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Atomnation Podcast #014 Sau Poler


The Atomnation Podcast series is a monthly curated mix by friends and like minded artists of the label. Follow us on SoundCloud and Mixcloud for updates.

The 14th Atomnation podcast is curated by Sau Poler. A producer that does not need an introduction for people that have been following us from the beginning. With tracks such as Rutes, Reflections and Jaffe House in his discography, Pau’s first release was back in 2013 and ‘Memorabilia’ landed 2016. This years ‘Elsus’ single got featured on 50AN and like it’s not enough Pau released B-sides – a re-issue from his old side project ‘Pablie’. We wondered how things have been and what else he released this year. We caught up while listening to his mix.

Sau, how was your year?

I would like to define this year as a transition, I’ve taken some distance and perspective from my music to know where I want to go. So here I am, spending many hours locked in the studio rebuilding my sonic palette, shaping and adding character to my first LP. In terms of releases and gigs, it’s been a decent year.

What synths are you using right now in the studio?

I recently bought a Roland JD800 from the early 90’s which immediately became an essential piece of gear in the process of the creation of my LP. I got some other synths and plugins that I use quite a lot, like OP-1, ARP Odyssey, Octatrack or Spectrasonics Omnisphere (which is completely blowing my mind at this moment).

You released a couple of EP’s recently including Dribble and a collaboration with Pedro Vian. How came these about?

Dribble was basically a compilation of 3 club tools that I used to play only during my sets, after some shows, I realized that it maybe would be great to release them all in an EP.

The second EP with Pedro Vian felt special. This EP contains 4 tracks were we tried to find the right balance between light and shadow, between mind and body, between experimentation and melancholy. Something that we like to call “Mediterranean braindance”.

What are your plans for 2018?

The main goal is to finish and release my first LP. Besides that, I got some other stuff running, like a forthcoming 12” maxi that will be out in February on the reborn Nitsa Traxx label and I’m also planning another short EP or maxi.

You played India this year amongst some other places. How was India?

Really good, people are honestly amazing in India, they were so kind with me and very thankful to have me on board touring across the country. That’s what I felt the most, then there’s the other side, which is a radical cultural contrast with Europe and the Occidental world… I saw a lot of poverty on the streets, abandoned children, ruinism and decadence. Probably it’s more notable in the big cities where I stayed than the rural areas, but it makes you think about how unequal and unfair your life can be depending on the place where you’re born.



01 – Total Art Of Percussion – Wuhan Wuchang
02 – Kassem Mosse – Untitled
03 – Giraffe – Climate (Marco Shuttles Moody Samba Treatment)
04 – Bjorn Torske & Prins Thomas – Arpa (Drum Version)
05 – Luigi Ceccarelli – Ko-An
06 – Max Mohr – Spellbound
07 – Evigt Mörker – Magdalene Spell
08 –
09 – RAAM – 7 (Skudge Remix)
10 – Feral – Brahma
11 – Conceiled Project – Pattern 2
12 –
13 – Andrea Belfi – Roteano

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Atomnation Podcast #013 Tonik Ensemble


The Atomnation Podcast series is a monthly curated mix by friends and like minded artists of the label. Follow us on SoundCloud and Mixcloud for updates.

Icelandic connection Tonik Ensemble created our 13th podcast. Anton released ‘Snapshots‘ with us in 2015, a cinematic electronic album supported by The Guardian, Hypem, Earmilk and TLOBF. Ending up in various end of the year lists, the record eventually became album year on The Reykjavík Grapevine. Below a Q&A about what’s next, his live show, Iceland and the approach of this mix. Enjoy!

Hi Anton, thanks for contributing this mix. In 2015 you released your debut album ‘Snapshots’ with us. Could you tell us a bit more about the project? Who you collaborated with for example, and what kind of sound you were trying to bring.

For Snapshots I was going for deep, organic and atmospheric sound, a clash between live instruments, vocals and electronic sounds, the human versus the machine and all that. In terms of themes, its life, death, happiness and stuff. I wrote the first song for that album, or the first draft, Imprints, in 2010. Through the album I collaborated with various people: cellist Þórður Hermannsson who appears in all the songs, vocalist Jóhann Kristinsson, vocalist Hörður Már Bjarnason, vocalist and composer Ragga Gísla, Tumi Árnason plays saxophone in few songs, musician and vocalist Shipsea, I even worked with a local choir on Nangilima. The alternative to sampling.

How does that translate into a liveset?

Parallel to working on that album, I was playing live quite a bit with some of the talented people I mentioned earlier, playing around with elements of improvisation from a gig to gig. The foundation is the same, but every instrument and performer brings its own character creating an experience different from the album track. Liveset is an ever-evolving beast, for example, atmospheric guitar layers have been apparent in the liveset this year.

You’re based in Iceland. How is it to live there in the winter times? Which season do you recommend people to visit Iceland?

For the music lover I would say the perfect time would be around a festival, Iceland Airwaves in early November, Sonar Reykjavik in March or Secret Solstice in June. There you can catch some local and international music alongside your travel. Winter can be dark and gloomy. From summer solstice to winter solstice, sunlight goes from 24 hours to the sun barely going up. That said, vitamin D, swimming and skiing make winter quite enjoyable.

Your mixtape contains many soundscapes and electronica focused tracks. Something we really like. Where do you usually go when looking for new music?

When I need new music it is almost like research for me. I have a nice echochamber of a twitter and SoundCloud feed following the usual suspects. I also find the soundhound app quite helpful. On top of that, live shows and recommendations from friends.

What are you working on at the moment?

Next output will be a remix which we have been performing in our live shows in October and November; you can hear a live recording from Enlighten Festival 2017 in the podcast; the remix should be out in December or January. But I am currently working on new material, trying to develop the sound further. You can hear some of it in the Tonik Ensemble live shows, it will eventually end up on a release.


01. Larry Stephens – Offering
02. Rebekah Del Rio – Llorando
03. Úlfur – Arborescence
04. Ennio Morricone – Chi Mai
05. Stephan Bodzin – Singularity (Synthappella)
06. Robot Koch and Savannah Jo Lack – Instructions For Time Travel (Recue Remix)
07. christoph el truento – Sunflower
08. Holy Other – Inpouring
09. Antena – Camino Del Sol
10. Floex – Prenatal Hunters (Floex Revision)
11. Gunnar Jónsson Collider – The Dream
12. Love Unlimited Orchestra – Midnight Groove
13. Mønic – Deep Summer (Burial Remix)
14. Án –  Hlutfall
15. Max Cooper – Organa
16. Kowton – Pea Soup
17. Stillhead – Spirit Remains (Tonik Ensemble Remix – Live at Enlighten Bury 2017)

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Atomnation Podcast #012 Some Chemistry


The Atomnation Podcast series is a monthly curated mix by friends and like minded artists of the label. Follow us on SoundCloud and Mixcloud for updates.

Amsterdam based DJ, producer, booker, occasional blogger and weekend warrior Some Chemistry created the 12th Atomnation podcast. A one-hour long set that resonates between world-influenced music, disco, techno and sometimes even electro – a mix of styles that is signature to the sound that Ridzert Beetstra developed as a DJ and event promotor the past years. We asked him a few questions about this mix, his hometown, work as a program director and how traveling shaped him as a DJ.

Hi Ridz, thanks for your podcast. We really enjoy the tropical vibes and different styles in your mix. Could you tell us something about where you lived and traveled the past years and how this influenced your musical taste? 

Well, there’s actually quite a list of places I have lived throughout my life, a few highlights: 

Wirdum (Friesland, NL)

Koudougou (Burkina Faso, Africa)

Cochabamba (Bolivia, South America)

Gouda (Cheese capital, Zuid-Holland, NL)

Right now I’m based in Amsterdam, for almost 10 years. I guess the tropical vibes have something to do with the period I lived in Bolivia, or Burkina Faso. That’s where the strong sense for rhythm and melody got into my system I guess. Everything they do over there (like cooking, or gardening, or whatever) has to be guided through rhythm and dance. It’s in the DNA of the people. I love it. When I moved back to Holland I started a punk band and later on I started getting into minimal techno when I moved to Amsterdam.. Which ruined the soulful side of my musical spectrum in a way back then, but taught me so much more about merging different kinds of music nowadays. Like you can probably hear in the mix I did. I approached it as a dj-set, on the fly, and did not post-edit it whatsoever. Otherwise I’m never happy about it, and start changing too much. 


How do you look to Amsterdam nowadays in terms of music. And do you think people that travel here get influenced by our music and culture? 

Well I certainly got influenced by this town when I moved here.. As I just mentioned I used to be a (slightly soft core) punk rocker before moving to Amsterdam. I played in indie rock bands, and I became a total techno-head after exploring this sin city. My musical horizon grew so hard. Some of my university mates introduced me to the legendary Stubnitz, Club 11 and Studio 80 for example. A few places that defined my carrier now. After hearing all those bleeps in clubs and seeing what it does to people I knew I wanted to be the guy making and performing them too. So I know for a fact that there are hundreds, or even thousands of kids every weekend in Amsterdam who get inspired or influenced by its music venues, and nightlife like I did. Simply because there are just so many more events nowadays. I can safely say Amsterdam is the dance capital of the world right now. Berlin still wins when it comes to underground clubs and creativity, as does London with its range of indie rock output, but nowhere in the world is the electronic music industry as professional and lively as it is in Amsterdam. Also, the music scene over here serves all the musical niche-needs that you can think of. I hope we stay on the forefront of this, and don’t get hampered by new conservative regulation and laws. Which I’m always afraid of.. So far we’ve been moving forward with our beloved major for the last 7 years, let’s keep the cultural diversity level high forever though! 

As a founder of Next Mondays hangover, is there any artist in specific you would like to bring to Amsterdam anytime soon? 

In the 7 or 8 years I’ve been professionally involved in events, I can say I have managed to invite most of my personal heroes, like James Holden in 2013, Dj Koze in 2014, Mano Le Tough in 2015, or Bicep in 2016.. Not to mention we did two insane events just over a week ago during ADE with Giegling and Innervisions (including Dixon himself), two of the worlds most influential labels right now. But if I have to name someone I would really like to invite, it’s definitely Nicolas Jaar. A game changer. Someone who does not compromise his sound live. A genius in my opinion.

If you can pick one track in this mix – what would be your favorite and why. 

That’s easy. It’s one track before the last, which is actually my favourite track of 2017. It’s called ‘A1 – P‘, and it’s an edit of some kind of old movie or something. I think it’s supposed to remain secret but it’s actually Pional who made this edit (sorry), and it was recently released on a (limited vinyl) compilation curated by Marvin & Guy called Equation 3. Every time I play that track somewhere the crowd goes wild! I recently even played it twice during one set, because I couldn’t get enough of it.


What is coming up for you in the new year? 

Actually, still to drop before the end of the year, there is a Some Chemistry original release coming up on an italo disco label from Amsterdam called Bordello A Parigi (November). There are some key performances planned before the end of the year as well, for example a gig in Shelter together with Dj Tennis on November 25th, also a show right after Michael Mayer on December 2nd in Tilburg, and right before the end of year a special gig with non other than Red Axes in Amsterdam, on December 30th ;), which will be announced soon. So let’s make sure we go out with a bang this year, as it has honestly been a pretty shitty one worldwide, so far.. Before committing to the next one.

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Atomnation Podcast #011 Nuno Dos Santos


The Atomnation Podcast series is a monthly curated mix by friends and like minded artists of the label. Follow us on SoundCloud and Mixcloud for updates.

After podcast contributions from a series of label artists, we’ve got someone from outside for the first time. But it makes sense in the form of Nuno Dos Santos, as he was one of the first supporters of Atomnation and after all these years still has a warm heart to the label. We couldn’t resist to ask him a couple of questions: 

Hi Nuno, it’s a pleasure having you on our podcast series. You’re dj’ing across the globe and your label Something Happening Somewhere is releasing magic lately. Therefore, can you tell us a little bit about how you once started?

Thanks for having me! I started working in a record shop in Utrecht when I was about 16 or 17 years old. Since I was working there and got exposed to a lot of music, I started collecting a lot of vinyl. At the time it was mostly electronic music, the old 90’s Warp stuff and techno/house. So I started out as a collector until one of the guys from the record shop asked me to dj at an illegal rave party they were hosting. I think there were 300 people in a space that couldn’t even comfortably fit halve of them in there, a lack of oxygen, sweaty temperatures, you know the best types of warehouse party’s haha… They put me in this cage at a prime time slot, even though at the time I couldn’t even dj properly! Because I didn’t have the skills yet I did some pretty crude mixes just swapping faders, but it was amazing because everyone went nuts. So I realized it was actually kind of fun to dj and I bought two turntables which I had to pay off in several instalments. I just started practicing a lot and build up from there, starting to do more gigs etc. After club Trouw closed down in Amsterdam I decided to start with my own label called Something Happening Somewhere, which we have been running for almost four years already. Time flies…

We know you as a man who loves a broad range of music, so lets bring it to extremes: what is your favourite ambient record and what would it be in case of harder techno?

Of course this is a unanswerable question, there are multiple records that would fit but here are the ones that popped into my head just now:

Ambient: Global Communications – 76:14 (Dedicated)
A timeless record which was way ahead of its time! I still really enjoy putting this record on and dive into the world they’re creating.

Techno: Laurent Garnier – 30 (Fcommunications)
This is a techno album where you can hear a lot of personality, that really speaks to me both as a listener and artist. I still think this is his best album yet…

Between running SoHaSo, dj’ing and promoting events, do you still find time to work on new material of your own? And if yes, can you tell us what we may expect in the future?

It can be a rough balance sometimes, also having to perform in the weekends and needing time afterwards to recharge your batteries. It’s the usual story, but it can be hard to find the time in between all the gigs and things surrounding the label to find some isolated time in the studio. Having said that, for some time now I started blocking more time in my calendar to have these moments so I could finish a lot of the music I was working on. This resulted in my Trigonometry of Love ep back in April of this year. There is a remix EP of that just released on SoHaSo which I’m very happy about! It also includes a great remix by one of your fellow label mates Polynation. Apart from this I’m working on a few different projects at the moment: new original material, a collaboration EP with Eefje de Visser which is coming out soon and whom I also recently remixed for our SOMEHWERE compilation. I’m also finishing some music with my buddy Ben aka Cosmic Force, which is turning out pretty interesting so it will probably get a release somewhere in the next few months or so.

Your podcasts are always a journey through music, with surprising elements to be found every time. Can you tell us what you wanted to achieve with this Atomnation podcast?

With this podcast I wanted to indulge a bit more in the broken beat side of things. A bit higher tempo and rougher mixes besides some electro stuff that I have breen appreciating a lot lately. It includes two tracks by SoHaSo label artists which are yet to be released and some other surprises so no tracklist. I always thought it is really cool to discover things by looking hard and doing research and only after some time find the record you’ve been looking for. Oh that’s the one! Now it’s track id’s everywhere, everything is a bit pre-processed in that sense… Happy searching!


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Atomnation Podcast #010 Gidge


The Atomnation Podcast series is a monthly curated mix by friends and like minded artists of the label. Follow us on SoundCloud and Mixcloud for updates.

Umeå based music act Gidge created the 10th installment of our Podcast series. It’s always exciting when the duo shares something new, this time we have a mixtape that is a perfect fit for your lazy Sunday:

“This podcast is simply music that we are currently listening to and enjoying. We didn’t want to limit ourselves to electronic music this time, this is just good music, pure and simple. Pairs really well with a cup of coffee.”

Their one-hour mix showcases various of genres, mostly in the electronica, instrumental and ambient genres. There’s an odd rework to be heard of Radiohead’s ‘Everything In Its Right Place’, as well as original versions by legendary artists such as Bjork, Thundercat, Arca and Bon Iver. The mix finds balance with a few more unknown tracks by fellow Swedish musicians David Åhlén and Skator.

gidge website

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Atomnation Podcast #009 Love Over Entropy

podcast9 Atomnation

The Atomnation Podcast series is a monthly curated mix by friends and like minded artists of the label. Follow us on SoundCloud and Mixcloud for updates.

After the ‘new kids on the block’ in podcast eight, the ninth installment of our series is by longtime friend and celebrated producer Love Over Entropy. He remixed Polynation on Atomnation and has released numerous weapons on labels such as microCastle, Something Happening Somewhere and Lossless. There’s much more behind this musician then you think, so we couldn’t resist to ask him a couple of questions.

Hi Michel, as both producer and teacher in music production, what would be your favourite record of the past years?
I have no idea how I could pick the number one out of all the records that made an impression on me the past years. But I can tell you what the last record was that did that: Ripperton’s remix for Kalabrese’s track ‘Is this’, which is also in my podcast. I just love how it effortlessly goes from its driving beginning to its soothing end. It all feels so musical: The sounds, the rhythms, the way the story develops. We could definitely do with a bit more storytelling in electronic dance music.



You are active in the music scene for quite some time now. In every item about you new information pops up. Could you sum up your aliases and key events in your career?
My first release was in 2001, as Roy Cordu, on Rushhour. But it was deep electronica, instead of the sound that Rushhour later got famous for. In 2007, I started releasing more techno-oriented music as Minz. First on Ripperton’s Perspectiv, later on other labels as well. With attention for Minz slowly fading, I decided to make a fresh start as Love over Entropy in 2013, when I had the honour to do the first record of Something Happening Somewhere. This made quite an impact and the Dixon edit of my track Tonii on the follow-up EP brought me a lot of attention. Still, I believe I have all the hard work still in front of me. I think I’m in a good place at the moment: Connected to good labels and playing good gigs. But to keep it at this level, or even take it to the next level, that requires hard work, time and dedication.

We witnessed your liveset many times and seeing you play is always a lot of fun. Can you tell something to readers about your live setup?
When I designed it, I had two goals in mind: Firstly, it should work in a club context. To me, that means a compact setup and, just like a DJ, I should be able to select tracks on the spot. A live set with tracks in a fixed order has never worked for me. Technically, my setup is quite advanced and at first I thought this would be enough to throw everybody into a frenzy. But I quickly discovered this only worked for the two nerds behind the booth looking over my shoulder, not for the people on the dance floor. Most people on the dance floor usually have no clue whether artists DJ or play live. And that is OK. They should only really care about the music that’s played, not about how it is done.

The second design goal was that I didn’t want to have a computer screen on stage. And that includes touchscreens. I can almost feel my brain switch into information processing mode when I look at a screen on stage. And to me, this mode feels incompatible with my brain in performance mode. The obvious solution would be to go the all-hardware route. But I’ve done those kind of live sets in the past, and always felt it was sonically too limited for my music. As I see it, hardware setups often only work if you’ve also created the music with that hardware. My music uses a lot of special processing and sound design that makes no sense to replicate live.

So I settled on a laptop running Ableton Live, but without having to look at the screen. That way I can have the laptop almost closed and out of the way. To me, Ableton Live is an open system, especially with Max for Live. It allows me to tailor my live set to my needs, and I make small adjustments after almost every gig. To control my live set, I use a couple of well-chosen controllers, and every function in my live set has its own dedicated knob. As a result, I have developed a physical relation with my controllers, very much like an instrument. That’s also why I always set up my controllers in a specific way. Some people have noticed the concentrated way in which I do this before a gig, and I think that’s because I’m not just setting up my controllers. I’m putting together my instrument.



Between remixing, playing live shows and teaching electronic music apprentices, do you still find time to work on new material of your own? And if yes, can you already tell us something of what we may expect in the future?
Since the beginning of this year I only teach two days a week and usually perform during the weekends. I reserve at least three full days a week to be in the studio. I use that time for all my music related activities. So it could be working on new material, making old tracks ready for release, making podcasts, looking for tracks to DJ with, diving deep into some piece of gear, adjusting my live set, and so on. As long as it’s music related. To me, creating music is very much like working out. Only when you do it regularly, you start to see results. That’s why I need those three days every week.

In September I have a compilation track coming out on Lossless and remixes for Connaisseur and Objektivity. There are also new EPs coming up on Lossless, Something Happening Somewhere and Nautilus Rising, but we still need to finalize the schedule. Which with vinyl releases is always more hassle than expected. Behind the scenes, I’m also collecting material for an album. At the moment I just have some ideas and sketches, and I’m still figuring out the direction. So it might take a while.

Podcast tracklist:
1) Intro
2) Saints de glace – Love over Entropy feat. Ripperton (Something Happening Somewhere)
3) She Hunts at Night (Clesse Remix) – Pye Corner Audio (More Than Human)
4) Is this (Ripperton Mix n Remix) – Kalabrese (Rumpelmusig)
5) ? – ? (Nautilus Rising)
6) Orissa (Pépe’s Jazz Bar Re-interpretation) – Wayward (Silver Bear Recordings)
7) Burkina – Superpitcher (Hippie Dance)
8) Love supreme (Love over Entropy remix) – Peter Pardeike (Connaisseur)
9) It’s Not Me, It’s You – 6884 (200 records)
10) Guinney – Bunús (Lossless)
11) That Is When – Mathias Schober (Lossless)
12) Underwaterfall – Bearcubs (All points)


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Atomnation Podcast #008 Tunnelvisions

podcast8 Tunnelvisions

The Atomnation Podcast series is a monthly curated mix by friends and like minded artists of the label. Follow us on SoundCloud and Mixcloud for updates.

In podcast 8 we want to grab the opportunity to introduce Atomnation’s latest signing Tunnelvisions. They just released their first single and we are excited to say that something big is coming later this year. Raynor and Emiel from The Netherlands are into slow and grooving world electronics. Time for a chat!

Hello Raynor and Emiel. We’re so happy to have signed Tanami on Atomnation, and are excited to release more Tunnelvisions work this year. When did you guys decide to start working together?
Well, it actually started when Emiel downloaded Tinder around half a year ago and started looking for someone to meet. He then found me (Raynor) and we just hit it off. We started dating and it was obvious right away that we were meant for each other. We we’re both into the same music and were done with the hyped up, testosterone filled music that’s so popular these days. After dating for a couple of weeks we made it official and started Tunnelvisions.



Your first single ‘Tanami’ received some very exciting feedback and even Anthony Fantano of The Needle Drop is a big fan. What was the process of creating this track?
It is kind of a funny story, really. At the time we already made a couple of tracks together in the studio. But, in every relationship, when you spend too much time together you get kinda fed up with each other, you know? So, we set a challenge that week. We were not to see each other for 7 days. At the end of those 7 days we both had to come up with a new track that we would then give to each other to finish. Ray came up with Tanami and Emiel came up with Acconna (a track you’ll hear more about soon). We decided to finish those tracks as soon as possible, seeing as they both had a lot of potential. For Tanami, Ray already had the basis with the vocal samples and the main synths, but Emiel decided it needed a certain edge. So he started messing around with his new 303 clone. After having spend hours with that thing, Emiel decided it sounded like total crap and couldn’t get anything out of it. But the idea of using a raw, acid like synth in there still was good. So we then started looking for different sounds to make this with. When we had it, it glued the entire track together and soon after we finished the track.

Where does the name Tunnelvisions come from? Has it a relation with the track title Tanami, or is this something completely different?
Have you not heard of the legend “Tunulavisioni”. It’s a legend of 2 young guys rising up against all odds and beating the evil mastermind: “128bpm tech-house”. We sorta based our name on that. No for real, we started Tunnelvisions with the goal of making hypnotic and psychedelic house music with influences from all over the globe. Our DJ-sets really represent what we stand for: a voyage across all nations within the downtempo-house genre. One flow, in styles from Berlin to Brasil. Our name doesn’t have a direct connection to “Tanami”. “Tanami” however, has a huge connection to all the tracks coming out in the near future.

What are you guys working on at the moment and what can we expect in the near future?
We’re planning world domination within 10 years, but people already told us it’s kinda hard to do. So in the mean time, we just try to have fun and also try to work on that monitor-tan we got from working in the studio the last half year. So expect lots of new music from us coming out on Atomnation. Also, we are getting more bookings each month. July is filled with some really nice gigs. Ray wanted to tell what the gigs were, but Emiel doesn’t approve. Is this our first band-fight? Anyway, thanks for this interview Atomnation folks and if you read this expect a big announcement soon!

Tracklist podcast:
Idjut Boys – Kenny Dub Headband
Xique-Xique – Xaxoeira (Nicola Cruz Remix)
Carrot Green & Salvagem
Matthew Dear – Her Fantasy (Tornado Wallace Remix)
Sano – Undelo
Tunnelvisions – Gobi
Kora Adrien – Nuit d’Afrique
DJ Champion – Tawoumga
Jimi Bazzouka – So So Ye
Dynamic Africana – Igbehin Lalayo Nta (Tunnelvisions Edit)
Tunnelvisions – Guava
Nu – Endup
Todd Terje – Alfonso Muskedunder (Mungolian Jetset Remix)


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Atomnation Podcast #007 Olde Gods

podcast7 Olde Gods

The Atomnation Podcast series is a monthly curated mix by friends and like minded artists of the label. Follow us on SoundCloud and Mixcloud for updates.

For our 7th podcast we’ve invited our Barcelonean friends Olde Gods. They contributed two amazing tracks to the Atomnation discography and are working on an EP for the label. In the meantime they loosely crafted a mix for our podcast series. Time for a little chat:

Hi Pau and Jami, between EP’s on your own Minor Planets label and tracks for two Atomnation compilations, you guys are quite busy with all sorts of projects. Can you tell us what’s keeping you from the streets these days?
As a duo we just released Tapes (Tapas), you know appetizers that come together with some cervezas. It’s an underground edits tape with five tracks. We decided to wrap it up in a beautiful package just if you would buy a gourmet sardine can. Artwork was taken care by La Mandanga, one of the top satirical instagram outposts in Spain. We’ve been getting quite a bunch of Cha-Ching’s and Bada-boo’s at our bandcamp and feeling quite happy about the sales. We recommend both things, going to our bandcamp and having a laugh or two at the La Mandanga IG account.



As a duo you are called ‘Olde Gods’. Where did the name come from?
We’re both quite old… have kids already and have been around for a quite a while now, ha ha.. We thought these name would never feel old or worn out, it’s eternal…Well all in all it was a joke,  like super pretentious stuff but also quite ridiculous too. Besides that, and musically speaking we are really into oldies house stuff and the sound you get in those productions.

In the coldness of The Netherlands we get a really Balearic and sunny vibe of your music. how much is the southern climate influencing you?
We really couldn’t tell. As Catalans we have this other specific feeling of being in the “north of the south” (northern Spain), and there’s this cliche in Spain where Catalans are the cold-tempered European northern dudes. And, in fact we do stay at home a lot…too hot to go out…So you see our dilemma here, but yeah we appreciate the balearic sunny vibe thing, could eventually be a fact. ; ))

As noticed, we really enjoy your music, both solo and as a duo. Can we expect more music in the near future?
We are working on a new EP which is 75% completed, you might know something about it…as soon as the tracklist is completed we will hopefully sort out the release plan. As to our solo projects, JMII is always on the move with a remix for DC Salas last record and another solo EP on the making, and Braqueberry just happily released a footwork EP that got some attention even on Pitchfork! We’ll keep grinding!



1. Donnacha Costello – Blue A
2. Sebastopol – Manethon
3. Portable Sunsets – Trust Fall
4. Olde Gods – El Javu
5. Samo DJ – Tirad Board Meeting
6. Solar – 5 Seconds
7. Betonkust & Palmbomen – BN401
8. Scrappy – Freeze (unreleased mix)
9. Khidja – Haetrin (JMII’s Dearppegiated edit)
10. Soylent Green – Pass the Coke
11. Top secret stuff
12. Margot – Moderno (Marc Piñol Acid Mix)
13. Prins Thomas – D (Hieroglyphic Being Beat Rework)
14. Lauer – E10
15. Harmony Funk – Can’t Let You Go



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Atomnation Podcast #006 Koett

podcast6 Koett

The Atomnation Podcast series is a monthly curated mix by friends and like minded artists of the label. Follow us on SoundCloud and Mixcloud for updates.

For our sixth podcast we’ve invited our Russian friend Koett. He contributed two amazing albums to the Atomnation discography and is one of the leading figures of Krasnodar’s electronic music scene.


The beginning
First influenced by the almighty Kraftwerk, Koett really got into music by his bigger brother. He would bring him recordings of party’s on cassette, which motivated Koett to search for ways to create his own music. Ableton and especially analog gear and old Soviet synthesizers made him even more enthusiastic about music production. From there on he started his career as an electronic music producer, as well as participating in side projects as Modul and Köt & Wellbeck.

Alexander Tochilkin (Koett’s real name) first released on Atomnation in November 2013. His ‘Lost Time’ single was an adventurous and Jazzy approach to the electronic field at the time. A month later Alex released his first full-length album ‘Golden Peak’ on the label. Tracks as ‘Blacksad’ and ‘Down’ became instant hits as Dummy Mag, Data Transmission, Truants Blog and many others praised it to the stars.

Releasing music
From that point on Koett has been putting out music on labels as Connaisseur Recordings, Sub Amp and Fuselab. Even his collaboration with long-time friend Wellbeck got revamped with a release on the Argentinean Loob Label, before returning to Atomnation in 2016.

This return didn’t come casually, as he once again came with a full-length LP of unearthly electronics. This time even darker and more vivacious as before. Especially ‘Slow Run’, ‘Night Furia’ and ‘A Walk In The Spring Rain’ were like candy for everyone liking the road in between house, techno and electronica.

Krasnodar, Russia
What most people don’t know is that Koett is one of the key figures behind XOXO, a boundary-pushing club in his hometown Krasnodar. This city is situated in a unique part of Russia, near the black sea towards Georgia. It has a small but very strong electronic music scene and is pioneering in its region. This podcast showcases the Krasnodar techno sound and is a limp of what the future will bring for our Russian friend and father of his newly born son. Congratulations Alex!

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Atomnation Podcast #005 Vessels

podcast5 Vessels

The Atomnation Podcast series is a monthly curated mix by friends and like minded artists of the label. Follow us on SoundCloud and Mixcloud for updates.

For our fifth podcast we’ve invited Leeds’ leftfield band Vessels. They remixed Polynation’s single ‘Why You‘ on Atomnation and are currently preparing their new album + live show. We are very curious about everything that is going on with the band.

Hi Tom, Tim, Martin, Lee and Peter. Between touring and after you launched your magnificent album Dilate in 2015, you guys managed to remix our beloved Polynation. Can you tell the readers what you have been up to since then?
Martin: Hello! Since 2015, we mainly been working on new material for an album that is incredibly close to being finished.  Feels quite unreal as it’s been quite an all-consuming process.  We’re starting to re-interpret the album music for playing live at the moment which is always a big challenge, but it’s been really great to get stuck in. Literally cannot wait to play this music live.  The Dilate album and tour was special for us in many ways, I have a feeling this next album will really be next level.  I guess everyone always says that about their new album. But this time it’s definitely true, trust us.

Vessels is a truly amazing live experience. Can you tell something about your live setup and why it’s like that?
Lee: Well the setup has evolved over time. It’s all been very much a logistical problem solving experience. We make the sounds in the studio but we also jammed a lot of the ideas out so it was about trying to find the most flexible solution which allowed consistency of delivery but also the freedom to improvise. A lot of the percussion sounds are distributed between me, Tim and Martin across three Roland SPDS-X’s. We spend quite a bit of time figuring out who can play what elements of the beats. They have to be de-constructed so that patterns make more sense to the individual player.

In terms of the synths, we used to use some cheaper gear but recently we’ve added some rather tasty toys to the fray. Tom has an Elektron Analog Keys running through a Kaoss Pad 3. The Elektron stuff is great. Good quality and once you get into their way of thinking you can really perform with the gear in a way that other synths don’t let you. It also sounds super fat on the bottom end so we divvy up a lot of bass parts to it. My synth set up comprises of an original Ms20 which i’ve had in the setup for years. I think it was one of the influences to head in the direction we took. Back then though I smashed it through a Marshall stack along with my guitar. I miss that sound but my back doesn’t miss carrying around that bloody amp rig! Also, i’ve just added a Roland System 1m to my set up. I needed something that is polyphonic and super tweakable and this guy really does have a lot of possibilities. I bought it on a whim thinking it wouldn’t be that great as i’ve started to get into modular stuff and thought it was a little on the cheap and cheerful side. I’ve been happily proven wrong though and it’s become a real go to for sound design.

Our setup all goes through Ableton Live which provides the ability to sync all our stations and allows us to loop what ever we’re playing and it stays locked in nice and tight. We experimented a lot with this and we used to run midi cables all over the place but just recently we’ve taken full advantage of the Ableton Link function which allows you to sync over WIFI. Again, I was sceptical at first but it’s actually really good. Previously we had one laptop running all the stations but it’s not robust enough in a live situation because if it went down the whole show pretty much stopped so we decided to have separate laptops which meant that if one of them went down all the others would still be synced and making sound. So far so good!

Martin’s setup is kinda my favourite because it’s the most unruly. It’s capable of amazing and horrendous noises. Normally at the same time! He’s synced via the only hard midi out which goes to his Koma Elektroniks Rhythm Work Station which is another great piece of kit. Not only does it convert midi to CV but it also sends midi clock through to his loop pedal. This was a game changer. He’s got some other great pedals on there like the Koma Step Filter, the MoogerFooger Ring Modulator, the Electro Harmonix POG2 and the now almost classic Line 6 DL4 which is another pedal left over from the old days. At one point we had five of these things!

That pretty much sums it up apart from to say that Pete’s setup is still being worked on. He wants to try out some new things involving a midi guitar. There has been some giggling at this but he’s pretty serious about it. I hope it works out as he’s a bad ass guitarist.

Where does the name Vessels come from?
Martin: It came from a long and tortuous conversation that lasted many months.  At the end of the debate that the felt like it would never end, we found one name that we all liked.  I think it captures the essence of the music and the live show.  And it has an ambiguity which appeals too.

We’re still enjoying your covers of The Sky Was Pink and Blue Clouds. If a new song will be covered, which one would it be?
Martin: Thanks. Good question!  There’s an amazing Carl Craig remix of a tune called Relevee by Delia Gonzalez and Gavin Russom.  We actually did some work on a cover, but I think we got distracted before we finished it.  It might be nice to cover something totally unexpected as well. I’m a big Lana Del Ray fan. Somehow I don’t imagine I’ll be able to persuade the rest of the boys to join me on that one.  Maybe one for my long overdue solo project!

Tracklist podcast:
01. Illum Sphere – The Journey
02. Kowton – A Bluish Shadow
03. Yotam Avni – Orma
04. Forward Strategy Group – Clean Neckline
05. Luke Abbott – Brazil (Slow Version)
06. John Talabot – Voices (Gerd Janson Version Conga)
07. Parple – Sacred
08. Malin, Yaleesa Hall – Second Carol (Asusu Remix)
09. Talaboman – Loser’s Hmyn
10. Black Sand – Dead Sea
11. Kowton – Balance
12. Cubicolor – Dead End Thrills (Patrice Baumel Remix)
13. Dark Circles – Y (Kamera Remix)
14. Vatican Shadow – Church of All Image (Regis Remix)
15. Modeselektor – The White Flash (feat. Thom Yorke)
16. Dubspeeka – K304v2 Walk With Me