CD ELEVEN sees DJ Hell's International Deejay Gigolo imprint unleash its eleventh UNMIXED double CD compilation onto fans and fanatics of the 'Mega-Church of Gigolo'. Including 16 never-before-heard unreleased monster Gigolo tracks; ELEVEN is a celebration of the label's avant-garde and legendary roster. Talents new and old take Gigolo into the long awaited renaissance period of Modern Dance Music.

CD ELEVEN features: DJ Pierre, Peter Kruder, I.B.M., Opiates, G.Rizo, Hell, Joel Alter, The Model, Motor, Richard Bartz, Acid Junkies, Captain Commodore, Seelenluft, Actor One, Marascia, Fetisch&Me, Snuff Crew, Herman Schwartz, Abe Duque, Lopazz, Bennie A, HeiB, Joe Le Bon, Phobia...

"Look to the past to discover your future! DJ Hell takes us on an unmixed, two disc journey through the catalog of his International DeeJay Gigolo Records with CD Eleven. Disc 1 conjures up the brooding 808 and 909 blasts of early Detroit techno ("The Disaster"), electro ("The Boy"), and even early new wave ("Candy Coated Crime"). Disc 2 builds on the retro sounds to show us a glimpse of dance music's future. Amazing psychedelic sounds like "Disotecktonic"are showcased alongside dark techno tracks like "X3"and melodic gems "Phobia."This is an artfully presented package from the punk-influenced cover art to the boundary-pushing music and is, ultimately, exceptionally gratifying." - DJ TIMES, US

"Love the Gigolo comp, really good stuff. Some of the best music for a long time from them I think." - DJ MAGAZINE

"Believe it or not, warehouse raves in Brooklyn are actually hard to come by these days. While New York continues to book a variety of international talent that surrounding cities in the Northeast might not be able to afford, they're often housed in conventional venues such as Studio B, Public Assembly or Webster Hall. The community element that comes with warehouse territory is often spoken about in past tense. Enter Hell & Heavenâ - the 19th installment of ReSolute's reputable parties - which turned out to be a rebirth for many and a revelation for all.

In an event that lasted well over ten hours, the dichotomy of Darkness and Light were brought under one roof. Set in a true warehouse in the most industrial section of Bushwick, the building was divided into two main rooms. Heaven featured Mobilee owner Anja Schneider, one of the most hardworking women in techno, accompanied by Jeremy P. Caulfied (Dumb Unit) and ReSolute residents Elon and Connie. In the other room, Darkness was represented by New York's own John Selway, Gigolo's Peter Kruder and, finally, DJ Hell - the one and only Dominator - himself.

So how does one describe the greatest rave they've ever been to? In a city that has been needing a breath of fresh late night debauchery and electronic music mastery, Helmut Geier turned a lifeless building in the middle of nowhere into magic. While advertised as a costume party, there was a fair share of angels, demons and darkly-clad dancers and the visuals were a mixture of Tron and abstract art. Taking the stage around 5 AM after a spotless set by Kruder, Hell embraced the visuals, fire twirlers and interactive fans in the front, ending the crowd full-throttle into an undefeatable atmosphere of dark, hard techno. Though he's spent the last ten years at the forefront of the come-and-gone electroclash movement - wearing the international crown while Larry T kept it up in New York's Saturday was a return to the form that once again thrives in the Berlin concrete underbelly.

DJing for thirty years, Hell brought the dark side that he is loved for tracks that reflect the feel of his new album, Teufelswerk, and his love for Chicago and Detroit-style house music. It was during these drops that the crowd went wild. Carl Craig's remix of "Drifting" by Glimpse sounded perfect against the cold concrete walls, and the Deetron remix of Chymera's "Sumatra" put everyone in an unrecognizable moment of time. With hands raised to the air in celebration, he carried on through the entire sunrise until we were all basking in light. The music took a lighter turn and the entirety of "Trompeta" marched us into the new day. It's likely that he would have kept going - how long had it been since he'd gripped a crowd like that? There was a religious unity in the air, and heads were still buzzing for more when Jeremy Caulfield and Elon took to the decks.

Hell is prepping for the release of his fourth album, Teufelswerk, which translates from German as "Devil's Work," and personally regards it as his greatest work yet. Much like Heaven & Hell's thematic aspirations, the record is divided into "Night" and "Day." The latter is an homage to the avant-garde Krautrock sound that Hell grew up with, while the darker disc is comprised of eight tracks that will mark a triumphant return for the Dominator. His headlining set at ReSolute's Hell & Heaven was, as you might expect, reflective of the "Night" collection: His collaboration with P. Diddy, "The DJ," was played after sunrise - an homage to the Afterhours (with a capital A) disciples that keep dancing past the 24 hour mark. Overall, the set was a taste of what is to come. The event and album are evidence of a man that plans to sustain his legendary status as one of the world's most famous DJ/producers."

Teufelswerk - German for "Devil's Work" - is Hell's masterpiece. Across 16 exquisite tracks divided into two themes, "Night" and "Day" , Hell weaves an intoxicating spell. The nocturnal side offers a contemporary interpretation of Chicago house and Detroit techno. It's sunnier sister disc finds Hell embracing the rich cosmic groove of his roots. A lush, narcotic odyssey, the album sounds unlike anything he's produced in the past. But at the same time, Hell has drawn on his wealth of experience and put everything he knows into Teufelswerk.

"Teufelswerk - a 17-track opus, split between ambient Day and jackin' Night tracks, which arrives on 27 April - is one of the most ambitious and cogent dance music albums of, well, all time. Seriously." - The Guardian UK

SPEX Magazine Album of the Issue, April 2009

"Many of you will find the idea that DJ Hell has made one of the best albums of 2009 (yes, already) utterly ludicrous. I know. I can hardly believe it myself. But, prepare to be amazed, because Teufelswerk - a 17-track opus, split between ambient Day and jackin' Night tracks, which arrives on 27 April - is one of the most ambitious and cogent dance music albums of, well, all time. Seriously.

Perhaps it isn't a total shock, as Helmut Geier does have form in this area. A decade ago, he released Munich Machine, an album that shone like a sharp green LED light at the end of the dark, dark tunnel that was 1998. In a world of dour, panel-beating techno and bloated, imploding superclubs, Munich Machine came housed in witty artwork; included covers of Warm Leatherette and Barry Manilow's Copacabana; utilised then unknowns Chicks On Speed; and generally mixed pop, punk, electro and techno in a way that, suddenly, made cutting-edge electronic music sound vital, sexy and intelligent.

Munich Machine helped catalyse electroclash, and, in its mischievous joie de vivre and its glossy air-tight production, arguably prefigured the whole shift to sleek sound design and audacious sonic twists that defined the Kompakt/minimal techno era. It was an important record.

The intervening years, however, have been another matter. Musically, Hell's label, International Deejay Gigolo, has only recently shaken off its electroclash hangover, while Hell himself hasn't made a truly indispensable record since. Almost no sooner did he establish himself as a kind of anti-superstar DJ, one who toyed confidently and ironically with his playboy image, than he seemed to lose himself in a whirlwind of hype and partying with P Diddy. Where once Hell defined the zeitgeist, in recent years he's sounded like he's chasing it. He's flirted with seemingly every passing trend - post-punk revival, dark disco-punk, Italo disco - to little productive end. His 2007 Misch Masch mix was similarly uncomfortable and indecisive, with Hell seemingly unsure whether to stick to his trademark sound or embrace minimal. Would the real DJ Hell please stand up?

Well, on Teufelswerk, he has. Tellingly, where his last artist album, NY Muscle, felt self-consciously fashionable, both in its sound, and its choice of collaborators (Erland Aye, Alan Vega, James Murphy), here Hell has worked with tried, trusted and lesser-known talents. The Day section was recorded with Peter Kruder (of Kruder & Dorfmeister fame) and Troby Trio/ Drumlesson man, Christian Prommer; while Anthony Rother, and new face &Me helped construct the Night bangers.

Hell is 47 this year, and Teufelswerk undoubtedly sounds like the grand artistic statement of a man who woke up one morning (in Cannes or Ibiza, the morning after some invite-only fashion party) and decided it was time to get serious. There are few albums that could get away with an opening track as pompously titled as, Germania, followed by the equally portentous (and beautiful) new single, The Angst and The Angst Pt 2, but Tuefelswerk, which has a grave, cinematic heft to it, does. With Hell acting as conductor, and Kruder, Prommer and Roberto di Gioia playing a mixture of synths, acoustic guitars, Wurlitzers and "rhythm machines", the four sweep back and forth across Europe, mapping the psychic highways that link Kraftwerk's Dusseldorf and Jean Michel Jarre's imaginary, futuristic Paris; Pink Floyd at the UFO club in 1966, and Cafe Del Mar in 1987; cavernous booming dubstep nights in modern Berlin and Goblin's progressive 1970's Italy. It may be ambient, but the last thing it is is chilled out.

The Night tracks are a little more orthodox, a little less interesting, but only in comparison. This is Hell back in his EBM-orientated electro/techno groove, one which he imbues with such colour, and laces with such quirks, that it still sounds unique. Recent single The Disaster is typical. Ten minutes 32 seconds of whistling hiss, scrolling, bleeping data, doomy bass grunts and flat, macho drums, it should be as tough as 12 hours at Tresor. In Hell's hands, however, it's a sensational three-part drama, a track dancing to its own barely contained energy.

Even Teufelswerk's high-profile guest spots are good. Bryan Ferry's jaded lounge-lizard shtick has rarely sounded so interesting as it does on U Can Dance, while The DJ, on which P Diddy (yes, him again) shouts a lot about how "motherfuckers" should play the 13-minute versions of tracks ("You know what I'm saying? You've gotta just hit 'em with that shit where they just marinate. Where they just engulfed in this shit."), is one of the most ridiculous, brilliant things you will have heard in a long time.

If DJ Hell can dig deep and strike gold, 10 years after his last great work, why can't anybody else? Might we yet see a coherent Babyshambles album? A Morrissey album that is more than moderately interesting? A Prince album that matters? Who, of our faded stars, do you long to see rediscover the form that once made them great?"

"DJ Hell's upcoming Teufelswerk set is possibly the peak of the great man's career... Hell never stops pulling unexpected monsters out of his sonic cod piece but this hefty taste is but the bell-end of the mighty iceberg." - DMC UPDATE

"Awesome! Would think that, with the Ferry being so musically good, the Diddy being so witty and iconic, and with the electro music rocking, this would strikes me as a sort of instant classic." - ROLLING STONE

"Known for his anti-superstar DJ stance, DJ Hell puts on Gigolo parties that are always a blast, bringing together lovers of all things artsy and esoteric." - MIAMI NEW TIMES

"Kein Star-DJ hat so abgefahrene Ideen wie Hell, niemand verwirklicht so unmittelbar und ungebrochen. Teufelswerk ist sein faszinierendster und unwahrscheinlichster Querschnitt durch den Mammutbaum der Popgeschichte bisher." - GROOVE

"Teufelswerk" ist Musik, zu der man - ganz antizyklisch gedacht - gern in einem schwarzen Sportwagen mit wein Lederbezgen auf der Amalfitana der Zukunftsangst davonrasen möchte"¦" - SPEX MAGAZINE