focus of not censoring himself, Pheek dove into archives, using discarded sketches, mixing old ideas to new ones into a dense collage. While trying to detach himself from old patterns and not necessary having DJs on his mind, the album is made to slowly create little abstract worlds of rhythmic dreamy textures, where every excursion is a new one.

Since he first started to release music, Pheek has been known to have a sound you can recognize in the first moments through his unique signature. This album will surely bring things to new grounds while keeping the same flavour.

Final details to come in October. Medias are invited to contact the Archipel Offices at info@archipel.cc for album preview or interviews.

Jin Choi returns to Archipel to release his second 12″ in Archipel’s vinyl series entitled “Dig Your Own Out”. Just as masterful as his first Archipel 12″, Jin’s second coming is surrounded by an aura of warmth and is highly jazz influenced providing the birthing ground for his fervently smokey textures.

“Lost And Found” initiates with warm rhythms and a gentle chord pulse which grows into a sunny melody whose beams set alight slowly drifting chains of saccharine smoke. “Hurtlocker” features sultry acoustic guitar and piano melodies at its core which are woven tightly and hypnotically into an expertly stitched dance of subtle textures which wind about each other into the small hours of the morning.

“Dig Your Own Out” continues on a similar path with a gentle piano melody which is rhythmically set just so in an atmosphere of early morning mist and streams of heady rhythmic waves which are constantly in subtle states of change while they bring with them in tow an ardent series of gently warped textures.

The release was recently reviewed on UK’s The Guardian as Single of the Week.

Release Date: 10-5-2010

After his 2009 album on Archipel, we’re now proud for the return of Vincent Casanova and present to you his latest EP called “Bohemian Cybernetics”. Vincent’s EP is full of a particular bounce and hop which is totally irresistible. In “Enter The Shaolin” and “Locks Keys Levels” there is a very playful bounce which spring loads a wide

palette of juicy electrified textures and aural spaces which synchronously spring forth off of each other effortlessly and to great affect. “Her Eyes Are Portal” and “Feat Jordan Maxwell” take on a great warmth and charm and are made up of wonderfully winding spiral rhythms with gentle melodies dotted through out, wherein “Feat Jordan Maxwell” indeed does feature fragments of the researcher’s heady musings which are neatly woven into Casanova’s aural tapestry. “Malibu Eclipsed” and “The Fortnighters” are both extremely colourful and are woven of lushly textured melodies held tightly together by entrancing atmospheric rhythms which are filled with charm.

“Barberie Binaire” LP

Sul.a shine’s his warm light once again from within the arms of Archipel and brings us his stunningly beautiful fourth album entitled “Barberie Binaire“. Sul.a takes his already excellent production to another level here and reaches out into a distant binary star system, capturing its light and bringing it back for all to feel. So many styles are featured here and yet they all snuggle up and share with each other so well.

“Le Petit Piéton” and “Ta Bouche Ma Moitié” are both wonderfully warm and melodic within the frame of expertly faceted rhythms where the melodic elements shimmer and dance about in sync but at the same time frame themselves in their own right while “Écho” and “Ecchymose” fill a similar melodic and downbeat canvas but is more focused on an Autechrian type of rhythmic structure with fizzingly textured melodies which arch and wind their way fluidly about the rhythmic structures in a binary tango.

Pieces like “Soleil Blanc”, “Toujours Encore” and “Harmonique Dans la Tête” inflate a darker foil of broken beat oriented rhythmic structures constructed from a succulent palette of textures from which Sul.a’s heated melodic elements are hinged to mesmerizing effect. In a perfect ratio of inclusion also are more dancefloor oriented pieces such as “Aquacéphale” and “Barberie Binaire” (who was on Pheek’s latest Podcast and created a lot of compliments) which combine dark atmosphere with sultry and warm textures creating a magnificent contrast wrapped up in a glowing shawl of hypnosis. “La Modération” and “À Ciel Ouvert”, of which is in two complimentary parts, II without beats, take on a still dancefloor but much deeper and aquatic palette of aural tones which sweep up one’s mind and send it off into a beautifully frothy ocean of sky blue and summer drizzle kissed warmth.