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On April 7th electronic luminary Nathan Fake presents the new longplayer ‘Crystal Vision’ on his own Cambria Instruments imprint, which features collaborations with Clark and Wizard Apprentice.

This is music for music’s sake – recorded without angles, agendas and themes – so Fake was free to simply continue honing his craft and express himself non-literally. Aptly titled, there’s a clarity of execution and ambition, and a peak effectiveness to the record that just sounds right.

Continuing to set a personal bar higher and topping his own best, the mark of master craftsperson is everywhere, but that doesn’t mean it’s polished; There’s plenty of rawness evident, with spiky sonics keeping ears on high alert – full of endorphin-flooded rave energy.

Following a short, scene-setting ‘Arrival’ – a simple major chord arpeggio played on a Jupiter 6 which sounds like curtains opening at dawn, things begin apace with ‘The Grass’, which hurtles like a precision-tuned bullet train through Arctic tundra. The undulating effect of compression is emphasised by the classic techno trope where 2 rhythms jar yet interlock, creating an exquisitely disorientating strobe-like flutter. On the track’s guest, Fake comments, “I fell in love with Wizard Apprentice's ‘I Am Invisible’ and felt our musical styles were similar. Their vocals are smooth and clear and sharp at the same time. They’re like a calm within the storm.”

Inspired by Italo disco but sounding wholly alien and futuristic, ‘Vimana’’s fizzing buzzsaw arpeggiated bassline, popping snares and bright whirling melody are equally an electro trance melange, with an effervescent major chord Arp that kicks in midway.

Reminiscent of what used to be called ‘funky techno’ but with sparklier sounds, ‘Boss Core’ blinds like sunshine bouncing off ice. Using his trusty Boss DR550 drum machine, and inspired by Autechre's ‘Vose In’, the track peaks by reaching that melancholic/euphoric axis for which he is loved.

With chugging slow breakbeats not a million miles from Board Of Canada or trip hop, ‘Crystal Vision’ rolls along, with the melody opening up, revealing more hidden notes as it progresses, building into a fractal, kaleidoscopic mosaic.

An emotional outpouring with serotonin surging through the circuitry, classic breakbeats and layers of lazers, ‘Bibled’ has all the hallmarks of a classic. This is a bonafide festival-set closing, hugging-your-mates, moment – or, with its guitar solo, “a power ballad” – as Nathan calls it.

A minimalistic moment of calm midway through the album, ‘CMD’’s gently comforting dreamscape is conjured with FM stacked and detuned sine waves which are left to breathe, whilst the chunky Chicagoan house jack of ‘Hawk’ brings to mind classic Relief records, but even more detuned and wibbly, and laden with synths.

As the title suggests, ‘Amen 96’ is in Fake’s own words, “me having a go at jungle. I grew up listening to it, and I remember as a teenager it sounded like the most intense and otherworldly music ever. It still does. This track is an experiment to see how my melodic style works against amen breaks”. Closer to the braindance end of the spectrum than ‘proper’ jungle (and all the more interesting for it), Fake channels the spirit of Squarepusher but makes it his own, brimming with melodious twinkle.

A collaboration with Nathan’s close friend and genuine musical hero Clark. ‘Outsider’ finds this dream team alchemising pure gold that’s bigger than the sum of their parts. Skittering, intense, far-reaching end epic, the pair close proceedings on a grandly dramatic note. In 2020 Nathan released the album ‘Blizzards’, which was described by The Quietus as “his best work”, and “his best LP yet” yet by Resident Advisor. The equally well received ‘Blizzards Remixes’ EP which featured Afrodeutsche and Irene Dresel followed in 2021, as did a nationwide UK tour.

An in-demand remixer, Fake has added his magic to tracks by Radiohead, Clark, Perc, Jon Hopkins, GoGo Penguin, Dominik Eulberg, Christian Löffler and Damian Lazarus, working for labels including Ninja Tune, Domino, Warp, Blue Note and Kompakt.

Miles Away Records are extremely proud to introduce our latest single by the incredible Howard Lemon Singers. You Are Somebody and For The Children are two blinding tracks cherry-picked from the incredibility rare 1977 album Seasons released on the legendary TK Records subsidiary Gospel Roots.
Both sides of this 45 are oozing with positivity and good sentiment, a fine example of the harmony between sacred and secular sounds, and the experimentation taking place, during the late 1970s as gospel artists were modernizing the soundtrack, and lyrical content of gospel music..
You Are Somebody is a gorgeous modern soul heater. Accomplished vocalist Esther Smith's sublime voice delivers her vocal lines with such confidence and assurance that the words seem to strut over the funky basslines and drumming support. Flip it over and For The Children is a more mid-tempo burner, but don't let this fool you - it's "stop-you-in-your-tracks" good. Smith's vocals once again shine brightly and are delightfully accompanied by the Nile Rodgers-esque 'wacka-wacka' guitar of Lester Snell throughout. Musicianship is of the highest quality as Howard Lemon, group leader, called upon some of the best musicians from STAX Records – Willie Hall and the aforementioned Lester Snell were key components of such groups as the Isaac Hayes Movement and the Bar Kays.
These two nuggets are presented here for the first time on a 45 and complete in our customary teal green labels and sleeve. Remastered and cut by Timmion.

DJ Girl is a DJ and producer who was raised in Detroit, but since the pandemic has been based in Austin, Texas. She's the co-founder of the up and coming Eat Dis Records and her recent releases have been generating excitement in all the right places.
In some ways, 'Hellworld' feels like a direct relation to a lot of early 2000s Planet Mu releases. It could sit neatly alongside Hellfish or Neil Landstrumm, with a similar anything-goes, gleeful attitude, but instead DJ Girl mashes together a driving sound that is founded upon Detroit techno and electro, Chicago juke and Miami bass, with an old school/new school production style that's finessed with distortion and sparse IDM production.
It's a midwest USA style that takes a leaf from DJs and producers such as the wild-style hard techno of Lenny Dee, the tough midwest acid of Woody McBride and the system wrecking electro of Dynamix II, with a joyful, take-no-prisoners bounce.

'Hellworld' kicks off with the industrial juke of 'Get Down', followed by the powerful electro of 'Opp Pack Hittin' (the first of two tracks to feature MC Malik McFly).

'Technician' is a chirpy old school electro track that gets crazier as it progresses, while 'Lucky' mashes together samples and rough beats like an electro version of breakcore.

'Gallery' again features Malick McFly and switches between footwork beats, pumping techno and electro.

'So Hot' is hard 8-bar electro while 'When U Touch Me featuring Irish producer Lighght feels like a very manic take on hyperpop.

The album ends with the tough, spiralling acid of 'Groover' which wouldn't be out of place on a late nineties Jeff Mills mix. The fun is infectious on this one.

Daje Funk Records is back with Vol. 4 of the legendary ‘Slam Dunk’ series of EPs, this time featuring Souldynamic - Musta - Les Inferno - Groovemasta !!!

On the A-side, the supremely talented Souldynamic kicks things off with ‘Tales From Q.J.’ - a delicious chunk of late summer grooves bathing in sun-drenched keys and strings. The rolling bassline acts as the hook, and what follows is a gloriously constructed melodic masterpiece sprinkled with heavenly vocals. Fall in love with this, you will.

A2 sees Italian maestro Musta crack open the deep reggae vibes with ’Soup’. You’ll find it hard to resist this bubbling broth of twisted, rhythmic precision bass, ‘one drop’ beats and tight, short skanking guitar riffs. With ‘Soup’, Musta demonstrates his complete understanding of this genre. Darkened room or bar sun terrace - you decide.

On the B-side, label co-owner Les Inferno spices things up several notches with the aptly titled ‘Hot Burn’. And boy, does this track sizzle. A hustling rhythm that takes over your dance nodes from the get go, Les Inferno lovingly sprinkles Latino and Afro vibes all over this searingly hot dish. It’s furious, intense and relentless - and the brass breakdown acts as the tabasco sauce. Drink water. Plenty of water.

Closing Vol. 4 out on B2 is Groovemasta with ‘That Funk’. A track that treats its funky beats and chunky bass like royalty, this 118bpm monster wastes no time in demanding ‘Gimme that funk’. And you’re gonna hand it over. The swirling, gyrating sexiness of ‘That Funk’ can’t be understated - impossible not to lose yourself in this guaranteed dance floor time bomb.

Slam Dunk Vol. 4 seriously raises the bar for this already excellent series, and has to be in any self-respecting vinyl junky’s record box. Grab it while you can!

Holly Lester’s Duality Trax Label has quickly become synonymous for its blend of future facing sonics and mind-warping melodies, served together with a healthy dose of nostalgia. A label just as focused on making dancefloor destroyers as it is exploring left-leaning, personal projects, it’s within this duality where the label has found its success, never afraid to shy away from b side oddities or tracks edging more towards good-old-fashioned-fun.

DUALITY5 steers towards the latter, with Manchester based DJ & producer Aiden Francis providing the serotonin on tap with three lively dancefloor cuts, including a huge remix from Italy’s Matisa. Aiden had a big 2022, releasing music on Magic Carpet, Gestalt and beloved music platform and label Houseum, solidifying himself as one to watch in the euphoric unity of house, trance and techno.

Title track ‘Plastic Fantasy’ is the star of the show, a suitably sassy roller that places everyone's favorite blonde icon front left of the speakers. Subtle old school strings contrast with alien electronics, providing familiarity in an otherwise unfamiliar world. A bubble-gum vocal then rolls in cheekily over a driving bassline and dynamic percussion - used in a way I’m not sure the original creators had in mind. ‘Future Proof’ meanwhile demonstrates Aidens’ knack for contemporary progressive house music. With warm pads, swirling sonic textures and moments of blissful euphoria, it’s energetic enough to move a dancefloor, but gentle enough for home listening too.

The record comes to a close with ‘Aquamarine’, with Aiden opting in favour of free flowing breakbeats and mind expanding synths, together radiating a feeling of warmth and hope for days to come. Italian DJ and producer Matisa is on hand to round the EP off with a bass-heavy rendition of ‘Plastic Fantasy’ a no-holds-barred speed garage licked stomper, with the power to lure smokers back inside the club with their feet firmly planted on the dancefloor.

Dynamite cuts 45s series is proud to release two gems from the Perception label both First time on 7” vinyl. Taken from the hard to find John Bartel LP which was released 1971, these two bangers, needed to be part of the DC series, classic and unknown drum samples.
A - “Boogie” is super heavy funk n Jazz dj dancer.
B - “You’ve just been bitten” Great mid-tempo vocal funk groove, with lots of drum break

The unmistakable Skatebård classic “The Bells of Mist” has received special remix treatment by Bård’s friend and co-conspirator Lauer. Twice! Accompanying the original are two new takes on the tune, stirring up the heavy grit of the original with some complimentary upbeat melodic rhythms. “Lauer Flute Mix” is a punched up house version with melodic keys and a spacey backdrop, enhancing the playful elements of the track. The “Marshall Mix” adds a distorted gritty touch topped off with classic piano riffs. Together with the memorable dubbed-out disco tune “Farver/Flimrer” also found on CDIII, this release reunites us with two Skatebård hard-to-find-on-wax originals and hot interpretations by Lauer. On red vinyl!

The next issue in the on-going Mastermix series features a centerpiece of Frankfurt’s club history: Wild Pitch Club.

A predecessor to the esteemed Robert Johnson and a stepping stone for Panorama Bar’s very own nd_baumecker.

Founded by Playhouse masterminds Ata and the late Heiko M/S/O it was a Thursday club night that heavily featured house music as a prescription to the ongoing techno fever. Enamored with the US-American roots of it and all things deep, it not only presented the right records, but also their creators and protagonists. With a string of guest DJs from Robert Hood and Claude Young to Kerri Chandler and Theo Parrish as well as talent from the UK and Europe, it was one of the culture’s hubs at the time.

Here you have its testimony. Selected and mixed by Ata and nd_baumecker, it’s an authentic snapshot of the club’s vibe and spirit, spread over two 2x12” volumes, a collectable tape (download included) and a pleasant streaming version, it’s the full dosage. Like Roach Motel confessed: Wild Pitch, I love you.

The next issue in the on-going Mastermix series features a centerpiece of Frankfurt’s club history: Wild Pitch Club.

A predecessor to the esteemed Robert Johnson and a stepping stone for Panorama Bar’s very own nd_baumecker.

Founded by Playhouse masterminds Ata and the late Heiko M/S/O it was a Thursday club night that heavily featured house music as a prescription to the ongoing techno fever. Enamored with the US-American roots of it and all things deep, it not only presented the right records, but also their creators and protagonists. With a string of guest DJs from Robert Hood and Claude Young to Kerri Chandler and Theo Parrish as well as talent from the UK and Europe, it was one of the culture’s hubs at the time.

Here you have its testimony. Selected and mixed by Ata and nd_baumecker, it’s an authentic snapshot of the club’s vibe and spirit, spread over two 2x12” volumes, a collectable tape (download included) and a pleasant streaming version, it’s the full dosage. Like Roach Motel confessed: Wild Pitch, I love you.

Utter presents the extraordinary audio-visual project 'SuperEverything*' by multi-media artists The Light Surgeons.

'SuperEverything*' is a live cinema performance piece that explores identity, ritual and place in relation to Malaysia’s past, present and future. Commissioned by The British Council in 2011, it was created in collaboration with a group of Malaysian audio and visual artists. Over the past decade, the project has toured to various film and new media arts festivals internationally.

'SuperEverything*' is a fusion of music, field recordings, documentary filmmaking and real-time moving image manipulation that together transports its audiences through a series of universal narratives; exploring themes of tradition and modernity, globalisation and development, race and national identity, to consumer culture and belief.

'SuperEverything*' surveys our human condition to reveal what unites and divides us. It weaves together a rich kaleidoscope of stories, sounds, images and smells live on stage. It is a truly immersive, cross disciplinary performative artwork that reflects on how our complex identities are formed through ritual in relation to our rapidly evolving physical and psychological environments.

'SuperEverything*' poses many questions about how people form a sense of identity in a world increasingly dominated by information networks and fast changing social and economic landscapes.

This limited edition vinyl and digital album features the nine original tracks that make up the musical score to this groundbreaking live cinema project, fusing traditional South East Asian instruments with field recordings, electronica and western classical string instruments.

Accompanying the record is a 24 page full colour booklet and double-sided poster, housed in a gatefold sleeve. The booklet contains quotes from the narrative interviewees whose voices are interwoven throughout the performance. These quotes accompany images from the production and performances to help illustrate the musical journey and allow you to contemplate the themes and ideas explored in this work. The poster design features a collection of filmstrips taken from the video material in the show with a single striking album image photo on the reverse.

The release is also accompanied by a previously unavailable film of the full live cinema performance recorded at Hackney Empire in collaboration with The Barbican in 2013.

August Greene culminates years of mutual respect and friendship, channeling the musicians’ various talents into a cohesive project. The perfect marriage of jazz, hip-hop and soul, it’s music that just is. This is black expression the way God intended: earnest, unfiltered, and harmonious. Throughout August Greene, you feel the abundance of Glasper’s rolling keys, the sheer honesty of Com’s lyrics, and the nuanced subtlety of Riggins’ drum work. It’s a fluid sound that’s sorely needed in today’s landscape, and a teachable moment for the next wave of creators. “I feel like we need to set the bar for this generation of musicians and producers,” Riggins says. “There’s a lot of computer-driven music. This is the opposite of that. We’re showing you can still use your creative muscle on an instrument to generate your own sound.” August Greene is a meditative offering that stands tall against the era of “fake news.” “They body snatching black girls in D.C. / Politics and propaganda on the TV,” Common observes on the opening track. On “Nirvana,” the lyricist uses a stuttering percussive loop and faint piano chords to search his inner being: “Thought I was gonna fly when Obama became the king … when it’s all done, will I have heaven’s dress code, and been able to let God and let go.” As Com puts it, Glasper and Riggins’ soundtrack allowed him to open up in ways he hadn’t done previously. Like on “Fly Away,” for instance, where he riffs on the public relationships he’s had. Other songs, like “Black Kennedy,” feel spacious and scenic. “I got to go new places with the music, and it didn’t have to fit within a genre for me to participate on it,” he says. “This gave me an experience I haven’t had in a long time, so I want people to feel that. I want this to be a cleansing of whatever doesn’t feel good or inspiring.” In the end, August Greene speaks to those pushing through the dark for brighter days. It's a masterpiece from which virtue can shine. “I want people to go on the ride and be open,” Glasper says. “We just created and it became a sound. I want people to approach this with an open mind and without expectations.” —Marcus J. Moore

Nearly 10 years on since his last solo LP, Berlin techno icon Marcel Dettmann arrives on Dekmantel with an expansive album captured in a flash of inspiration.

In many ways Fear Of Programming is a reflection on the artistic process – the critical hurdles one has to overcome, the constant strive for originality, the ability to capture inspiration in its pure moment of inception. Bar the closing title track (and we all know Marcel loves a surprise closing), these 13 tracks came together during a period in which our hirsute host was able to immerse himself in studio practice and set the intention to record an album’s worth of material every single day. From the resulting mass of work there were many options to choose from, and Fear Of Programming stood out as one of the most complete statements on Dettmann’s approach in the here and now.

Unconcerned with an overarching concept, it was the work in the studio which drove the musical direction. No labouring over knotty arrangements, no painstaking mix downs – just honest expression, a moment caught, a groove locked, a stroke of synth sent pirouetting over a cavernous bed of texture. The results are varied, and while you might well hear plenty of bruising machinations in line with the techno Dettmann has made his name on, there are plenty of other shades expressed across the album.

Ambient sojourns, beatless epics and angular electronica have equal footing with strident, floor-friendly workouts. Standout piece ‘Water’ offers an icy ballet of swinging minimal and drip-drop melodics fronted by Ryan Elliott on lesser-spotted vocal duties, urging, ‘give me a sign, just a little something to let me know that you’re mine’. It’s playful, but still underpinned with the sincerity that comes with Dettmann’s work.

Running on instinct, Dettmann presents an honest version of himself in the here and now, speaking through the sonics and not over-thinking the results. His decades of experience helming a thousand techno parties speak for themselves, while his evolution as a musical entity through collaboration and his own BAD MANNERS label demonstrate his appetite for change. Indeed, the working method which resulted in the album also spurred him on to create a live set beyond his well-established DJ practice. Without resorting to a conceited overhaul, Fear Of Programming opens up the idea of what Dettmann represents in the modern techno landscape.

Finger Prince recordings debut with the ‘Make U Feel Project’

A four tracker with the same assignment handed to four artists including some of the original Music For Freaks and Classic Music Company recording artists.

The first release is a close-knit affair with Lil’Mark handing out the project to who he regards as three close family members. No brief was given with the material so that all versions were unique. No spoilers either.

First up on side A, Mark provides a true groove with the swing he’s renowned for. Chords, catchy muting, stabs of vocal and a heavy rolling bassline sets the scene. Straight up house.

Track 2 is from Pale People who takes a great dub approach looping the bass and keys beneath the Vox adding tight percussion reminiscent of his Phonic Crunch collab’s with Mark. After a long hiatus it's great to have him back.

Side B Track 1 comes from Rob Mello doing his ’No Ears’ spectacular. It’s the Classic No Ears sound making great use of original elements and sounding fantastic as always.

Belgium’s export to Ibiza Bart Ricardo gets the final say on track 2. Taking it deeper Bart brings stretched chords into focus over a HEAVY kick and big bottom end. This track has a relentless groove with some well executed breaks.

- 2022 repress

Halogenix raises the bar once more, flipping between the light and the dark of his "Gaslight EP". The exquisite summertime bounce of "Out Of Line" featuring SOLAH on vocals and the future liquid of "Would You" give the perfect balance to the frenetic paranoia of title track "Gaslight" and "Line B". One of his best releases to date.

Quoth is the brainchild of Alex Egan (Utter) and Mike Smaczylo (Half Edge). Singular in focus, this newly minted (sub)label harnesses the pair’s diverse and expansive tastes in weird and hallucinatory sonics, aimed squarely at the dancefloor. We're very proud to present ‘Barney’s Maze’, a four-track EP of twisted techno, drawing influence from IDM, bass, and older strains of textural music.

‘Barney’s Maze’ is the work of Nottingham producer Coralie (aka Steven Randall). It fell on our ears strangely dislocated from time and place. Its sound world is utterly modern, technical and weird; mangled sonics slip deftly out of reach of easy categorisation. But the spirits evoked feel ancient, spectral resonances of a psychedelic continuum older than memory.

Haunting voices predominate: human, not too human, but captured and distorted by technology, cut from any source of context and voided of meaning. The sonic spaces conjured here are cavernous; great cathedral-like structures resonating with the collapsed centuries of digital time. Broken techno rhythms roll echoing in an artificial void with synthetic voices, raised to synthetic heavens. Strains of the sacred glimmer within a form that’s entirely profane, the most human of constructs.

It’s a stunning EP - moody, atmospheric and gorgeous, each track a world unto itself, but fully primed for the dance. We recommend it wholeheartedly.

Coralie tells us it’s dedicated to his dog.

Available on hand stamped vinyl, limited to 200 copies (including insert), and digital formats. Mastered by Beau Thomas at Ten Eight Seven.

BodyParts Vinyl resident Odessa-born Eric returns to the imprint with his new Gravity Precept EP, composed of three exquisitely produced originals and a remix from a master, Thomas Melchior. Gravity Precept explores the nooks and crannies between the minimal techno and spacey house genres and bends them together in a palette that is as coldly robotic as it is humanly warm. The dichotomy between the mechanical grooves and the delicately warm melodic elements raises the level of intimacy of this EP to a standard one would only find on the best of the after-hours. 

On the remix duties, Melchior Productions Ltd. infused the original track with his immensely shuffled, signature rhythms and striped down the entire mixdown to its bare bones. Such headroom created the perfect space for the pads and melodic elements to grow, for added melodrama, yet focused, straight-to-the-point and endlessly deep.

Spanish artists Jay Nortown and Jacobo Saavedra aka JNJS delivering the next installment of MOVIN'. The collaboration of these two talents has produced top releases on many highly respected labels and gained support of industry leading acts. Now they continue with this beautiful 4 track vinyl EP for us."

Early Support from: Priku, Arapu, Traumer, Barac, Archie Hamilton, S.A.M, Janeret, Nu Zau, Direkt, Cosmjn, Tania Vulcano & more

Oliver Johnson alias Dorian Concept veröffentlicht am 28. Oktober 2022 sein neues Album, „What We Do For Others“, auf Brainfeeder. Es ist das dritte Studioalbum des österreichischen Produzenten und Synthesizer-Experten, der für seine einzigartigen, wunderschön detaillierten Klangteppiche und wilden, gar euphorisierenden Live-Keyboard-Jam-Videos bekannt ist.
„What We Do For Others“ ist ein entspanntes, ruhiges, selbstbewusstes und intimes Album, das auf herrlich lockeren Arrangements und rückgekoppelten Klanglandschaften basiert und mit Fetzen seines eigenen verfremdeten Gesangs unterlegt ist, der eher als zusätzliche Instrumentierung denn als lyrische Phrasen präsentiert wird. Alle Elemente und Schichten wurden ohne Unterbrechungen aufgenommen und absichtlich nicht bearbeitet. „Ich glaube, deshalb hat diese Platte so etwas wie einen ‚Bandsound‘.“, erklärt Johnson. „Ich spiele alle Arten von Tasteninstrumenten, singe und benutze Effektgeräte, um diese freien Kompositionen zu schaffen.“ Der in Wien lebende Johnson ist ein fester Bestandteil der experimentellen Jazz-/ Elektronik-Szene, die im Umfeld von Brainfeeders Aushängeschild Flying Lotus floriert und sich diversifiziert hat. Mit frühen Veröffentlichungen auf dem Kindred Spirits-Label Nod Navigators und Affine Records spielte Johnson bei den ersten internationalen Label-Nächten von Brainfeeder im Jahr 2009 (Off-Sónar in Barcelona und die berüchtigte Hearn Street Car Park-Session in London) und bildete eine starke familiäre Bindung mit der Brainfeeder-Crew, die auf der gemeinsamen Liebe zu freaky Elektronik-Jazz-Fusion beruht. Johnson war an der Produktion von Thundercats „The Golden Age Of Apocalypse“ beteiligt, spielte die Tasten auf Flying Lotus' bahnbrechendem Album, „Cosmogramma“, und tourte mit den Live-Bands von FlyLo und The Cinematic Orchestra. Außerdem steuerte er die Tasten auf MF DOOMs „Lunchbreak“ bei, das von FlyLo und Thundercat produziert wurde. Kürzlich arbeitete er mit Kenny Beats an dessen Debütalbum, „Louie“, zusammen, wobei er bei drei Stücken die Tasten beisteuerte, und tat sich mit einem weiteren Pionier zukunftsorientierter Elektronik - Mark Pritchard - zusammen, um Musik für Damien Jalets zeitgenössische Tanzperformance, „Kites“, an der Göteborger Oper zu komponieren. Im Jahr 2020 arbeitete Oliver mit einem der weltweit führenden Ensembles für zeitgenössische Musik zusammen, dem Klangforum Wien, und komponierte ein Stück namens „Hyperopia“, das beim TRANSART Festival in Österreich aufgeführt wurde. Johnson veröffentlichte sein Debütalbum, „Joined Ends“, 2014 auf Ninja Tune, bevor er 2018 auf Brainfeeder landete, um „The Nature Of Imitation“ zu veröffentlichen: ein Album mit schwindelerregenden Partituren, kakophonischen Breakdowns und formidablen Rhythmen, von denen Pitchfork schwärmte: „Dorian Concept schafft etwas, das Elektro-Funk-Autoren der 70er und 80er Jahre wie Kraftwerk, George Clinton und Roger Troutman angedeutet haben: Computermusik, die den Funk unverhohlen imitiert, anstatt ihn nur zu faken.“.

Home is a powerful concept with an abstract definition. This solo album takes those subjective ideas and unifies them under one roof. Evolving from Jerve’s #dailypiano posts in 2019, ‘The Soundtrack of My Home’ relays thoughts and improvisations that trace his journey from childhood home to adult and now, father. Nurturing a mood or feeling, each song begets a sonorous story of someone close to him, expressed through the language of piano playing.

Jerve makes use of his hands as a human step sequencer, often programming two or more motifs of varying lengths in a polymetric fashion. These melodic patterns and arpeggios evolve at varying rates but grow around clear progressions with standard 8-bar forms.

The first track - ‘Kjetil’ enters with an earnest, gentle and endearing character - like a young river near its source. As with such a river, it will grow to varied sizes throughout the album but must begin as a humble expression from the source. The following titles sketch his interpretations of the people that have made up his home.

There is a theme across the album that unites the songs, so much so that differentiating tracks can at times be difficult. Though, Jerve punctuates this overarching mood with a few distinct structures, as found in tracks ‘Karoline’ (wife), ‘Espen’ (brother) and ‘Sven’ (father). ‘Turid’ (daughter) and ‘Jon Eirik’ (brother) seem less directive and welcome more intrigue, reminiscent of a curious child wandering through the dappled light of a forest.

‘Iben’ (daughter) and ‘Eivor’ (daughter) have a hypnotic, three-pointed melodic structure that leaves the listener suspended; transfixed - while ‘Sussi’ (cat) carries unique momentum and suitably feline autonomy. ‘Mette’ (mother) has a mood of ascending, like that of a child's upward gaze at their maternal carer. Utterly nuanced in structure, Jerve leaves ample space for subjective interpretation and allows the listener to weave their own life into the tones.

As expected from the founder of Dugnad rec - this album signifies a deeply personal sentiment. Sometimes we are forced to confront the music and other times, we are left to wonder. Here, we find a balance and unity that allows little thoughts and worries to drift away, bringing us warmly to rest in the present. The LP edition's bonus track features producer/performer extraordinaire Stian Balducci, drawing a line to the next chapter of piano-based music from Dugnad rec: TOKYO TAPES: PIANO RECYCLE.

The first 3 tracks on the Ep are loop technoid darkish typical berghain techno, the fourth track is typical idm techno as styled by source or the corresponding English Acts (direction b12, warp etc). Cleanly made productions.

Force Placement's AEROBICIDE EP is a killer workout of afterhours acid and galaxian breakbeat.

Four hypnotic bangers from Los Angeles with remix support from DJ Manny, D.I.E., and Martyn Bootyspoon

Los Angeles – Following releases on 100% Silk, Clave House, BANK NYC and Lost Soul Enterprises, FORCE PLACEMENT arrives on EVAR Records with four tracks of naughty squelching acid and breakbeat techno hypnotically calling you to the afterhours, backed by a trio of remixes from Martyn Bootyspoon, Detroit In Effect, and DJ Manny, representing North American excellence in techno, electro, and footwork, respectively.

A longtime friend of the EVAR crew from renegade breakcore parties in Santa Barbara to underground experimental electronics happenings in Los Angeles, Into the Woods and The Black Lodge resident Jason "Force Placement" James taps into his love of weird trippy atmospherics, rhythmic complexity and DIY punk/noise aesthetics to create this quartet of mystic, mysterious bangers, crafted with the MPC1000, Elektron's Octatrack sampler, the Korg minilogue, and Ableton.

The AEROBICIDE EP begins its killer workout with "Yeeks," a cabalistic ass-mover driven by a haunted female vocal sample floating atop locomotive bass and shakers – a factory's worth of industrial sounds and eerie accents move in and out of the mix, adding intrigue and interest.

Moving to the main room of the rave, "Balloon Animal" shoots you through an inflatable tube of squelchy acid techno as knives cut the air around you, while "Upsetter" adds a shuffling breakbeat rave bounce into the acid mix. "Quartered" chops it up with Clone-style dark analog electro that gets increasingly deconstructed by dirty, stretched percussion and rivulets of synth reverb raining down the walls.

Rounding out this occult aerobics class, some of North America's most compelling forces in dance music are called in for remix duty. Unsung electro hero Detroit In Effect aka D.I.E. – the man behind such classics as "RU Married" and "Get Up" – leans deep into the classic Motor City palette, pairing lush, spacey pads with that hard-swung Detroit bounce to create a mellow groover that will keep you going all night. Montreal's world-class party starter M. Bootyspoon recalls Substance Abuse-era Hawtin and mid-'90s Midwest techno on his "Balloon Animals" remix, with nasty claps and concentric loops of hard acid bleeps and squelches. And who better to tackle "Upsetter" than Southside Chicago's footwork futurist DJ Manny? The Teklife king eschews the romantic R&B tones of his recent Planet Mu album for a tough-as-nails rework that ups the tension and the tempo to create an otherworldly saga for the dance circle.