Buscar:club tracks

The Motion (Club Edit)
One of the biggest tracks from the album Arseholes, Liars & Electronic Pioneers gets a stripped back, DJ friendly remix from PL themselves. A “lose yourself” strobe-light beauty with a pay-off right at the end that makes it all worth while. Tested, proven dancefloor melter from the boys that know.

Help (DJ Version)
Straight up loopy techno type thing for the harder DJ’s out there. The swirling vocal gradually burrows into your brain, slowly driving you mad - in a good way. Once again tested to destruction on dancefloors all over the world.

Juan Ramos is back on BLESSYOU for another round of club specialised tracks. Starting off at a solid 126BPM on the A side, "D2" comes in with a threatening drive bound to cause ruckus on the floor, tripped out vocals used in percussive manner, gung ho drum samples intertwined with a very motivated bass line. "D3" takes a less synthetic turn with the presence of strings and congas juxtaposed with euphoric female vocals. "Collide" slows down and dives into more industrial sounds but could also very well be the background soundtrack to a leather daddy belly dancing instructional video. Overall a pieced up melange of precisely placed elements, reflections of his deepened experiences on Berlin club floors over the last decade, an effortless display of his studio prowess is well at work. No regrets. Mixed by his "Green Vision" project partner in crime, Trent.

James Johnson Jr AKA Kukri is one exceptionally talented electronic music producer, composer and DJ known across the world for his hard as nails techno sound. His calm demeanour belies the massive amounts of energy he creates in his highly technical DJ sets and from within the ethereal beauty of his live performances, with many top-flight DJs swearing by his output, dropping his tracks relentlessly throughout their sets.

Continuing with the ‘Limited As Fuck’ series of releases, on our fiercely independent techno label based in Scotland, we’ve got on our heavy duty high explosive under pants for this relentless detonator of a release comin’ at you all the way from across the pond in Ohio, USA. There’s more ruthless techno dynamite in this one release than if you strapped twelvty grenades to a set of decks and pulled all the pins out simultaneously, the roofs are all gonna blow off wherever this one goes KABOOM in clubland. And along-with the three original blast shattering tracks, Lee Holman, making his RIOT Radio Records debut, is on remix shenanigans for the fourth with an aggressively merciless Detroit infused mangling to ignite the crowds even further.

The full digital release also features the original version of ‘Detection’ which Lee Holman accepted an unceasingly intense RIOTous mission to reconstruct.

WARNING: AFTER DETONATION THE RIOT SENTINEL SHALL APPEAR

Label and collaborative musical collective, +33JOY announce their debut release, this first one from Bopperson & Bikbaye.

Born out of a meeting at New York’s annual Winter Jazz Festival, back in 2020, this 4 track EP entitled ‘The Wellness Project’ is a very personal project.

Neil Bopperson is a DJ, musician and producer originally from Yorkshire. Having travelled the world working as a DJ and chef, he landed in London for a while where he remixed afrobeat legend Dele Sosimi for Wah Wah 45s. Now residing in Paris, France, a sharer and carer of music in every aspect, he chooses not to follow trends but instead follow his heart, with variety being an essential part of his musical DNA.

Based in Los Angeles, Bikbaye Inejnema works as a cultural activist, writer, teacher, counselor and spoken word artist. He has a bachelor’s degree in Sociology boasting over ten years experience in social work. He works as a A.T.O.D. (alcohol, tobacco & other drugs) prevention specialist for Homeless Healthcare in L.A. He is also the Executive Director of The Conscious Youth Global Network (CYGN)

Bikbaye strives to utilize art to equip the youth with the skills to become positive, productive citizens. Focusing on diverse topics ranging from leadership development to financial literacy to health and nutrition, Bikbaye gives youth the tools they need to create empowered and enlightened content.
As Bikbaye says, “The goal is to flood the airwaves, the media, everywhere with enlightened art.”

This first release on +33JOY comes in the form of a collaborative project, with music coming predominantly from Neil, with a little help from some additional players - Sam Crowe; keys (Lianne La Havas, Little Simz & Native Dancer) and the saxophone of Nick Briggs; (Joel Culpepper, Poté & The Last Skeptik). All words and vocals are from Bikbaye.

After a chance meeting in NYC, where Bikbaye was hosting talks at The Winter Jazz Festival, speaking mainly about mental health and wellness in the music industry. His words really resonated with Neil, they connected and this EP is the outcome.

Sitting somewhere in the alternative hip hop world, music is used as a vessel for Bikbaye’s words to ring out. Upon being presented with Bikbaye’s recordings, Neil composed music and collected sound design accordingly.

Starting out the set is the stripped back ‘Wellness Is A Practice’, as the opener to proceedings the vocals take forefront and the message is clear. Found sound, an old crunchy keyboard and some guitar pulses keep the poem afloat.

‘Who Are You?’ raises important questions, directed at other artists and music industry professionals. Flute, choirs and spacy drums come together for an eerie and dubbed out moment.

Third track ‘Consumption’ conveys perhaps the most important memo on the release. Sam Crowe’s grand piano floats beautifully over the reading, really highlighting Bikbaye’s statements.

Finally, and with a more hopeful feel, ‘Changes’ was the last addition to the recording sessions. A sketch Neil had been sitting on for a while, DJ Bobafatt added some cuts and Nick Brigg’s sax solo opens this track out to a goosebumps inducing ending. The most upbeat of the four tracks serves as a perfect prelude to the club-ready remixes that will follow this release.

Tina Records presents Cargo Cult, six tracks from the Musci archives created using an extensive collection of traditional instruments combined with synthesisers and electronics, with remixes provided by Cut Hands and Nokuit.

Italian ethnomusicologist Roberto Musci, active since the mid 80s, has experienced a resurgence in interest since the 2016 Music From Memory compilation 'Tower of Silence', receiving endorsements from disparate influential figures. His music featured in a playlist Ryuichi Sakamoto curated for his favourite Japanese restaurant in New York, as well as in a 2019 Yung Lean playlist for The Opioid Crisis Lookbook.

Cut Hands is the alias of William Bennett, most well known as the originator of the Power Electronics genre with his project Whitehouse. Inspired by Haitian Vodou, under the Cut Hands moniker, Bennett has been exploring rhythm and percussive instrumentation since 2007 with releases on Blackest Ever Black and Downwards.

A film composer by day, Nokuit has developed a distinctive cosmology over a mutating series of releases on underground labels such as wannamarchi.club and NKT. He has performed internationally, including at Cafe OTO as part of a lineup curated by Flora Yin-Wong.

London based label Natural Selection present their forthcoming release in the form of a 4-track 12" EP, courtesy of Annie Hall, entitled "Atomic 20", ft. remixes from label affiliates Plant43 & Kodah. Mastered by Dadub Studios, Berlin and cut by Simon at The Exchange Vinyl.

Born in Madrid, Annie Hall has been heavily active on the Electronica, IDM and Detroit circuits since 2007 and has seen her music released by the most highly esteemed of Electro labels such as Central Processing Unit, Delsin Records, 20/20 Vision, Detroit Underground, Semantica & more. She returns to Natural Selection, after releasing on 3 previous occasions since the label's inaugural release in 2021. Her track 'Panax Ginseng' (NS001) gained support from some of the most respected DJ's and producers worldwide, inc. Dave Clarke, The Advent, NULLPTR & more.

Atomic 20 is a beautifully crafted Electro release that maintains venomous aggression, amidst breathtaking textures and ambience. Hypnotic pads spiral into the ether, contrasted alongside heavy kicks, deep bass and meticulously programmed percussion patterns. Annie's eclectic and uniquely experimental style is fully evident throughout, taking the listener on an unpredictable, emotional journey, whether at home or on the dance floor.

The B side of the release features 2 well-placed, club-focussed remixes of each original A side tracks; B1 courtesy of Electro legend Plant43, with his immaculate remix of 'Goji Berry'. B2 courtesy of Natural Selection label head Kodah, with his power driven remix of 'Atomic 20'.

Francesco Farfa's timeless club EP "Learn To Fly" freshly remixed 3 decades after its original release in 1991 by 4 of Berlin's finest DJs and producers. A generous arsenal to choose from in terms of dance floor tools, from DJs, for DJs, equipping the record bag with something for a wide range of occasions, can't go wrong. A-side descends into big room darkness with Trent's re-interpretation, effectively complimented with Juan Ramos' bulging trancey approach playfully collaging elements from multiple tracks in the original EP. B-side goes in more ravey/progressive directions with an elevating elucidation by E-talking while Hamsa produces a more stripped down enhancement to the original theme.

Ben Lukas Boysen’s new album, Alta Ripa, signifies a seismic shift in his artistic journey. It revisits the foundational impulses of his youth, shaped amidst the serene beauty of rural Germany—a bucolic backdrop where his creative palette flourished. However, it was his move to Berlin in the early 2000s that electrified his sound, infusing it with the city’s pulsating energy and diverse cultural influences. Alta Ripa captures this transformative experience, blending the introspective melodies of his rural beginnings with the bold, experimental tones born from Berlin’s vibrant electronic music scene. This album is a testament to Boysen’s evolution, showcasing how geographical shifts can profoundly shape artistic expression.

Boysen’s fourth studio album under his own name, Alta Ripa is a nod to his beginnings as much as a hint to his future, and as a work, it’s almost contradictory in its boldness and humility. He invites the listener on a journey of self-discovery; both for himself and for them, describing the music as “something the 15-year-old in me would have liked to hear but only the grown-up version of myself can write.”

His last two albums involved working closely with other musicians, including cellist Anne Müller, flugelhorn player Steffen Zimmer, and drummer Achim Färber. However, inspired in part by a recent return to live performance, Alta Ripa sees Boysen circling back to his passion for pure computer music.

For Boysen, the return to his youthful musical language marks a major turning point in his career. It represents a departure from his roots in classical music – his mother was an opera singer and his father an actor with an appreciation for Wagner, Arvo Pärt, Keith Jarrett, and Stockhausen. Although these are still important influences, Alta Ripa encapsulates a new, exploratory interplay between Boysen’s careful craft and his ability to let go of some of the process.

The album’s title comes from the original Roman name of the town that Boysen grew up in, Altrip, where he lived until his early twenties. This formative period is central to the ideas behind this album, from Boysen’s parental ‘schooling’ in classical music through to his sonic journeys through drum and bass, Aphex Twin, and Autechre — all of which changed his idea of what music could be. The extreme energy of tracks like ‘Acperience 1’ by Hardfloor, ‘Tracks & Fragment’ by Cari Lekebusch, ‘Focus2 Implan’ by Jiri.Ceiver, and ‘Low On Ice’ by Alec Empire are also pivotal influences.

For Boysen, this time of his musical development also involved knocking down the pillars that he previously thought had carried his world. A key moment for Boysen was being given a precious (pre-internet) club cassette at school that featured artists like Source Direct, Photek and Goldie. Excited by this new discovery, he introduced his father to the song ‘Dred Bass’ by Dead Dred. After the song finished, Boysen Sr. turned off the tape and proclaimed it was “the end of all music”. This heated exchange sparked a new, and more mature dialogue between the two that involved them sharing and discussing music on a regular basis.

Boysen’s classical and jazz music upbringing might not be easily noticeable from the electronic palette that he uses. But it can be found in its bones; the structure of the tracks and their dynamic shifts. On Alta Ripa, he intentionally embraces a spirit of controlled chaos, churning out sonic ideas to see what sticks.

One of Brian Eno’s Oblique Strategy cards contains the phrase “gardening, not architecture”, and the trajectory of Boysen’s creative path reflects this metaphor. In much of his previous work he followed a sort of Brutalist architect’s approach; here, he was fully responsible for the tracks’ austere structures and planned them with deliberate care. But by sacrificing some of that control on Alta Ripa, he sets the right conditions for a dark and unpredictable, organic growth. It’s a push forward into a new world.

Lara Sarkissian’s long-awaited debut full-length, ‘Remnants’ is an ornate patchwork of ancient and modern sonic shapes that uses the vernacular of electronic music to reformulate Armenian traditions and memories. Taking digitally modeled instruments (such as the kanun, a large zither, and the duduk, an ancient double reed woodwind instrument), vocals, davul and dhol drums, tenor saxophone (from acclaimed Paris-based player Adrien Soleiman) and myriad electronic elements and techniques, Sarkissian tangles the old and the new, creating an immersive, narrative-driven experience that’s powered by history, mythology and her own familial connection to the West Asian landscape. It’s an album that’s best absorbed like a film; only multiple encounters can reveal its layered themes and references to industrial music, noise, various club styles, ambient and traditional folk.

Born and raised in San Francisco and currently based in Los Angeles, Sarkissian has developed her unique approach to composition over years of relentless experimentation across various disciplines. Her interest in music production initially stemmed from her filmmaking and video editing work, when she began to sculpt her own sound collages and scores to accompany the visuals. Since then, she’s constantly blurred the boundary between dance and experimental music, DJing around the world, producing AV installations and scoring film and video projects that have been exhibited in Berlin’s Gropius Bau, Montréal’s Musée d’art contemporain, the Music Center Los Angeles and other prestigious institutions, and releasing music with labels such as Tresor, Knekelhuis, All Centre, Silva Electronics and CLUB CHAI, the label and event series she co-founded. In recent years, she’s also been able to advance the theory behind her art, publishing a conversation with ethnomusicologist Sylvia Alajaji in the Journal of the Society of Armenian Studies in 2021, and unveiling her methodology in Norient’s ‘This Track Contains Politics – The Culture of Sampling in Experimental Electronica’ a year later.

‘Remnants’ is a new stage in Sarkissian’s evolution as an artist; not only is it her first proper album, but it’s the inaugural release on her new platform btwn Earth+Sky. She sees the label as a place to encourage collaborations between musicians and producers and prioritize sound in visual arts realms, and ‘Remnants’ is the ideal proof of concept. It opens with ‘Heaven, or Paradise; and Hell’, a track that’s inspired by the layout of the Armenian sharakan (or hymn) ‘Aravot Luso’. Sarkissian imagines the original piece’s harmonies and melodies as parts of a dreamy electronic opera, using digital kanun sounds to punctuate her woozy, evocative synths. Soleimen joins on tenor sax in the third act, while Sarkissian repeats the chant and Jace Akira adds ghostly traces of electric guitar and bass. And on the rousing ‘Our Dead Can’t Rest (Old Jugha Flute Dance)’, Sarkissian chops urgent davul and dhol drum rhythms with spine-chilling shvi woodwind sounds lifted from a documentary about Old Jugha. The title is a reference to the moving of graves by Armenian families; the area initially housed over 10,000 elaborately carved khachkars (cross stones), one of which is pictured on the album’s cover, provided by historian Argam Aivazian’s archive.

On ‘Miracle’, Sarkissian samples atmospheres from the post-Soviet Armenian comedy film ‘Կիսանդրի’ (Kisandri). She takes this opportunity to lighten the mood a little, powdering her smudged samples with tightly edited breaks and bass thumps. It’s not until the album’s middle section that the duduk, perhaps Armenia’s best-known instrument, makes its appearance. Its familiar reedy tones, popularized by Djivan Gasparyan on his many Hollywood soundtrack appearances, emerge on ‘Unraveling (Interlude)’, weaving through the acidic ‘Zephyr’ and ‘Far from the eye far from the Heart’, a post-punk inspired stomper. Sarkissian mutates the instrument almost beyond recognition, pitching and layering it into a voice-like wail that creeps between her woody, dancefloor-primed percussion on the former, and turning it into a gentle, ghostly moan on the latter. And she brings ‘Remnants’ to a close with two of her most cryptic tracks, marrying digital kanun strings with Soleiman’s resonant tenor hums on ‘What Solace Can I Give’, and looping the same saxophone sounds until they dissolve into the air on the beatless closer ‘…nothing matters more than touching you although i haven’t touched you yet’.

It’s an album that ties up Sarkissian’s various interests and experiences, finding a romantic, poetic glimmer of light in history’s darkness. But most of all, ‘Remnants’ is about the optimism of starting anew, and rebuilding a life from the pieces of everything that’s been left behind.

Welcome to the second in the Knite Force Crew series. This is a series of limited edition triple albums from the very best and dedicated of the Kniteforce artists.

This triple pack vinyl album contains 10 superb tracks from Sunny & Deck Hussy, plus two remixes from rave legends Luna-C, and from Jimmy J. The beautiful old skool rave styled artwork was hand drawn by the original Kniteforce Records artist, Rebecca Try.

It will never be repressed and is limited in number!

So happy to be able to bring you An amazing rare groove collection from the one and only Sweet Charles. 3 tracks for the album including "I Like it like that" first time on vinyl, plus "Soul Man" only came out on 7" Styrene back in the 70s, leaving one more.... "Yes its you" the sunshine club classic and rare groove mover !!

Tenderlonious follows up his essential 'Tek-88' EP with three deep, dream house tracks that nod to mid-90s Larry Heard and smudged, jazzy beatdown vibes in a Theo Parrish/Rick Wilhite/KDJ style - only 200 copies available on 12" vinyl, in a hand-stamped sleeve 'Underworld' kicks things off on side A with a ten-minute deep house journey filled with classic sounding synth leads and sweeping strings, held together by rolling 808 drums. This one is a sure-shot winner for the dancefloor. Side B starts with 'Wild Horses', with clapping 808s, a smooth bass line and lush analogue pads that clear the decks for a touching piano solo. Side B finishes up with 'Ur Love', influenced by the noughties London club scene. Rolling drums intertwine with an arpeggiated piano line, which builds to a slick lead solo.

Toy Tonics presents a new EP by one of the label’s lead artists: CODY CURRIE. The London born talent comes with 4 new tracks that combine neo soul and jazz funk with uptempo house music
Cody usually plays all the instruments on his tracks working as the bassplayer, singer, guitar virtuoso and drummer and becoming one of the hot names in London's club scene as a DJ around 5 years ago at a young age.

His vibe is similar to his the soulful and extravagant sound as these his heros had. Not needing any help from anybody. Even mixing and engeenering all his music himself
Cody Currie’s sound is perfect for today’s DJ sets and fits with the current wave of funky house and groove oriented music coming from London that is taking over the clubs.

Ta Kish Kan is an explosion of color, a defiant rush of life. Over three tracks, aka-Sol has turned their psychedelic approach to sound toward the punk roots of electronic music, employing modular synthesizers and analog sonics to recapture the energy from before dance became homogenized and hard genre lines were drawn, challenging the conventions of modern club music and embracing a wider and more dynamic spectrum of human emotion.

A fearless debut, Ta Kish Kan is an offering exploding with heart and dripping with lust, a love letter and a provocation, a rare invitation to hair whip and headbang in the club. The release is rounded out with a remix from Osare! Editions head Elena Colombi who further explores the space between experimental, post-punk and club music, dispensing with comfort and bidding us to embrace what lies beyond.

Marina and the Diamonds is an award winning platinum selling artist. She has three top 10 albums including Gold certified The Family Jewels and her second studio album Electra Heart which debuted at No.1 on the UK’s official charts. In celebration of 10 years since the original release of Electra Heart, Electra Heart (Platinum Blonde Edition) will be released on magenta vinyl on the 23rd September 2022. This special edition features additional tracks as previously heard on alternate releases of the album.

Featuring the hit single ‘Primadonna,’ as well as TikTok sensation ‘Bubblegum Bitch’ which had a massive revival with TikTok in 2021. The album will also include two tracks, ‘Electra Heart’ and ‘E.V.O.L’ that have never previously been released physically.

Two-Piers präsentiert die nächste Killer-Compilation: "Weird Scenes From The Hangout (Psychedelic & Freakbeat Dancefloor Anthems 1967-1982)", kuratiert von Richard Norris (The Grid, Beyond The Wizard's Sleeve, The Time And Space Machine) und zentriert um seine Liverpooler Clubnacht "The Hangout" in den 1980ern. Dort brachten er und weitere DJs bewusstseinsverändernden Wahnsinn aus Psychedelia und Freakbeat auf die Tanzfläche. Herausragende Songs wie "The Left Banke - I've Got Something On My Mind", "The Turtles - Buzzsaw" oder "Can - Outside Your Door" wurden zu echten Hangout-Hymnen. Man widmete der eher trendy Ausbeute der Spät-Sechziger ebenso viel Zeit wie angesagten Acts, solange der Groove auf dem Dancefloor funktionierte. Das Hangout kam und ging im Nu, aber sein Erbe, psychedelische Fußstampfer auf die Fläche zu bringen, lebt weiter, gemeinsam mit der Liebe zu allem, was mit Beat und Freak zu tun hat.
** Exclusive tracks to Vinyl Format

For our second disc of ‘24, ONO returns to the club with ‘Tek Code’, a brilliant EP from exciting up-and-coming Boorloo artist, Beltrac.

Across five tracks, Beltrac serves up his fresh and considered sound. Spanning dubbed-out minimal rollers that hark back to the sleazy, smoke-infused tech-house of the late '90s and early 2000s. Into exhilarating excursions into frenetic drums and deep bass that display Beltrac’s penchant for rhythm construction and sound design. Setting the tone and tempo for Side B of the disc, Echo Response receives the remix treatment from Eora dub king Command D, who mutates the wonky bass chug of the Side A closer into a hazy after hours dub techno strider.

Combining careful attention to detail and excellent technical production with an undeniable sense of groove, Beltrac delivers a club ready EP that tickles our brain while keeping our body moving. Turn it up loud, this one’s for the late night crew.

Two years ago, after Covid sent the industry into a tailspin I made the sad decision to stop pressing Holding Hands records to vinyl. This was gutting as the label had been putting records out from the first release and it had always felt like an integral part of the label’s identity.

It sucked but I always hoped that in the future I would be able to feel confident in pressing records again and I am so happy to say that the time has finally come again!


Earth Trax popped into my inbox with some demos and I instantly knew there was something special here. The tracks are absolutely timeless and will do the business on any dancefloor from now until the end of time.

The A sides have more of loopy club quality that you could listen to all night. The sort of thing that you just lose yourself to when it comes on in the club. You aren’t sure exactly when it came on but you suddenly realise that you’ve been gurning with your eyes closed for some indeterminate amount of time. Basically, they’re very chewy loops (note to self: potential cereal idea).

The B sides have more of a...for lack of a better word, B side quality to them. They’re both broken and they make me want to move my body from side to side in a sort of jagged cool 80’s way. Ones to make you move and think at the same time.

OK enough of my blather. Go and listen to the damn things yourself and decide if you like them, rather than trying to work it out from reading a bloody press release you weirdos.

All four tracks are produced and sculpted for the club. They want big sound systems and dark rooms.

Close your eyes, hold hands and experience transcendental space flight...

The dark lord of the dance returns to Sneaker with the 'No Favours' EP, another ominous set of non-conformist shellers rough-cut from obsidian and set in steel.

We first broadcast our love of Christoph de Babalon's distinctively destructive, hard-boiled hardcore via the Evident Ware compilation back in 2020, but a longer release has been an ambition of ours ever since. From his early years on Digital Hardcore through his prolific return in the 2010s across a broad tapestry of underground operators, de Babalon has left a fascinating trail of albums, EPs and scattershot tracks behind him that feed into the cult fervour around his music.

As this EP demonstrates in reliably gritty fashion, the magic in the German producer's music lies in his ability to take the tropes of jungle and hardcore and subvert them through signal chains which owe more to noise and industrial than dance music. The structure of his tracks is equally maverick, pushing and pulling according to its own whims rather than following the dancer-centric energetic flow of a standard club record. Somewhere in this alchemy between classic ingredients and confrontational experimentation, he evokes the original chaotic spirit of hardcore when it seemed anything was possible within the music.

'For Nothing' is the perfect example — a tunnelling odyssey of ferrous atmospheres, roundhouse drums and bass bloated into the red on a force-fed diet of saturation. 'Total Deceit' turns up the pressure on the break chopping science de Babalon is capable of, teasing gamelan flurries and elegiac swirls that hit at the emotional depth he can wrench amidst such bludgeoning material. 'Jaded Memory' funnels Mentasm bass into a strange new form amidst staggering, tightly clipped drumfunk, leaving enough space for haunting ballroom reveries stretching out across the mid-section. That leaves it to 'Dearth Mill' to mop up with gloriously creepy detuned piano notes slopping over each other in between the most ferocious blasts of drums on the whole record.

You didn't expect something straight-forward, did you?

Mit ihrer EP "To the Stars" knüpfen BEBORN BETON direkt an ihr neuntes Album "Darkness Falls Again" an. Das deutsche Synthie Pop Trio erweitert mit den drei neuen Tracks und vier Remixen der EP die musikalische Bandbreite des Albums und bleibt dessem Geist dabei sowohl lyrisch als auch musikalisch treu. Es gibt mehr als eine Art, BEBORN BETONs neuntes Album "Darkness Falls Again" zu hören: Es lässt sich einfach nur tanzen und als zeitgenössische Synthie-Pop-Hymnen genießen, die musikalisch fest in den goldenen 80ern verankert sind - und mit einer Prise leckerer 90er-Einflüsse serviert werden. Eingängige Melodien und ausgereiftes Songwriting verbinden sich zu einer klanglichen Spritztour. Doch BEBORN BETON legen ihren Finger auch auf den Puls unserer Zeit. Das Trio spricht sich lyrisch klar gegen Frauenfeindlichkeit, sexuelle Diskriminierung und Umweltzerstörung aus. BEBORN BETON wurden 1989 von Sänger Stefan Netschio, Keyboarder und Schlagzeuger Stefan Tillmann sowie Keyboarder Michael Wagner gegründet. Die drei Deutschen setzten sich erfolgreich zum Ziel, den Synth-Pop relevant zu halten und ihn um wichtige Inhalte zu bereichern. Nach den ersten beiden regulären Alben "Tybalt" (1993) und "Concrete Ground" (1994) trafen BEBORN BETON in ihrer neuen Label-Heimat auf namhafte Acts wie WOLFSHEIM und DE/VISION. Nachdem sich die Elektro-Musiker in Deutschland fest etabliert hatten, expandierten die Drei mit dem 1996 erschienenen Album "Nightfall" ins Ausland, wo sie ebenso wie mit den folgenden Scheiben "Truth" (1997) und "Fake" (1999) bei Kritikern und Fans auf große Gegenliebe stießen. Spätestens mit dem im Jahr 2000 erschienenen Werk "Rückkehr zum Eisplaneten" hatten sich BEBORN BETON in ihrer Szene fest als Headliner positioniert und in allen Hochburgen der elektronischen Musik rund um den Globus gespielt. Doch die anstrengenden Touren und die kreativ äußerst anspruchsvolle Veröffentlichung so vieler exzellenter Alben in kurzer Folge forderten ihren Tribut. Nachdem die Band "Tales from Another World" (2002) vorgelegt hatte, worauf sie unter anderem eine ausgedehnte Konzertreise quer durch die USA absolvierte, legten BEBORN BETON eine längere Pause ein. Erst 13 Jahre später kehrten BEBORN BETON zur großen Freude und Überraschung ihrer immer noch zahlreichen Anhängerschaft mit einem neuen Album auf Dependent Records zurück. "A Worthy Compensation" (2015) wurde von allen einschlägigen Magazinen wie Sonic Seducer und Orkus mit Lob überschüttet. Da BEBORN BETON nicht in einen unerbittlichen Produktionszyklus zurückfallen wollten, nahm sich das Trio genügend Zeit, um ein weiteres Meisterwerk zu komponieren. "Darkness Falls Again" hat all die köstlichen Zutaten, die Synth-Pop so großartig machen: Eingängige Songs, die die Beine zucken lassen. Eine Prise Melancholie. Eine Dosis Ironie. Aber auch eine Messerspitze Wut. BEBORN BETON haben mit ihrem letzten Album wieder Musik mit Aussagen und Verstand abgeliefert, was sich auf der EP "To the Stars" nahtlos fortsetzt. Nochmals willkommen zurück, BEBORN BETON!