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The first release on Standards & Practices since the widely acclaimed remixes of Talker's 'Battle Standards' EP (by Surgeon / Regis / Broken English Club) from late last year, 'Live From Frankfurter Strasse' represents the first recorded collaborative effort from Jonathan Krohn (Stave, also 1/2 of Talker) and Jan Grebenstein (Downwards, Horo).

Culled from recording sessions following several successful improvised live performances in San Francisco, Los Angeles, & Berlin, 'Live From Frankfurter Strasse' is 3 tracks of seismically powerful, industrial dub music that represents a new direction for the pair and is unquestionably some of their strongest material to date.

The twitchy, pared-to-the-bone opener 'Alfa' is at once vast and frighteningly claustrophobic, recalling the brutal, clinical precision of Mika Vainio & Ilpo Vaisanen's output, with a brilliantly tricky arrangement that continually pulls the rug out from under the listener - it's vertigo-inducing twists and turns are simultaneously disorienting and endlessly hypnotic. On the flip, the brooding, scorched-earth 'Stirn' & 'Verstarkerstufe' work at a much slower tempo, uncurling like a plume of smoke with a spacious, cerebral quality that occasionally brings to mind early Gescom.

The first release on Standards & Practices since the widely acclaimed remixes of Talker's 'Battle Standards' EP (by Surgeon / Regis / Broken English Club) from late last year, 'Live From Frankfurter Strasse' represents the first recorded collaborative effort from Jonathan Krohn (Stave, also 1/2 of Talker) and Jan Grebenstein (Downwards, Horo).

Culled from recording sessions following several successful improvised live performances in San Francisco, Los Angeles, & Berlin, 'Live From Frankfurter Strasse' is 3 tracks of seismically powerful, industrial dub music that represents a new direction for the pair and is unquestionably some of their strongest material to date.

The twitchy, pared-to-the-bone opener 'Alfa' is at once vast and frighteningly claustrophobic, recalling the brutal, clinical precision of Mika Vainio & Ilpo Vaisanen's output, with a brilliantly tricky arrangement that continually pulls the rug out from under the listener - it's vertigo-inducing twists and turns are simultaneously disorienting and endlessly hypnotic. On the flip, the brooding, scorched-earth 'Stirn' & 'Verstarkerstufe' work at a much slower tempo, uncurling like a plume of smoke with a spacious, cerebral quality that occasionally brings to mind early Gescom.

Planet Mu are excited to announce Ital Tek's 'Bodied', the follow up to his acclaimed 2016 album 'Hollowed'. Stepping in a different direction from that album, It's as if Hollowed's detailed world has been fleshed out and filled with the spectre of human voices.

As on his last album, the sounds on 'Bodied' are highly designed, but this time barely a whisper of dance music remains. Instead it's built around acoustic elements and ghostly choral arrangements, refracted and transformed into atmospheric, alien forms which are given the time to settle and transform. Rhythm is used only as a tool to give his world a sense of dark, mechanical momentum.

Alan explains; "After completing 'Hollowed' I had over a year away from writing any of my own material. I was working, composing music for a video game and a number of different projects. I needed to find a way back in and I rediscovered the joy of music being a release as opposed to a job. I was getting up really early and sketching out lots of ideas very fast, squeezing in quick bursts of writing at the beginning or end of long studio day spent working on other musical projects."

"It was important for me to define the world that the album was going to inhabit before taking it any further, so I put a much greater focus into the sound design and palette than I had before. I wanted to make the music sound very physical, geometric, and monolithic, as if it inhabited a physical space."

"On 'Bodied' the music focuses on the interplay between the minuscule and the vast, beauty and brutalism. With this album I was much more concerned with dynamics and the discipline of holding tension; the use of space and silence to provide a counterpoint to the intensity."

"Most importantly, I was keen for there to be a human acoustic foundation, so I did a lot of live recording of cello, violin, harp and guitar - anything I could get my hands on. I was certain that I wanted there to be a greater vocal presence - nothing lyrical or at the forefront but to give it an underlying organic quality - to impart some humanity into the music."

As Ital Tek moves further from his roots, he's creating new sounds and spaces in which his music can exist. It's up to the listener to decide what kind of world 'Bodied' evokes, but it's certainly one that's beautiful and rewarding to spend time in.

When looking for music to be released on Magazine, our guideline has always been energy. The key question remains the same: Does the artist have something important to say Does it have a sense of urgency Alex played us these tracks while visiting the Magazine studio in Cologne earlier this year and we were consumed by unadulterated rage. This is anything but a conceptual release, Alex has not released this kind of music before. A side of Alex manifests itself through these techno tracks, that most might not have known before. Brutal yet beautiful, furious yet fragile. A Berlin native who shaped his sense for techno by striving through his hometown and its infamous raves, Alex is now one of the prominent protagonists of that scene - not only when regularly playing at Berghain. The EP harnesses this experience perfectly, fully preserving the energy of the creation process by recording directly to tape. Most productions may have suffered from this primitive method of locking sound into position, but not these tracks from a techno master.

Fans of Electro's big hitter DJs such as Helena Hauff, Dave Clarke, UMEK, Maceo Plex, and UMWELT won't have escaped the sonic assaults of Dutch artist RXmode and his fellow Transhumanism collective members; w1b0, Slaves of Sinus, TFHats.

RXmode's last EP 'Cerberus' was very much the EP he'd been building up to since his debut on Bass Agenda Recordings back in 2015; dark, sinister, heavy, and distinctive.

One of the tracks from that EP, 'Degraded', gets the remix treatment from the other Transhumanism members on this, the third vinyl release the collective have put out.

The original track kicks things off in style before the three very individual remixes take things to new territories. TFHats takes the track, remoulds it and adds his own lyrics and vocals to great effect. W1b0 brings what will certainly be looked back on as one of the heaviest tracks of 2018; his 'Violation in G Minor' mix is a brutal sonic assault with a bassline that will surely wake the dead. Last and by no means least Slaves of Sinus brings an abstract acid tinged version; laced with his own brand of sinister vibes and darkness.

Off-kilter Broken Beats From A Collection Of Up & Coming Artists From Around Europe And Beyond.

A1. Twelon - Quad

Twelon Heralds The Start Of The Ep With A Builder Track Perfect For Openings And Breakdowns Mid Set. Industrial Creeps And Hisses, Spliced With Intricate Percussion.

A2. Nollern - Sitar Pro

Nollern's Eff_el & Dan Beaven Burst Forth To Bring An Upfront, Yet Minimalistic, Glitch-rife Drum Track - Perfect For The Players Wanting To Layer An Element Of Sparse, Brutal Breaks Into The Mix.

B1. Tlk - In Your Shadow

Tlk Brings Us A Beautiful, Emotion Filled Arp Track. 'one Of My Goals When Making A Track, Is To Only Use One Sound: To Make One Synth Sing.' - Linkwood. This Is The Inspiration That Tlk Used For In Your Shadow.

B2. Xantrax - Xtk

A Trippy, Jazzy Combination Of Atmospheric Synthesis, Acoustic Drums And A Heavy Bass-weight Underlay, Giving The Ep A Raw, Yet Balanced Finish.

Picking up from where she left off with last years successful Tools of My Purpose, E- Saggila has returned to BANK employing a more sublime and immersive electronic document. Previously leaning toward noisier and distorted rhythms, she has incorporated more sophisticated elements into writing and production. Dedicated to Sublimity is a product of growth and progression but still reflects the raw elements we've heard in her early recordings. Lush and atmospheric elements coincide with the brutality of her live sets and play off one another as a cohesive representation of the E-Saggila project.

Picking up from where she left off with last years successful Tools of My Purpose, E- Saggila has returned to BANK employing a more sublime and immersive electronic document. Previously leaning toward noisier and distorted rhythms, she has incorporated more sophisticated elements into writing and production. Dedicated to Sublimity is a product of growth and progression but still reflects the raw elements we've heard in her early recordings. Lush and atmospheric elements coincide with the brutality of her live sets and play off one another as a cohesive representation of the E-Saggila project.

When Ann Arbor's Tadd Mullinix began exploring hip-hop under the name Dabrye 20 years ago, he soon honed in on a startling vision of what the genre could be: ingenious, refined, daring. This vision came to life across two albums for Ghostly International — 2001's One/Three and its 2006 follow-up Two/Three— with each record further positioning the quiet Michigan producer as one of his generation's best, equally comfortable creating minimalist instrumental meditations or sharp rap salvos. In the late 2000s, following critical acclaim and accolades from both peers and inspirations (including the late Jay Dee with whom Mullinix collaborated before his untimely passing), Mullinix put the Dabrye moniker on ice and dedicated himself to other genres and ideas. All the while the influence of his work on a new generation of electronic musicians continued to make itself felt in subtle but meaningful ways.

All this changes in 2017 as Dabrye makes his long-awaited return with Three/Three, a razor-sharp rap album that brings to completion a prophetic trilogy. Mullinix's incisive productions provide the backdrop for equally acute rhymes that run the gamut from intergenerational observations and being your best self to back alley deals and having fun in the ride. Guests include indie rap legend DOOM, whose previous collaboration with Dabrye remains a point of reference for many, Wu Tang storyteller Ghostface Killah, L.A word fanatic Jonwayne, and Long Island's rugged surrealist Roc Marciano. Most importantly Three/Three is, much like its predecessor, an unfettered celebration of Detroit-area talent with Guilty Simpson, Phat Kat, Kadence, Quelle Chris, Danny Brown, Shigeto, Clear Soul Forces and more all lending their touch to Dabrye's return.

The blend of American and British dance music, hip-hop sampling, and Jamaican sound clash energy that underpinned Two/Three remains a quiet, guiding principle. At the same time Mullinix rejoices in a refreshed perspective, having had time to incubate ideas and find clarity in the distance between albums and the evolution of scenes.The beats are looser and less angular, more embracing of repetition. Organic techniques inspired by soul and jazz round off some of the harsher sonics. The resulting broad palette of tracks reflects both this evolution and the range of the Dabrye persona: relaxed headnod ("Tunnel Vision"), nervous, slow-motion electro ("The Appetite"), glacial motifs ("Emancipated"), jazzy, cut-up funk ("Sunset"), minimal brutalism ("Electrocutor"), intricate layering ("Culture Shuffle").

Three/Three marks the return of an innovator after close to a decade of silence. Despite what the title might imply, the album isn't the end of the story but rather the completion of a creative arc. Expect more Dabrye in the near future. The game is far from over.

- Final installment of the /Three series, started in 2001
- Guests include Ghostface Killah, Jonwayne, Doom, Danny Brown, Shigeto, and more.
- Media support from: The Wire, FACT Magazine, The Detroit Free Press, Pitchfork, XLR8R
- Past collabs with Jay Dee (J Dilla), MF DOOM, Beans & more
- Vinyl is housed in a matte jacket with black hot foil and includes 24-page zine designed by Michael Cina.

Winter thaw marks the return to Furanum of Uncto, the Silesian dyad Domink Muller and Rafal Furst, with their first full release of collaborative material since 2013's seminal FU009. Like its predecessor, Unctuous offers four cuts of viscerally engineered and rhythmically exacting dystopias, each ably situated within a striking 'synth-etic' narrative. It is this latter aspect of each arrangement that perhaps most noticeably demonstrates the pair's singular and evolving approach to composition, born out in the calculated emphasis on hardware-based expressionism.

The opening title track stands as a testament to the above: while deceptively sparse at the outset, its ponderous advance, both heavyset and indomitable as it gathers pace, is framed in the midst of an unfolding panorama of stark analog wails. Further interspersed with resonant timbres more akin to the vocalizations of some hell-beast luring its prey, the eponymous behemoth ingratiates its listener, beckoning submission to its will with the promise of exhilaratory assimilation. Such a hive-mind state attained, exhilaration does follow, yet so does a concomitant loss of agency, leaving one thoroughly subjugated and enslaved to its cadence. Perhaps as a manifestation of dramatic resistance to such a fate, 'Trust No One' daringly defies the impositions of its predecessor. Instead, it animates and emboldens the beholder through its rhythm, ineluctably driven by a sense of accelerating linear intensity. Thus arriving at a climactic percussive build whose isochronal blows shatter any remnants of doubt, angst transforms into raw conviction as one is propelled into a delirious realm of solipsistic certitude.

Situated amidst the foreboding sound of blade clashing with blade, 'Cold Knife', on the other hand, is driven by an entirely disparate off-beat progression. As its anticipatory rhythmic thrusts cut through an advancing fog of shivering drones with frigid precision, one seemingly undergoes a cyclical plunge into a state not unlike one marked by the visceral dopaminergic rush of contact with extreme cold. Finally, 'Metzgers Tochter' ('Butcher's Daughter') closes the EP with a ruthless exploration of the contrast between the gruesome and the feminine. In a similar way to the opener, the track's meter is staggered and undulating, yet also steadily punctuated with breathing room between its crushing blasts. Such scenery thus serves as a canvas for the expression of the titular character's 'beauty and the beast': a paradoxical synthesis of attraction and aural brutality, held in tension by the unceasing throbbing of the composition's beats.

Mastered & cut by CGB at Berlin's Dubplates & Mastering,

Factory Benelux presents a new vinyl edition of Swimming, the debut album by Belgian new wave group The Names, originally issued in June 1982, and now issued in a limited edition of 300 copies on clear vinyl.

Between 1979 and 1982 The Names recorded a string of excellent records for Factory, Factory Benelux and Les Disques du Crepuscule, all helmed by legendary producer Martin Hannett. Recorded at Strawberry Studios in Manchester, Swimming has come to be regarded as a European cold wave classic, combining strong songwriting from Michel Sordinia and poised, tasteful delivery by guitarist Marc Deprez and keyboards player Christophe Den Tandt.

"Exhibits many of the fine qualities of early 80s avant-rock: icy brutalism, spectral reverb, tormented vocals, techno-tribal rumbles" (Uncut, 12/2000); "Swimming retains a gorgeously shrouded, sepulchral mood" (Mojo, 12/2011); "Intelligent and imaginative" (The Face, 7/1982)
Bonus tracks include the popular singles Calcutta, Nightshift, Spectators of Life and The Astronaut, as well as the band's John Peel session from February 1982 - the first ever recorded by a Belgian band. The gatefold sleeve features original artwork and poster design by Benoit Hennebert, and photographs by Marc Portee.

HOGG returns to SCRAPES with a full-length recording made at Electrical Audio. Self-Extinguishing Emission captures the physicality and energy of a HOGG performance over the last several years, while the song-writing and production show a refinement and development that is uniquely HOGG. The songs are built around a spare foundation of heavy electronic pulses punctured by occasional stabs of distorted guitar, floor tom, and biological samples. Dueling vocals of diverse sonic and emotional quality render each song into a pleasurable exploration of internal conflict within a brutal psychological atmosphere

On The 50th Anniversary Of The Band's Inception At An Event In Harlem, Ny To Commemorate Malcolm X's Birthday On 19 May 1968, Influential Spoken Word Artists, Poets And Commentators The Last Poets Are Set To Make A Glorious And Relevant Return With Their First Album In Over 20 Years, 'understand What Black Is'.

Produced By Ben Lamdin (nostaglia 77) And Brighton Legend Prince Fatty, Whose Speciality Is Traditional Reggae And Dub Production's, 'understand What Black Is' Is A Ten-track Album Which Speaks Of A Revolutionary Struggle Defined By Both Race And Identity, That Has Never Sounded More Relevant. Released On Studio Rockers, There Will Also Be An Accompanying Single Featuring Remixes Of The Title Track "understand What Black Is" By Mala (south London Collective Digital Mystikz) And Uk Dance Music Innovators Dego And Kaidi.

Since The Initial Line-up Of Dahveed Nelson, Gylan Kain And Felipe Luciano Formed In East Harlem's Marcus Garvey Park, The Last Poets Have Produced Under Various Guises Over The Subsequent Years. However, It Was Their Seminal Output, Namely 1970's 'the Last Poets' Under Both Umar Bin Hassan And Abiodun Oyewole That Secured Their Legacy, Becoming One Of The Most Important Influences In Early Hip Hop.

Throughout The Last 20 Years, The Band Have Remained Largely On Hiatus. But Their Influence Could Still Be Felt With Their Tracks Being Sampled By The Notorious B.i.g, Nwa, A Tribe Called Quest, Dr.dre And Snoop Dogg. Umar Has Recorded Various Solo Albums And Featured On Common And Kanye West's Grammy Nominated 'the Corner'. Abiodun Appeared On The Red Hot Organization's Album, Stolen Moments Which Was Named "album Of The Year" By Time. He Also Conducts Weekly Open House Poetry Readings, Where He Constructively Critiques Upcoming Poets, Helping To Nurture Them. He Has Also Conducted Classes At Columbia University, Where He Teaches Creative Writing.

The Inauguration Of Donald Trump As Us President In 2016 Inspired Hassan And Oyewole To Resurrect The Group To Create A Brand New Record, Modern And Edgy, And Deeply Relevant And Reflective Of Our Times.

Tracks On 'understand What Black Is' Include 'how Many Bullets', Which Bridles With Defiance As Oyewole Works Through A Litany Of Injustices Suffered By Black People In The Us: " You've Tried

To Blow My Brains Out With Bigotry, Chopped Off My Wings, So I Couldn't Fly Free, And Dared Me To Be Me, Took My Drum, Broke My Hands, Yanked My Roots Right Up Out Of The Land, And Riddled My Soul With Jesus" 'what I Want To See' Describes A Utopia - A Refuge From Hurt And Those Who'd Make "our Vision Blurred, And Our Faith Obscure", Whilst The Title Track 'understand What Black Is' Aims To Transcend Ethnicity: "understand What Black Is....it's The Source From Which All Things Come...black Is A Hero, Not A Villain."

The Album Even Takes Reference From Prince's 2003 Album Of Instrumentals, 'news', Which Hassan Drew Comparisons From With His Own Childhood Experiences: "that Poem Took Me About A Year To Write....i Just Kept Writing And Writing But Not Getting Too Far And Then I Heard That Album And The Musicianship Was Amazing. I Was Left Wondering If It Was Jazz, Classical, Rock Or Maybe Something New But All Those Images That I Write About Came To Me From Listening To That Album. I Loved Prince In That Movie Purple Rain Because My Father Was A Talented Musician But He Was Into Brutalising Mama At Times And In The Movie There's A Jerome And My Name Is Jerome, So It Was Like He Was Telling My Life Story As Well."

The Album Acts As A Body Of Work Between Individual Members Each Speaking Of Their Own Personal Journeys, But Feeding Into The Much Larger Narrative Of Struggle And Oppression, Alongside A Fervent Hunger For Social Change. These Are Struggles And Tests Of Personal Resolve That Have Directly Shaped And Moulded The Bands' Unique Sound Over The Course Of An Impressive 50 Years, And Their Powerful And Influential Commentary Remains As Relevant As Ever.

First release for the Italian label Alley Version is a split built up of rugged jackin' patterns and brutalist house jams, all recorded on tape by Mituo Shiomi and Drum Machine. Limited to 200 copies.

After a period of hibernation, aperture records awakens with a bang and a compelling program in the pipeline.
Following their first album released on aperture at the tail end of 2015 'no.3.obliate', the Italian duo T.e.s.o. bring us their second full-length album 'costruzione 04'.
As the title suggests, the album centres around an underlying theme of construction, inspired by radical architecture, brutalism and collages from Superstudio. The concept and title evolved from the nature of the album and the process of building up tracks from a number of separate samples, much like the singular elemental materials used to assemble a structure.
Alongside their music production, the duo have previously created a multimedia installation that investigated the geometric studies of Le Corbusier in parallel to the musical production of Erik Saite and Matteo Castiglioni continues to create impressive audiovisual installations such as the recent 'Freddo Flusso' and 'neon(i)', as well as a collaboration with Danilo Randazzo. T.e.s.o also continue to perform absorbing live sets of their own inimitable range of musical perspective and vision.
Intense, visual and structured, 'costruzione 04' again showcases T.e.s.o.'s complex, obscure and dominant beats and their oblique and sometimes challenging style.

Tape / Cassette
This is Essential Tremor's second and final album of all time. The band broke up after the recording of this record but still managed to play one final show before fully breaking up. The show was one of the most brutal things Nashville, TN has ever witnessed and lead singer Cole K was banished from Nashville forever following the performance. Essential Tremor's work never quite fit in with the rest of what was occurring in Nashville around the time these tracks were recorded, but we're sure that this tape will fit right in with the rest of your collection.

- Coming off Transmission, Death in Vegas's critically acclaimed 6th album which saw the band collaborating with Sasha Grey, are three unique remixes by Silent Servant and Rudolf Klorzeiger.

- Silent Servant delivers two stunning mixes of You Disco I Freak. In his first remix he elevates the discordant melody in You Disco I Freak and adds a sense of menace with a new sequence, taking the track in a more sinister direction. With his second version, he takes the heat up a notch with a brutal workout synonymous with his signature abrasive sound.

- Dopplereffekt, Drexciya, Arpanet, Der Zyklus, Japanese Telecom, Heinrich Mueller, Rudolf Klorzeiger: Death in Vegas are huge fans of Gerald Donald in all his forms. He choose to 'reproduce' Metal Box, keeping certain elements of the original field recordings, the sounds of the Steel Factory opposite Drone's studio, the incessant drones from the planes landing at City Airport and the dial tones of the studio's VHF radio and layered over these with his own sonic tapestry.

For over 4 years, David Coccagna aka Chaperone has been a constant part of Great Circles, as musician, art director, and muse. With Snapback Balaclava he once again fully embodies all of those roles, delivering three inspiring tracks, selecting his remixers with specific attention to their musical histories, and designing his cover art.

Across the A-side, Chaperone scrapes away at the grit - personal grit, the grit of anxiety, and Philly grit. These are meditations on loops, and loops on meditations. Each one appears on the surface to be a brief quote, but time dilation takes over, and minutes later we discover that Chaperone has welcomed us into and back out of his own healing moment.

Like Chaperone's P O N D release (GRCR-009), the B-side of Snapback Balaclava is a Great Circles extended family affair with a trio of diverse remixes that expose and exploit fragments of the chaos Chaperone so carefully contained.

Hitoshi Kojima (Thrive) reinterprets Pulse Feels Swells Beating with relentless syncopated rhythms and synth lines that hang like massive string drones. M//R lays down a signature percussion ensemble palette, zeroes in on otherwise peripheral elements of Grit Neglect, and then deftly navigates sea change with both. Matt Korvette and Sean McGuinness of Philly punk band Pissed Jeans open up the pit and finish the story, taking Femur Baseball Bat to its literal and brutal potential with monstrous vocals and kicks.

Dax J returns in epic fashion with his 2nd album on Monnom Black taking you on a journey through techno, acid, ebm, idm and jungle. 14 killer cuts! Legendary and absolutely essential!

2 x Vinyl LP + free digital download codes + A5 Art Insert + Sticker and plastic wrapped

Long time friend of the label, Neue Grafik, steps forth with his most fully realised offering to date. This record has been a long time coming, born out of a encounter in Paris back in 2016. This meeting of minds led to a blossoming friendship between Fred ( Neue Grafik) and Bradley ( RS INTL) which has taken them across 3 continents, countless dance-floors and finally crystallised onto this 12'.

The record itself takes cues from the broken-beat sound of London while paying homage to the Parisian house dance scene. Largely sample based, but also employing much more live instrumentation than ever before, Neue Grafik's music is informed by movement and in turn offers so much for Dancers to respond to.

The EP begins with the lysergic ebbs and flows of 'Innervision', ( in which Wayne Snow graces the record with a sublime vocal performance) and moves effortlessly to the uplifting bruk of 'Dance to Yemanja' via the staccato of ' to Peckham Rye'( a homage to the labels origins) , before finishing on the hauntingly melancholic tones of 'Aulnay's Tears' - an homage to the victim's of police brutality in the Parisian Suburb in 2017.

With releases on 22a, Beat X Changers and Wolf Music and a whole host of exciting plans for the near future - we're very pleased to welcome Monsieur Grafik onboard!

Here is the debut release by Italian duo R A D K O... their music is a blending of post/cold wave and shoegaze elements... both the songs and the production have a typical nostalgic feeling but are rather modern at the same time... instead of being overtly dark the sound and overall mood is much more melancholy and dreamy... for sure these two tracks make up for an impressive debut and addictive little 7 record

Die zweite Runde von Remixen zu dem selbst betitelten Album von Urbs ist eine fesselnde Zusammenstellung von zeitlosen HipHop sowie Downtempo Nummern.

Marc Mac: Gibt es zu dieser Person etwa noch was zu sagen Als Teil des UK Duos 4Hero hat er Musikgeschichte geschrieben und sein Visioneers Projekt setzte neue Standards in Sachen organischem HipHop. Sein Remix zu - Get Wid It featuring Tyna aus Neuseeland, besitzt alles, was man sich von diesem Musikgenie erwartet. Ein souliges, harmonisches Meisterwerk, welches auch auf einem seiner legendären Visioneers Alben hätte veröffentlicht werden können.

Peter Kruder hat als Teil von Kruder & Dorfmeister sowie mit seinem Projekt Peace Orchestra Musikgeschichte geschrieben. Sein Remix zu - Happy Days feat. Bagi und Sarah Ann ist eine Reise zurück zu seinen musikalischen Wurzeln, welche ihn berühmt gemacht haben - eine relaxte Downtempo-Nummer. Der Remix weckt Erinnerungen an die Zeit, als seine Musik Millionen von Menschen berührte.

Patrick Pulsinger ist der dritte im Bunde aus der Riege der Helden der 90s. Gemeinsam mit Sam Irl, seinem derzeitigen Komplizen, zeigen die beiden was herauskommen kann, wenn ein Studio-Zauberer mit Techno Wurzeln auf ein Musikgenie mit HipHop Wurzeln trifft. Ihr Remix zu - Code Of The Snake feat. Blabbwona ist eine trippige HipHop-Tech-Dub Nummer mit viel Bass und als solches absolut einzigartig.

Jstar aus London hat sich bereits einen Namen gemacht als Produzent von unzähligen Remixen und Edits auf seinem eigenem Label Jstar. Seine Spezialität sind Dub und Reggae Remixe von HipHop Classics. Er ist ein Großmeister des Digital Dancehall und transformierte den Golden Era Sound von - Why We feat Ward 21 (aus Kingston Jamaica) in etwas absolut Futuristisches.

Flip: Rapveteran von Texta aus Linz, der zuletzt durch sein Soloalbum auf dem New Yorker Raplabel Ill Adrenaline Records aufgefallen ist, bringt einen Remix zu - Holdin' Back feat Wordsworth. Mit einem genialem Chuck D Sample und einem funky Beat setzt dieser Remix Tanzflächen von Alaska bis Auckland in brannt.

Trishes: Last but not least: Moderator der legendären HipHop Radioshow Tribe Vibes auf FM4 und integraler Bestandteil der Wiener HipHop Szene. Für seinen Remix zu - Concussion feat BluRum13 von Oneself, setzte er auf einen heftigen Groove mit lauten Becken um einen Underwater-Funk-Beat zu kreieren und somit einen neuen Hintergrund für diese echt verrückte Geschichte zu gestalten.

Über das Album 'Urbs':
Ganze elf Jahre sind seit - Toujours Le Meme Film', dem letzten Album von Urbs vergangen. Auf Kruder & Dorfmeisters G-Stone Label lieferte der Wiener Musiker, DJ und Producer damals den Soundtrack zu einem fiktiven Film Noir, zog sich aber nach einer Europa-Tournee fast gänzlich aus der Öffentlichkeit zurück. Er sieht sein Schaffen nicht als Karriere, sondern als Teil seines Lebens, welches in den seltensten Fällen einer konkreten Planung unterliegt, und deshalb hat Urbs sich auch bewusst viel Zeit gelassen für sein aktuelles -unbetiteltes - Album.

Urbs: - Der Vorgänger "Toujours Le Meme Film" kam bei sehr vielen Leuten extrem gut an, und über die Jahre habe ich mitbekommen, daß es manchen Leuten richtig viel bedeutet. Das war eine gewisse Belastung, weil man diese Leute natürlich nicht enttäuschen will. Mittlerweile denke ich, daß genug Wasser die Donau runtergeflossen ist, um vielleicht den einen oder anderen mit etwas ganz Neuem zu überraschen. Die Leute, die mich kennen, wissen ja, daß ich im Grunde immer dopen HipHop produziert habe.'

Konsequenterweise handelt es sich diesmal nicht um ein Instrumental-Album sondern um eine Sammlung von 12 souligen HipHop Nummern, die mit handverlesenen Vokalisten der internationalen Rap-, Dancehall- und Soul-Szene aufwarten. Neben den New Yorkern Wordsworth von EMC sowie R.A. The Rugged Man, finden sich unter anderem Ward 21 aus Kingston, Jamaica, Voice Monet aus New Orleans, Blu Rum 13 von One Self aus Washington DC, als auch alte Weggefährten wie dem Wiener Skero oder dem Wahl-Münchner Blabbwona von Abstract Art auf dem Album.
Auf die Frage, wie es sich anfühlt, nach mehreren Instrumental-LPs erstmals ein Album mit Vokalisten aufzunehmen, erwidert Urbs mit einem Augenzwingern: - Generell war es für mich schwierig die Songs loszulassen und mich den MCs auszuliefern. Man verbringt viel Zeit mit einem Stück und baut eine gewisse Beziehung auf. Die Musik erzeugt Bilder im Kopf und hat oft eine schwer fassbare Bedeutung für den Producer. Dann geht ein MC drüber und es ist ein bisschen als würden die brutalen Freunde deines älteren Bruders dein Kinderzimmer verwüsten- in deiner Anwesenheit.'

Wieso das Album keinen Titel trägt, ist auch schnell beantwortet: - Dieses Album ist nun sozusagen meine Leistungsschau auf diesem Gebiet und durch den unendlich langen Reifeprozess, ist es auch schön intensiv eingekocht und auf dem Punkt. Deshalb auch keine Intros, keine Interludes, kein Titel, no Gimmicks, einfach 12 gute Songs - Punkt.'

Neben dem Album werden auch zwei EPs mit Remixes von Retrogott, Brenk Sinatra, Visoneers (Marc Mac von 4 Hero), Peter Kruder, Cookin' Soul, J*Star, Flip (Texta) und anderen veröffentlicht. Für das Artwork zeichnet DJ DSL verantwortlich.

STAUB comes back on wax for a third episode. Following the no name policy from the parties which started 5 years ago in ://about blank, it is time again for unknown artist to shine. This new EP sees the shy producer appearing on 4 tracks of pristine techno. A1 is an atmospheric trip while A2 is more brutal, on the B side it is going weirder and darker. We think Unknown Artist tries to craft interesting techno cuts and that he loves variety.

That it is the idea behind STAUB since its beginnings, it does not matter whether you are a newcomer or Lady Gaga, what matters is the quality of the music. This is what was again aimed with this third record.

Early 80s. Christiane F and Tron meet over a brutalist landscape. Clock is ticking. Electronic pioneers bang up post punks. Dirty hits. Take more. Time is running out. Northern European sub-cultural appropriation to destroy the dance. Still, it sounds good. And it looks nice. Nice sleeve art. Move along. Move along.

Although Rico Puestel has been producing since 2005, he still seems to be something of an insider tip. Since 'Caravel' though, his August release on Cocoon Recordings, things have taken a dramatic turn with Puestel currently enjoying 'man of the moment' status, especially when it comes to progressive techno and peak time action on the dance floor."973 picks up exactly where 'Caravel' left off, kicking powerfully with irresistable, effect-loaded breaks that really twist your melon. This one really works you over but there's also feeling and a touch of elegance, in fact we can't remember hearing anything like this since Len Faki's Dustin Zahn Remix! '973 proves that 'Caravel' was no flash in the pan, just one tantalising glimpse into the musical world of Rico Puestel and that's not the end of it..."272 is a little more stripped down and chilled to start with, but soon opens up into the same crazy atmosphere as '973. This is dominated by an up-and-running arpeggio synth, which combines with the now familiar effects-break motif to create an incredible hypnotic effect. A little less brutal than '973 but drenched in more reverb, '272 is something like 'kicking Deep Techno' with a nod to the Tech House corner in the style of Mark Broom or Joris Voorn. Mr. Puestel serves up two choice cuts here and there's no question that 973272 will be with us for a while. Buckle up, hold tight and off we go!

A diverse techno E.P, each track suitable for a specific time, place & audience.

Everything's possible, nothing has to be, probably best describes the current selection. While Artik brutally transforms the Industrial into the techno format, Chris Moss Acid and Spaceinvasion ride the 303. The former combines analog-synths with repetitive peaktime-techno, while Spaceinvasion interprets this through a sluggish, yet no less brutal, flow. Lastly, Lucindo scatters nuances of trance. Rave!

Bei allen, die den Tiefgang bei Eminems Können oder seine Fähigkeit, drastische, aber faszinierend offene Ehrlichkeit zu liefern, angezweifelt haben, bei denen werden diese Zweifel schon bei dem ersten Track von The Eminem Show in alle Winde zerstreut. "White America" lebt von seinem flotten Flow und einem krachenden Rhythmus-Track (für die Produktion der Platte war schließlich der langjährige Mentor und Partner Dr. Dre verantwortlich), und wir erleben, wie Eminem wild auf all die Hände einschlägt, die ihn doch eigentlich ernähren, wie er auf seine Kritiker einprügelt, ebenso auf die Industrie und auf den Rassismus, der in mancherlei Hinsicht Marshall Mathers mehr auf die Beine geholfen hat als sonst irgendeinem Rapper. Nach dem spektakulären Auftritt bei The Marshall Mathers LP und Eminems gezieltem Einsatz von sexuellen Ausdrücken klingt diese Art von Material noch mehr nach Kontroversen, denn es erscheint tatsächlich als die Wahrheit. Angefangen von einer brutalen Antwort an seine ihm längst fremd gewordene und verwirrte Mutter ("Cleaning Out My Closets") bis hin zu einer überraschend zarten Ode an sein Kind ("Hailie's Song") nimmt Eminem alles kritisch unter die Lupe: sein Leben, seine Liebschaften, seine Festnahmen, seine Sucht, sein Versagen und seine Erfolge, und das mit einer verblüffenden, selbstkritischen Einsicht.

MICK HARRIS (SCORN, QUOIT, PAINKILLER) returns after several years of hiatus with ten tracks of blasting landmine bass and interlocking shrapnel rhythms.I've been asked to write a press piece for the dark lord MICK HARRIS.Where does one even start Especially for someone with decades of releases over various solo projects, collaborations and pseudonyms, whether it's doing blast beats in the original NAPALM DEATH to crushing techno brutality as MONRELLA, or savage drum & bass as QUOIT. Then of course there's the mighty SCORN and his numerous collaborations with fellow luminaries such as JOHN ZORN and BILL LASWELL (in PAINKILLER).Rather than being tied to genres or scenes, MICK HARRIS is one of those producers who creates a whole sonic world uniquely of his own, in which varying tracks, styles and tempos take form, but yet in which everything sounds unmistakably characteristic of the creator. Needless to say his work has influenced legions of producers like SURGEON, REGIS, ONTAL, VATICAN SHADOW / PRURIENT, FAUSTEN, SHAPEDNOISE et al, and pretty much anyone in the world of powerfully dark, abrasive music you could name-drop. And yet after all this time, it is impressive that HARRIS still stands way above his successors and has never been surpassed in his own production/performance game.After a hiatus of several years, he is back with a new album under the guise of FRET.Working at a faster tempo than his SCORN material, the FRET project first surfaced years ago on the DOWNWARDS label, rooting it firmly in the dark, industrial and technoid world, and appeared more recently on Tresor (Kern mix by OBJEKT), maintaining the characteristic colossal bass-heaviness and textural depth.And now a full album on KARLRECORDS, Berlin. HARRIS fans will be delighted to know that despite the 130 bpm tempo, the newest FRET still resolutely avoids any straight four-on-the-floor kickdrums, every track lurches, stumbles, staggers and charges forth with beats in beautifully broken asymmetry.We get 10 tracks of crushing, percussive destroyers, each itself a storm of precision chaos, with colossal low-end frequencies that'll cause stampedes in the right circumstances. The classic HARRIS sound is there, searing waves of feedback distortion, intricate, interlocking rhythms and cold, abattoir atmospheres, especially track 6 "Stuck in the track at Salford Priors" which sounds like you're being continuously suspended in the air from multiple explosions all around, each kickdrum throwing you up in the air, the next one going off before you can fall completely back to the ground.The lazy-minded would probably lump it in with the term "techno", but the disciplined brutality, blasting landmine bass and interlocking shrapnel rhythms are clearly HARRIS' own trademark style, sitting somewhere between SCORN and QUOIT.The tracks appear deceptively chaotic on the surface, yet each is meticulously and masterfully composed with great attention to layering and detail. MICK HARRIS fans rejoice, the dark lord still remains at the top of his game.

(Derek Szeto / Fausten / Combat Recordings)

Mana is producer and composer Daniele Mana from Torino in Italy. His debut EP for Hyperdub, 'Creature', is also the first under his own surname. It's one of his most vivid, personal and confident releases to date. Since 2010, he has been releasing under the moniker Vaghe Stelle, with EPs and two full length albums on labels such as Gang of Ducks, Aisha Devi's Danse Noire, Astro:Dynamics and most recently, Nicolas Jaar's Other People records. He is also a member of One Circle with Lorenzo Senni and soundtracks composer Francesco Fantini. On 'Creature', over eight tracks, he ingests Shostakovitch, Drexciya, Darkthrone, Frank Ocean and Paul Lansky, and refashions them into an almost operatic record - a rich, melodrama of dark tension and excitable in-your-face synth melodies. In using his own name for the first time, he says he is confronting the unfiltered, brutal truth' of his self, compressing tension and anxiety' into a claustrophobic sense of emotional vacuum.' From the skulking clockwork of 'Crystaline,' the rich drifting ambience of 'Sei Nove', to the panicky, rushy rave stabs meets horror theme of 'Running Man', it's lucid, dynamic synth music which uses drums sparingly, but occasionally swirls into little sublime vortices of arpeggiated hyperrhythm. The melodies are bright and pitch bent, swollen by euphoric voltage surges and stuttering, soaring strings in 'Rabbia', plucking wide-screen, heart strings on 'Uno e Solo' and lulling down into the delicate, shimmering prisms of 'Wetlife' and 'Consolations'. While in its own lane, 'Creature' feels totally at home on Hyperdub.

Another amazing exercise by Thee J Johanz! In R U There In R U There he's exploring the capabilities of the Russian/DDR Vermona synth for a massive brutal lead on a rocking 808 beat, with driving italoesque arpeggio's from the Jupiter 6. Having it's special moment in an unanswered synthesized ring tone, enhancing the haunting suspense. In K Clap West he lets the Moog modular sing like Kanye West, supported by the ancient Roland CR 8000 drummachine. Sleazy analogue goodness, slapping asses with the nasty clap. Sex with machines. More Cowbell! is just what the title promises. An orgy of live tuned cowbells, recorded in one take with his beloved modded CR 8000, it's a perfect atonal mixtool to add some uplifting madness and excitement. Sleeve art by David Homan and Thee J Johanz himself.

Early support from DJ Hell, Prins Thomas, Simeon Mobile Disco, Audio Soul Project, Severino Panzetta, Tensnake and more...

A post-Tropicalia masterpiece from one of the movements key figures and true legends of Brazilian music, Gal Costa. Features a stellar line up of musicians including Gilberto Gil, Arthur Verocai, Dominguinhos, Rogério Duprat and Tenorio Jr. amongst others.
Replica original gatefold including the cover that was banned by the Brazilian military government in 1973 during the brutal dictatorship.
'India' includes the incredible 'Pontos De Luz' as sampled by Kaytranada on 'Lite Spots' - one of our favourite Brazilian songs of all time. A wonderful album from start to finish, touching on MPB, folk, jazz, funk and rock with strong Tropicalia and Nordestino influences throughout.
A record that we have long been wanting to reissue! Licensed courtesy of Universal Music Group Limited.

Femur's second release goes deeper into totally unsettling, dark and gloomy sounds. This time with one of our most valued fellow artists Celldöd. We are proud to press the track 'Terrorbalans' for the first time on vinyl. It had been previously released on cassette by Celldöd himself on his own platform Brutal Disciplin. He has also included two unreleased tracks; the machine-like 'Svart Sira' and 'Socker', dirtier and naughtier. The closure to this second reference is a magnificent remix by Swedish duo Fishermen, originally released on Brutal Disciplin, too.

INCL. HIVER & CLAY WILSON REMIXES

Drawing on a pedigree of lush synth experimentation and cutting drum arrangements, Alfredo Mazzilli has been pushing his own brand of hypnotic techno over the past several years, charting releases with Lanthan Audio, Weekend Circuit and Edit Select. Now, Blankstairs is proud to announce the first U.S.-based release for the Italian producer with Vanaheimr , a pair of new tracks coupled with remixes from Clay Wilson and Hiver.

Mazzilli's work takes a considered pathway that walks the line between form and function, pulling his thick landscapes of synth wash and melodic punctuations through cutting rhythm tracks that owe as much to classic drum machine workouts as the dub-techno stalwarts that he frequently draws on here. Sculptural precision and rhythmic development work in tandem here, giving each track a shifting framework that seems to never touch down in the same place twice.

It s best seen in B-side Njord , a full-on assault of staccato kicks and flickers of percussion elements fleshed out with a series of short, repetitive pads, and washes of reverb, that create a meditative progression of interlocking textures. A similar approach defines A-side Vanir , where a lighter series of synth arrangements are woven through a driving, hypnotic rhythm that offers a fitting counterpoint to Njord's brutal kick patterns.

These are tracks about patience and concentration, allowing the slow, coursing process of the track to take center stage, turning the track into a negotiation between its functional, rhythmic ground and the high-mind ephemerality his arrangements conjure. A pair of remixes join Mazzilli's compositions, with The Bunker New York/Styles Upon Styles alum Clay Wilson twisting Njord towards a more balanced, rhythmic pacing, while pushing its hissing electronics towards a more caustic frequency range. On the A-Side, Hiver draws rhythmic cues from 90's house to turn Vanir into a trance-inducing sunrise groove.

Horse Follows Darkness is the second record by Delia Gonzalez, her follow up to the album In Remembrance'.

The title is taken from a werewolf genre film her 8 year old son Wolfgang had created. At this time, Wolfgang also turned Delia onto a genre of cinema she had always resisted - the American Western.

Delia explains that what she observed was all relevant - the album is based on our personal experience of moving back to America (from Berlin) and the journey that followed. The record is a manifestation of that, and what one creates for themselves under the given circumstances. Coming back to America, I felt like a foreigner and NYC / America felt like the Wild West. Most Westerns from the 1960s to the present have revisionist themes. Many were made by emerging major filmmakers who saw the Western as an opportunity to expand their criticism of American society and values into
a new genre.'

The narrative of the record is one of re-encountering the frontier mentality that shaped the country but somehow never faded. This time as a foreigner. The genre of the Western remains pertinent, many of the same stories of that brutally deromanticised era are still relevant today. America hasn't changed - the cast, times and settings have, but we still hold onto the same ideal.

Horse Follows Darkness is essentially a modern electronic soundtrack for the Revisionist Western. Even the idea for the record cover is inspired by one of the most well known modern Westerns, Robert Altman's McCabe & Mrs Miller.

The album was recorded with Abe Seiferth at Transmitter Park studios, which Delia likens to going to the finest tailor'. Abe became an integral part of the recording, playing guitar and helping to suggest experimenting with different synthesizers, something Delia was keen to do. Delia refers to Abe as a magical and incredibly intuitive collaborator' regarding the sound of the record.

The music that emerged from these recording sessions combines a range of influences - from the compositions of Erik Satie to 'Salon De Musique', the solo piano record by Su Tissue (of the L.A. punk band Suburban Lawns). The record also took on a much different shape and sound with the introduction of the Sequential Circuits Prophet VS, as well as a vintage Korg Poly synth and the Roland SH-101. The golden era Krautrock recordings of bands like Neu!, Cluster & Harmonia were touchstones as well, the repetition, swirling soundscapes and locked-in rhythm tracks.

Stockholm-based Wolfbrigade announce the news of their ninth full-length album, titled Run With The Hunted, set for release on April 28th through Southern Lord.

Formed in 1995, initially as Wolfpack, after five years they ventured into the new millennium as Wolfbrigade. The band have released an impressive volume of LPs and smaller releases, and have toured widely over the years, becoming one of the premier acts of their genre. Their damning music surges with outcries against human socio-political injustices, yearning for transformation and freedom.

Wolfbrigade's Run With The Hunted strikes with ten brutal new tracks of their trademark d-beat, hardcore-crust-punk fury, elevating both the harsh intensity and the melodic attributes of their music to new extremes of savageness. There's a concentrated sense of urgency across the record, and a sense of dystopia fuelling the scathing vocal wrath. Run With The Hunted was recorded in both Studio Fredman in Gothenburg (At the Gates, In Flames, Martyrdöd), by Fredrik Nordström and Henrik Udd, and in Sunlight Studio (Dismember, Entombed, Grave) in Stockholm, by Tomas Skogsberg.
 
  About the new album, Wolfbrigade declares, We looked to explore our rawness, writing straight-up, in-your-face, primitive songs. On this record, we decided to push the melodic strains even further, but without losing either intensity or brutality. Lyrically we have been inspired by both classic and obscure dystopian literature, finding suitably horrible metaphors for the decline of western society. The search for freedom continues, but this time the path is pointed inwards, into ourselves.'
Run With The Hunted











 

Stockholm-based Wolfbrigade announce the news of their ninth full-length album, titled Run With The Hunted, set for release on April 28th through Southern Lord.

Formed in 1995, initially as Wolfpack, after five years they ventured into the new millennium as Wolfbrigade. The band have released an impressive volume of LPs and smaller releases, and have toured widely over the years, becoming one of the premier acts of their genre. Their damning music surges with outcries against human socio-political injustices, yearning for transformation and freedom.

Wolfbrigade's Run With The Hunted strikes with ten brutal new tracks of their trademark d-beat, hardcore-crust-punk fury, elevating both the harsh intensity and the melodic attributes of their music to new extremes of savageness. There's a concentrated sense of urgency across the record, and a sense of dystopia fuelling the scathing vocal wrath. Run With The Hunted was recorded in both Studio Fredman in Gothenburg (At the Gates, In Flames, Martyrdöd), by Fredrik Nordström and Henrik Udd, and in Sunlight Studio (Dismember, Entombed, Grave) in Stockholm, by Tomas Skogsberg.
 
  About the new album, Wolfbrigade declares, We looked to explore our rawness, writing straight-up, in-your-face, primitive songs. On this record, we decided to push the melodic strains even further, but without losing either intensity or brutality. Lyrically we have been inspired by both classic and obscure dystopian literature, finding suitably horrible metaphors for the decline of western society. The search for freedom continues, but this time the path is pointed inwards, into ourselves.'
Run With The Hunted











 

Italian brothers Mr. Bizz are making their fire debut on Codex with amazing Core EP. Having solid release profile on the strongest Tech labels like Transmit, Alleanza, Bitten, Terminal M, Funkin Deep Records they have delivered three brilliant tracks Core, Red Code and Hide Me. Top class production techno masterpieces which ones we are very proud to press on Codex' wax. The release has been powered by nasty & brutal sound of french rising star ( Wex 10 ). Quentin was already well known by his tracks and remixes on Riot Recordings, Naked Lunch, DSR Digital, Remain Records, Respekt Recordings and more and we are also very happy to have this tallent on board of our label.
So this is another great Codex release submitting all colours of Techno.