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12"
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ORN 053EP
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Deep, trippy, dub techno and Detroit inspired cuts by Daniel Stefanik. Clear marbled vinyl.
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CD
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CORMIX 052CD
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Cocoon Recordings is proud to present the latest instalment in their Dots & Pearls compilation series. This third edition is a retrospective of sorts for the label and features brand new and unreleased tracks. It's mixed by Daniel Stefanik, the DJ and producer from Leipzig who has been at the top of his techno game for more than a decade, who also includes four of his own edits. This seventy-minute journey through modern techno all starts with Daniel's owns edits of Guido Schneider & Andre Galluzzi's "Mario" merged with Tim Green's big label smash "Eclipse." The two blend perfectly and get things off to a fine start before the first exclusive, "Music On My Mind" by Subb-an really gets things going. Another one of Stefanik's edits is Luca Ballerini's "Impressions Of A Dawn," masterfully merged and mixed with Tim Green's "Eclipse" and "Thieves." With each new mix, Stefanik steps up the ante and energy levels and includes contributions from Dana Ruh, Fauntleroy (Len Faki remix) and Ilario Alicante, which are all compiled and mixed perfectly together into an engaging passage of techno. Another edit of Luca Ballerini's "Orizzonte" leads to "The Concept" by Waveshape, the second exclusive and previously-unreleased track on this mix. The rest of the mix finds Stefanik mixing a Waveshape track elegantly with Ricardo Tobar's "Blue Mint" into another edit that blends into Traumer's "Kiraf." Cocoon label boss Sven Väth makes an appearance with "Ritual Of Life" (Adam Port 108 Mix) -- an über-classic club hymn that carries you away. Things get a little quieter and more contemplative with "Disappear" by Kamran Sadeghi and Julia Govor. Closing out the mix is we're brought back to Guido Schneider & André Galluzzi and their "ToFu Dubdub" of "Mario," rounding out the tight and fresh mix with a nice sense of circular cohesion.
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12"
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DISS 028EP
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Daniel Stefanik offers up two tracks that strike a perfect note between cerebral intrigue and instinctive deep house groove, channeled into an unforgettable and timeless quality. "It Might Drizzle Until September" is a truly heartfelt piece throughout its keynotes and dubby gestures. The combination of subtle rhythmic elements and strong, ever-developing melodies exemplifies the passion and power that can be worked into house and techno. A stronger beat punches through on "Jolly Green Giant," but the soothing, sensual synth lines remain, giving space for dubby effects and delicate details to feed into the mix.
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12"
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COR 131EP
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Daniel Stefanik presents a true tech-house-monster as his return to the Cocoon label. With "Twilight Zone," Stefanik moves away from his Detroit-influenced background but stays true to his oldskool-flavored vibe. Wild 909 beats and an overall atmosphere that is dry as a bone let this one communicate pure musical madness. "Twilight Zone" has been a climax of label head and Cocoon master Sven Väth's sets. "I Wonder" breathes the air of Octave One's "Black Water" merged with cool and dubby Basic Channel influences.
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12"
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COR 119EP
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With his new release on Cocoon Recordings, Daniel Stefanik proves how versatile he is as a producer by creating a vibe that refers more to his DJ sets. Stefanik melts down different club music ingredients to one unique mix, here. We hear influences from Detroit, Chicago and Berlin mixed up in identical quantities. Deeper house meet masculine bass lines and pitched-up Inner City-like beats merge with driving hi-hats and chopped up vocal samples before the whole arrangement receives a proper '90s UK-styled synthesizer polish. This is big, this is pure, and it breathes energy.
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12"
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COR 107EP
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Cocoon presents Leipzig house hero Daniel Stefanik, featuring remixes by Adam Port, Mr. G, Mathias Kaden and Legowelt. Adam Port's remix is a real deep and housey gem with cool Moodyman-like elements. Mathias Kaden builds his remix on a very solid and pumping New York house beat. Mr. G follows the house route, adding oldskool elements such as straightforward 909 hi-hats and cymbals. Legowelt's remix focuses on the technoid and crazy side of house and techno.
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2LP
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COR 031LP
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2LP version. Daniel Stefanik is one of THE techno and house newcomers of recent times. His carefree approach behind the decks are distinctive of a new generation of young, down-to-earth producers from Germany -- the result of the influence of Väth, Villalobos and Hawtin on one side, and solid but hedonistic house on the other. Whereas many producers nowadays have dedicated themselves to only one musical direction, the influence of Kerri Chandler, Chez Damier or Kevin Saunderson is clearly noticeable in Stefanik's music. His debut album Cocoon Recordings is a mirror of all these influences and yet it's so up-to-date and contemporary like only few other techno and house albums today. Entrance is the gate to Stefanik's club world, the door into the night and to the dancefloors of the hedonistic but nevertheless gloomy metropolises of this world. Entrance breathes influences from Detroit and Underground Resistance. "Light On" targets the beat and follows an almost East German approach -- house music as served by Marvin Dash or Dub Taylor: no hands-up attacks and no overproduced U.S. influences from New York, but slightly raw with an eye for the essentials."1996" is the next hint of Stefanik's influences and references. Dave Clark and Slam and also Jeff Mills and his early AXIS productions can be recognized here. The kicking 909, the demanding beat and the gloomy-like filters don't sound like Germany at all.
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CD
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COR 031CD
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Daniel Stefanik is one of THE techno and house newcomers of recent times. His carefree approach behind the decks are distinctive of a new generation of young, down-to-earth producers from Germany -- the result of the influence of Väth, Villalobos and Hawtin on one side, and solid but hedonistic house on the other. Whereas many producers nowadays have dedicated themselves to only one musical direction, the influence of Kerri Chandler, Chez Damier or Kevin Saunderson is clearly noticeable in Stefanik's music. His debut album Cocoon Recordings is a mirror of all these influences and yet it's so up-to-date and contemporary like only few other techno and house albums today. Entrance is the gate to Stefanik's club world, the door into the night and to the dancefloors of the hedonistic but nevertheless gloomy metropolises of this world. Entrance breathes influences from Detroit and Underground Resistance. "Light On" targets the beat and follows an almost East German approach -- house music as served by Marvin Dash or Dub Taylor: no hands-up attacks and no overproduced U.S. influences from New York, but slightly raw with an eye for the essentials."1996" is the next hint of Stefanik's influences and references. Dave Clark and Slam and also Jeff Mills and his early AXIS productions can be recognized here. The kicking 909, the demanding beat and the gloomy-like filters don't sound like Germany at all. On "Port Of Transition" breakbeat elements melt together with Detroit beats and arpeggios into a timeless mix -- a proper universal weapon for all the techno DJs of this world. "Distillery" is a short break, going back to more feeling and layers of sound, and back to more house beats. "Bend the Rules" leads the listener on his journey away from Leipzig and to Berlin, into its long Panoramabar nights and its hypnotic, almost trance-influenced dance marathons. "Dazed and Confused" is the soundtrack for a long walk home, when the club has extracted all your energy. "Keep On" puts a beer in your hand and the after-hour dancefloor in focus. The last track, "Confidence," represents the final chapter of a long night, the soundtrack to Berlin in the year 2012, full of Detroit and house classics, and full of quotes from almost 20 years of house and techno history.
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12"
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COR 083EP
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Daniel Stefanik is one of the most reliable initiators of electronic dance music in East Germany. "Nocturnal," the title-track of Stefanik's Cocoon debut, is another true manifesto for the bass drum, which repeatedly jumps to the track's front relentlessly within the nine minutes playtime, rising from mysterious breaks, percussive beat fabrics and melancholic harmony intermezzi. "Dirty Rhodes" receives its energy from the rhythm of the steadily-increasing snares -- a phenomenal "drum dance" in the true sense of the word.
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