Elaste was created 1980 in Hannover by Thomas Elsner (director of kind, designer and photographer), Christian Wegner (photographer) and the music specialist Michael Reinboth (today Head of Compost Records). With that 1983 effected removal to Munich Christopher Roth and Ian Moorse was added as editors-in-chief. To 1986 16 expenditures with about in each case 110 sides and an edition of 16.000 pieces appeared. Selling became it in all German-speaking countries, a small part of the edition created it in addition, until London, Paris and New York. Elaste offered photographers such as inches of Unwerth, Sheila skirt, Mark of Lebon, Jean Jacques Castres, Martin Brading, Eamonn McCabe and many more a large sized forum. In addition, authors such as Maxim Biller (debut!), Thomas’s my corner, Giovanni di Lorenzo, John Savage, Klaus walter or Lorenz “Lorenz” Schröter did not publish texts, those in this form elsewhere to read were.

Not only a whole set of Design honors (e.g. from the ADC), but also the fact in things of Lifestyle magazines for a long time before Viennese or speed on the market to have been present supports Elastes status as avant-garde in its sector. The today very rare original pieces obtain prices of over 100 euro with eBay regularly. Elaste is taken up, in April 2005 texts from Elaste in the house of the art was presented into the new collection of the Pinakothek of the modern trend to Munich. Thus Elaste is a still alive time document.

The return of the aesthetics of the eighties-years in the music – Electro Pop, Wave and post office Punk and in a turn to similar contents, forms and slogans however at that time the outbreak and not as today a departure represented. The call to self exploitation and cynicism is today consentable.

The feeling of “everything is possible”, “history made” and the affinity for the DO-It-Yourself does not only lend Elaste in Insiderkreisen today like at that time a status as original gangster, as an outrider. In rezessiven times one must retain oneself a positive and nonchalante basic adjustment: “It precedes!”. Music, mode and texts of the time are quoted, dissected and issued. At least two youth cultures post office Elaste one looks for this departure tendency and not least something, which break out also within the print range of the computer-generated Einerlei. As in the music “hand larva” is under use of all today the available of means the requirement of the hour.

Elaste was a high polish magazine, which was arranged with the means of a Fanzines. In an analog culture, which antizipierte the World Wide Web in the figure of the Cyberpunk, with typewriters one worked, one set, one copied and one stuck by hand.

Super Motion Disco
Originals From The Future

CPT 347-2 | LC 02518 | BC 673794234724
Release Date: 26.03.2010

„Three years has gone by since the last ELASTE compilation. In this time the virus of cosmic disco (or afrofunky as they say in Italy) has spread round the place – giving me lots of good feedback and fanletters. Thank you! I have spent these three years looking for more avantgardistic, galactic sounding disco, proto- techno, electronic new wave, and cheesy slow motion pop… and I found it.
For the third chapter of ELASTE, I have combined a wider spectrum of what might be cosmic disco. Old mixcassettes from the early 1980s (especially those recorded by Beppe Loda and Daniele Baldelli) have an ongoing thrill – the music is so modern, so special, rare, and far ahead of its time. Thinking about the time and the impact that they made, it ́s no wonder that thousands of fans were waiting outside Discoteca Cosmic, Typhoon and other clubs to hear a surprising mix that could be anything from early german electronics to cumbia. It was surely a glorious time, DJs in Italy had the freedom to experiment with music, and the records they played. The crowd expected it – asked for it and welcomed them to play crazier than any other DJ. Almost 30 years on and this time and this music is still an inspiration for DJs, collectors and music lovers.
Hoping that you enjoy my collection, I am sure we will meet somewhere in a psychedelic nightclub in this galaxis.“

Dompteur Mooner

Slow Motion Disco
Originals From The Cosmic Era

CPT 239-2 | LC 02518

The Story of the Italian Cosmic sound in 2 minutes:

Italy, 1976: In a luxurious discotheque on the Italian Adriatic coast, every weekend two American DJs called Bob and Tom play records that are just making history in their hometown NYC at the legendary „Loft“. Bob and Tom are resident DJs at the „Baia Degli Angeli“, a gigantic club with various floors, fountains, swimming pools and lots of glitz of the Jet set. After the Baia closes due to a drug raid, Daniele Baldelli, inspired by the „Baia Sound“ starts DJing in a new club called „Cosmic“ in Lazise.

Not only he´s beat-mixing Funk, Soul and early Disco – Baldelli´s sytle is unique: songs are mixed perfectly in a superslow tempo of 80-105 BPM. Cosmic is like a wild LSD trip: Afro mixed with German electronics, percussion solos, Bolero with delay effects, 12“s on 33 instead of 45, 70s Krautrock, Industrial… This way of playing records is absolutely new, and Daniele gets quickly famous. A whole wave of DJs and clubs get inspired by his mixtapes, and soon the whole of northern Italy calls it „Cosmic Sound“.

Unlike Italodisco, Cosmic or „Afrofunky“ was never exported broadly; it has always stayed a local party phenomenon. That’s one of the reasons why it wasn’t really exploited commercially yet like many other 1980ies genres. Today producers as Lindstrom, Prins Thomas or DJ Harvey caught the spirit and labels like Gomma, or Eskimo are deeply inspired and now try to create dance tracks that have a similar atmosphere.

This compilation is a collection of the original music that was actually played at Discoteca Cosmic. It is playful, experimental, harmonic and most of all it is dance music.

DJ Mooner

also available:

Space Disco

CPT 280-2 | LC 02518

Elaste Vol. 1, curated by DJ Mooner, was an exceptionally crafted deep-beat dive into ’slow motion disco’ that was ahead of the curve in rescuing forgotten low-BPM disco psychedelia. Vol. 2, put together by Tom Wieland (Les Gammas, Panoptikum, 7 Samurai), leaves the druggy doldrums behind for Italo territory, weighing in with a trove of the sort of electronic disco rediscoveries that ring mighty timely now that the productions of Lindstrøm, Prins Thomas, and others have thrown open the gates on ’80s synth-boogie crate-digging. Calling these “lost classics,” however, requires a bit of book-cooking: two of the tracks are Wieland’s own productions (as Panoptikum), and the closer is Frankie Knuckles’ classic 1991 reworking of “Ain’t Nobody.” While on the one hand these can be taken as purist-baiting intrusions, they’re well within the job description of a good comp DJ, whose task is not only to dust-off uncannily contemporary productions, but to also realign assumptions about things like genre and chronology.

Editorial curiosities aside, the bulk of this comp’s artists might be called the children of Giorgio, and if you can imagine the good Mr. Moroder as Oppenheimer, the tracks found here can be heard as aftershocks felt in the wake of the dancefloor quake that is “I Feel Love.” Elaste Vol. 2 demonstrates how a large part of the success of the Moroder-Cerrone revolution came from the development of a style as well-suited for soundtracking erotic couplings as for extra-terrestrial adventures. Case in point: following the outer-galactic excursions of “Feeling Harmony,” the mix touches down in a morning-after bedroom, where we’re encouraged not to “Stay Till Breakfast.” In other words, space disco is about escape in all its forms.

The track selection divides the comp into two halves, of which the second shines brighter, the first being a bit soggy with glitzy Euro boogie. (Like fine aromatic cheese, boogie must be handled with proper dosage.) Each track on this first half would sit well next to those unearthed on Strut’s recent Disco Italia, but the solid stretch of energetic string sections and salacious vocals doesn’t allow much room to breathe. The mix’s halftime show comes in the form of “Sundown” by Curt Cress, essentially a super-spare extended electro-drum solo that would work perfectly as a DJ tool, as a segue or rhythmic accent, but is perhaps a bit extraneous and attention-draining in its unexpurgated form here. After that, the album’s second half brilliantly balances that sort of precarious exchange between sameness and difference that’s pretty much key for any rarities comp. A finely piloted swerve-drive from “Feeling Harmony” through some mooged-out reggae, library producer Alan Hawkshaw’s “The Speed of Sound,” and a rare Afro-beat treat from Tony Allen, “Nepa Dance Dub,” which sees the incomparable kit-work from the dark continent’s lord of rhythm underpin some DX7 synth bells.

Simultaneously sultry and extra-terrestrial, cosmic/space disco has always reminded me of the scene in Logan’s Run in which the title character is chased through a nightclub where attendees copulate in slow-mo while immersed in lasers and sensual synth burbles. Although it takes its time getting into full gear, thanks to curatorial labors and expert mixing, it’s not difficult at all to imagine Elaste Vol. 2 being highly effective for soundtracking such adults-only sci-fi nightlife.