Suche:deep groove

Canada's Alicia Hush delivers a stellar package of deep and funky minimal techno. This special extended player features seven tracks of mutated synth melody and groove that always catch you.

Cynosure returns with OHMS, a playfully uplifting collaboration from Mike Shannon and Ohm Hourani. The three-track EP features two originals laced with twisted drums and slippery synths, equally fitting for intergalactic exploration or a beachside sunrise. The original tracks’ intimately minimal production is complimented by a remix from Akufen of elegant deep house, making for a record that is both contemporary and classic. “Hightower PSA" slips out the gate with a carefree ambling baseline over a slow, swelling tide-like pad. Breezy, pulsing synth stabs pull the groove together while precise, quick hats and snares weave around buzzing tones like alien chatter. “Nova In The Sun” moves into steadier and darker territory: the bass hops between a stark kick-snare, with hats tastefully drizzled on top.

But when singer Ilhem’s sultry voice cues subtle hand drums and squiggly echoes, the track transforms from a slick minimal affair into a soulful throwback. “Nova In The Sun (Akufen’s Aldo Nova In The Sun mix)” takes the female voice of the original and jumps right in with an upbeat staccato piano and swirling violins. A full-blown house arrangement ushers in lush strings, electric piano chords, and loosely fitting open hats and snares, all conspiring to bring a splash of joy to any peak-time crowd. On the whole, OHMS deliver a versatile EP that swaggers with a smile.

Cinematic Vintage Synth and live drums project by Lance Ferguson (The Bamboos, Menagerie, Rare Groove Spectrum, Lanu). Turquoise coloured double LP incl. download card, limited to 300 copies worldwide.Imagine drummer Bernard Purdie playing with Ryuichi Sakamoto, or perhaps Clyde Stubblefield joining Cocteau Twins. An immersive album that recalls Boards Of Canada, Four Tet, Air, and Tycho.

Local Talk is back again with a fantastic album from Soulphiction who gets deep, down and dirty with this bumping selection of timeless house tracks across 3 pieces of beautifully packaged vinyl...

Dusty grooves and soulful emotion form the foundation of this release, which also takes influence from Jazz, Hip Hop and Afrobeat.

Soulphiction aka Michel Baumann is one of Germany's most respected artists who is also known under the equally successful and iconic alias Jackmate.
This is the third time Soulphiction has featured on Local Talk including his recent single "Beehive". Other labels to have featured Soulphiction tracks and remixes include Lumberjacks in Hell, Rebirth, Pampa and Philpot Records.

A master of both mood and texture, this release showcases the studio wizardry of a true sound-smith.
Chunky percussion with shuffling rhythms form the backbone of the grooves, which are fleshed out with intricate melodies and funky basslines that move mind, body and soul.

Like the tracklist of a J Dilla mixtape, this album flows with a purposeful care combined with a storytelling blend of emotions rarely heard in a house music long player.

Executed to perfect precision, this album is an instant classic and a must-have for home listening along with a club setting.

Beyond Space And Time is the new record label from Japanese music festival, Rainbow Disco Club (RDC). RDC has been welcoming music loving people to Japan for over a decade. Throughout the festival's history, RDC have been fortunate to constantly encounter performers and DJs who've collaborated with them in establishing a beautiful dance floor year in, year out. These relationships have lead RDC to start their own label, and now gives them the opportunity to reveal one of the best-kept secrets: What is in a DJ's record bag?

This time around, festival regular DJ Nobu kindly opens up his collection and shares the music he loves with us all. On visual duty we welcome Senekt - his representational yet contemporary drawing illustrates the emotion we feel from DJ Nobu.
We have much more music to come in future from artists that we trust and respect.

▼ DJ Nobu describes 10 tracks this way ▼

A1. Laurent Garnier - Water Planet
Highly respected French DJ/Producer Laurent Garnier has been releasing tracks for decades capturing the very essence of Detroit Techno and Breakbeat. He always manages to create something truly emotional. This is not his biggest hit, but it's my favorite.

A2. Mono Junk - Beyond The Darkness
This track represents the very early days of Techno with it's ravey atmosphere. It has a primitive feel, and the obscure mixdown sounds almost unbalanced. That said, this one really stands out when DJing. Very cool.

B1. Psychick Warriors Ov Gaia - The Valley
It was always my intention to include this track in a compilation if were I ever to do one. It has a fat underlying groove, with some indigenous spices thrown in. The whole thing is put together beautifully. No complaints!

B2. Melody Boy 2000 - Plenty Of Love
I wanted to include a track that had Jacking feel to it - that is my definition of dance music. This track mixes well in both Techno and House DJ sets.

C1. Drax Ltd. II - Amphetamine
This is my all time favorite track by Thomas P Heckman. It asks questions and strikes down all the boring 'wanna be cool' techno tracks. It is obviously a well known tune already, but I include it here because I'm often asked for it's track ID from new kids in the game. This is a classic that should be passed down.

C2. Dan Curtin - 3rd From The Sun
Curtin's refined synth grooves and bass lines make this a true timeless classic. It do not get tired of listening to his rhythms and melodies - he always gets it just right.

C3. Front 242 - U-Men.
The originator of Electric Body Music. Their husky vocals, hard rhythms and strong synth basslines made the group very popular at the time, and they are still to this present day. To me, this track represents what the Belgian New Beat scene is all about.

D1. The Prince Of Dance Music - E3 E6 Roll On
This is the track I played the most up until around 2006. It is a genuine house track that cuts through trends in music. A hidden floor killer.

D2. Pan Sonic - Lähetys / Transmission
Electronic music has existed for decades, and if you are to choose some of the best from all scattered & hidden places, Pan Sonic's 'Lähetys / Transmission' must be considered. The track emerges beautifully - breaking structures and transcending the past. Every layer of the piece is produced with such delicacy and care, that as a whole it magically drags you into the world of the unknown.

D3. Burial - Archangel
This track merges melancholic emotions with technological prowess at the highest level, and deeply impacted the dance music scene on it's release. I recently played this track at the end of my set at the forward thinking Terraforma Festival in Milan. It faded out to huge applause from the open minded crowd. A moment to be remembered.

Following the release of his debut album, ‘sketches of transition’, UK house devotee Seb Wildblood has curated a brand new collection of remixes, inviting a cast of artists to reimagine tracks from the LP - featuring contributions from Suzanne Kraft, object blue, Ciel and Jenifa Mayanja. Running Back and ESP Institute affiliate Suzanne Kraft opens into the collection, offering a typically atmospheric, Italo-inspired take on sombre pop cut ‘amelia’.

Breakthrough experimental club producer and DJ, object blue, warps the easy-going pace set out in ‘sketches’, drawing focus to its woozy mood with muffled vocals and disjointed percussive hits. Swirling synths and a rich ambient tapestry make for an intoxicating rework.

On the B-side, Bumako Recordings boss Jenifa Mayanja puts a percussive deep house spin on the technicolor minimalism of ‘small talk’. A live bass groove pops beneath the track’s swaying synth beds and melodic chimes, making for the most “classic” dancefloor take of the bunch.

Discwoman affiliate and DJ/producer extraordinaire, Ciel, bathes ‘bahn’ in fluttering psychedelic percussion. Invoking the likes of Orbital, Boards of Canada and The Black Dog, with an emotional candour shining through the foggy atmosphere.

Belgian imprint Muzik & Friendz returns with the last release of 2019 featuring a 4 track various artist package with Joss Moog, Yusuke Yamamoto, Peletronic & Jakobin and Platzdasch & Dix.

With the forcus set on the deeper vibes this release kicks off with the A-side package of PlatzDasch & Dix’s ‘Pointillist’ a mellow workout sprinkled with melodies and deep vibes, followed by Peletronic & Jakobin ‘Etta Jamz’ a deep and soulful cut with a real dancefloor groove.
The B-side see’s Yusuke Yamamoto’s ‘Kick Ass’ combine an hypnotic pad, bumpy bass and punchy vocals with a wink to the old school, while Joss Moog ‘Oazar’ shows off his exquisite production skills with a grooving and bumping cut.

Renowned techno artist Jon Hester returns to Rekids Special Projects with a thundering fourtrack release, aptly entitled ‘Momentum’. Since his previous Rekids appearance, the Berlin-based Minneapolitan has continued delivering a steady stream of club ready cuts on labels like Transmat, LET and Deeply Rooted. Following a busy summer playing at the likes of Rex Club, Tresor and Hï Ibiza, Hester now returns to Radio Slave’s Rekids Special Projects techno imprint in fine form. ‘Accelerator’ opens with solid, overdriven kicks, deep chords, electrifying synth patterns and saturated claps followed by ‘Beatwave’ which features rhythm-led vocal sampling, upbeat Arp stabs and sparking cymbals. On the flip, ‘Zoned’ thunders with low-end frequencies, emphasised by a flying groove with snappy hats, subtle claves and white noise hits when to finalise ‘Part 4’ bounces with distant congas and tribal percussion, tight hi-hats, floating pads and a punchy kick.

My Music is a stellar spiritual soul / jazz-funk gem, recorded by keyboardist-singer Samuel Jonathan Johnson in 1978. The epitome of a cult classic, it didn't do much upon its release but steadily found an audience over the decades that followed. It eventually worked its way into the culture, and latterly the wantlists, of wave after wave of soul aficionados.

This is music that shares the jazzy R&B DNA of contemporaries like Roy Ayers and is an intoxicating blend of mellow moments and more groove-heavy tracks. Spacey keys and lush production give it a luxurious, enveloping warmth.

My Music opens with the gorgeous title track: an indulgent slow jam opus. Introducing us to Johnson’s compelling musical vision, it features a rich mélange of production techniques. Dripping in strings, horns, backing singers, popping funk bass lines and swooshing synth waves, it’s an unusually structured cosmic two stepper that has an irrepressible groove. Accordingly, it’s been a favourite with the diggers and it was sampled by The Alchemist for Jadakiss’s “We Gonna Make It” (and it was also used on Ras Kass’s “Home Sweet Home”… but that’s a story for another time).

The up-tempo “Sweet Love” bubbles over with joy, its uplifting lyrics backed by infectious bass and jazzy Fender Rhodes lines. It follows a cover of “What the World Need’s Now Is Love”, taken at a funereal pace that transforms it into a heartfelt plea for love and understanding. Essential in these dark days.

After a full-minute-long opening of lush cinematic strings and horns, “Because I Love You” makes space for Samuel’s voice, accompanied by some keys and just a sprinkle of guitar. It builds back up and then mellows its way out to a jazz lounge finish (in all the right ways). The feel-good ebullience of the Stevie Wonder-esque “It Ain’t Easy” closes out the LP’s first side.

The second side bursts open with the heavy bounce and disco-funk basslines of “You”, a slightly off-beat string-laden dancer with insistent horns and a piano-assisted groove. Next up is “Just Us”, a legendary steppers track that could be heard oozing out of deep soul radios and funk sound systems back in the late 80s.

“Yesterdays and Tomorrow” is a moving original ballad that is followed by an exquisite high-stepping paean to mom in the form of “Thank You Mother Dear”. The thumping easy-glide of “Reason For The Reason” brings the album to a close.

Respectfully mastered by Simon Francis and cut by the master Pete Norman, this reissue of Samuel Jonathan Johnson’s sole LP sounds as sumptuous as that scarlet gown on the front cover. The sleeve artwork was lovingly restored by the Be With team. My Music is a luxurious and rare collection of songs that now has an opportunity to reach beyond its cult audience.

The Outer Circle drops a debut release full of flavour and grooves reminiscent of the golden era of UK/US tech house from Glasgow's Craig Hamilton, alongside London's tech house veteran Silverlining on remix duties.

"Let You In" a deep rolling sub laden groove sets the mood of the EP. Tight percussive elements drive the track, incisive from the offset as spacious chord stabs dominate over arpeggiated tones laced with an appealing fragmented vocal throughout. "Monday Groovin" the deeper of the cuts follows on with slick rhythms and choppy female vocals scattered over smokey pads and mesmerizing overtones.

Before continuing on the flip with the Silverlining remix of "Let You In". The tech house originators interpretation is a far darker bass driven analog work out. Upfront beats and spaced out atmospheric layers meander among rolling snares and peppered chord stabs with satisfying vocal elements, leaning this towards the deeper end of the spectrum.

Contagious is a solid blending of avant-garde experimentation and electronic music. Formed by two innovative voices from the Improvisation scene of Berlin (Andrea Neumann and Sabine Ercklentz) and Mieko Suzuki, a well-crafted and creative DJ and musician who’s operating in Berlin venues and festivals since a long time.

Contagious is one of the most forward thinking, mind-melting projects to hit the electronic music scene. Intense and powerful, yet rooted in a tradition of crafting and sculpturing of in the most creative ways, all this building up within a solid structure of instant composition and improvisation. The trio plunder each other’s musical spheres, appropriate them and switch roles. Andrea Neumann on her infamous Inside Piano, an instrument she pioneered and crafted, is applying the most creative feedback processing to simple piano strings and sending them occasionally to Mieko Suzuki’s processing rig, who also uses her own pre-recorded sounds and her skills on turntables, while Sabine Ercklentz’s trumpet sounds blast through her processing system and altogether the three musicians communicate into logics of composition and futuristic structures, where fragile sound textures and pulses become monumental.

Contagious is also the debut album recorded and produced by Rabih Beaini. The Trio wanders in new aesthetic areas, sound is a texture where the processing rigs are constantly developing new forms and evolutions. Structures and grooves implode in noisy fragments, growing into a deep trance state.

For his return to Make Mistakes, Derek Russo ventures into the Belly of the Whale with three pieces of beautiful, retro future, dance floor chic.

Embryonic Speck opens up the record, evoking classic rave beats, in a crisp, clear, modern style. With this cut, Derek has crafted a late-night slayer for the discerning dance floor. A relentless groove drives the track along, creating the hypnotic, smoky dreams of rave’s past.

Night Sea Journey takes it down into disco depths. A wandering bassline swaggers through the track, crashing through dark waves of sound. Sexy and mysterious, made to drag the sweaty sea on the dance floor through the night.

Straddling, a piece of timeless, familiar house music, rounds things out by bringing in a touch more warmth and whimsy. Still for the darkness, but with a lighter mood, and booty wiggle bass. Deep, and grooving, with a playful sexiness, what more could you ask for?

“Consider the subtleness of the sea; how its most dreaded creatures glide under water, unapparent for the most part, and treacherously hidden beneath the loveliest tints of azure. Consider also the devilish brilliance and beauty of many of its most remorseless tribes, as the dainty embellished shape of many species of sharks. Consider, once more, the universal cannibalism of the sea; all whose creatures prey upon each other, carrying on eternal war since the world began.

Consider all this; and then turn to the green, gentle, and most docile earth; consider them both, the sea and the land; and do you not find a strange analogy to something in yourself? For as this appalling ocean surrounds the verdant land, so in the soul of man there lies one insular Tahiti, full of peace and joy, but encompassed by all the horrors of the half-known life. God keep thee! Push not off from that isle, thou canst never return!”

― Herman Melville, Moby Dick

Shina Williams ‘Agboju Logun’ was a ground-breaking fusion of afrobeat, electronics, boogie and disco. First released on Phonodisk in 1979 as part of the ‘African Dances’ album, then in 1984 as an alternative version on Rough Trade’s Earthwork off-shoot, it has gone on to attain cult-like status.
So it remains a bit of a mystery how so little has been documented about the follow-up. Shina’s self-titled album was originally released on Help Records in 1980. It differs from the upfront afro-disco-funk of ‘African Dances’ as it diverts into deeper, hypnotic, afro-beat territory. Though listed as a six-track album, each side (composing of 3 tracks) is built-upon one continuous groove with call and response female & male vocals and instrumental solos coming and going as each side progresses. The results are raw, hypnotic, locked-in grooves, which sit perfectly on forward-thinking contemporary dancefloors.
Official Mr Bongo reissue. Replica original artwork. LP only. Licensed from the family of Shina Wiliams.

Club Internacional dig deep to launch their new global reissue series in style with two long lost cuts from Rio-based label Top Tape. First up is Jose da Silva aka Zeca Do Trombone.
A massively respected instrumentalist, he has worked his trade over the years with many of Brazil's leading artists such as Tim Maia, Milton Nascimento, Elizeth Cardoso, Beth Carvalo, Martino Da Vila, Gonzaguinha and Carlos Dafe amongst others.
He also produced a very much sought after LP in 1976 alongside Roberto Sax which was finally re-released this year on Mad About Records. Tema Do Brisa dates from a few years later in 1978 and is Zeca's only solo 45 single. Never released on digital and never reissued on vinyl before, it is with great pleasure that Club Internacional re-launch this psychedelic jazz and heavily funk influenced gem with its still stunningly fresh sounding drum patterns to a new generation of listeners. Fans of jazz, funk, rare groove and Brazilian music in general will appreciate the strong vibes of this original track and be delighted to finally have this record in their hands. The track represents a unique moment in the career of a great musician fully in control of his instrument and more than willing to test its musical boundaries. Zeca continues to play out as an artist regularly in Brasil right up to the present time.
On the flip side, Sambacanas, or Os Sambacanas as they were sometimes also known, were a group of Samba musicians recorded by the Sao Paulo based producer Julio Nagib.
Although they were mostly known for a samba covers LP entitled 'Sucessos Da Juventude Em Tempo De Samba' (re-released in the UK under the title 'Fly Me To Brazil'), this song, Panga, Danga, Panga, was the A side of their only 45 single release for Top Tape which came out in 1976. Again this track has never been re-released before in its 45 single version, and has not been made available digitally. A beautiful example of raw and simple Batucada-style Brazilian samba music infused with Latin funk vibes, it features excellent vocals and percussion including the berimbau and cuica. Club Internacional hopes you enjoy this journey back to rediscover these very different, but wonderful, long lost sounds of Brazil on this limited edition vinyl 45 pressing to add to your record collection. Each Club Internacional edition may take some time, but it will be worth the wait!

Following the Stardancer EP and his remix for All I Need To Get High by Damian Lazarus & The Ancient Moons, Ae:ther unveils his most accomplished and daring work yet on the highly anticipated debut album Me released on Crosstown Rebels. Blazing a trail with his natural aptitude for crafting emotive, captivating compositions that have landed him releases on Crosstown Rebels Afterlife and Fabric, Ae:ther presents his debut LP. The album is a painstakingly produced collection of haunting melodies and narcotic rhythms that display his love and inspiration for ambient electronica, deep underground music and introspective atmospheres, culminating in dreamlike soundscapes programmed with taut percussion. The album begins on Stardancer, setting the tone with gentle keys and space influenced licks that portray a cosmonaut ascending into the stratosphere. This moves into the glistening, atmospheric Finferli, where synths depict aliens conversing in a distant, just-discovered world. Sub-aquatic ambient fills We’ll be Together, boosts of energy and intricate melodies weave in and out of the vocal, locked to the dubby groove. Ice cold subtlety and the otherworldly electronics of Costes drip slowly like water down a pane of glass. A mood of relaxation and weightlessness continues on Tina, a tender beat combined with pattering echoed chimes. N.62, a special ethereal piece, features warm chords and reduced percussion, gradually developing like the morning sun rising. Mysterious, playful charm unfurls on Elf, progressive harmony teases towards a crescendo before dropping back into the hypnotic beat. Clark is light and airy, funky melody constructing an interplanetary anthem. Stimulating a brooding mood, fuzzy clicks and glitches dance on the deep bass of Spektre II, conveying dust spraying off the surface of a moon landing. The shimmering ripples of electronica on title track Me fuse with delicate human vocals creating a heart-warming, personal account of Ae:ther’s relationship with his instruments. Trademark bleeps and blips wash over natural broken beats in one last final call to his utopia in the album outro.

2x12"

Adam X’s highly respected, deep, science fiction laden, Traversable Wormhole project celebrates its 10-year journey with a first full-length studio album titled Regions Of Time. Lying mostly dormant since 2012, with a cameo appearance on Hospital Record back in 2016 with two tracks, TW is now fully awoken from the long travel through the space-time continuum with eight new songs of thought-provoking, psychedelic, bass-heavy, galaxian techno.Adam X’s back catalog is, of course, vast, spanning over a period three decades under several aliases. The New York native recently released his devious escapade through rumbling EBM and industrial techno in the form of his full-length album Recon Mission, released under his Sonic Groove Imprint. With this project being under the Traversable Wormhole alias, be sure to expect a completely different facet to X’s repertoire of pounding excursions.

Step through the wormhole portal and take a deep cerebral mind trip into “Regions Of Time “

We’ve been waiting a while for this one… Dark Sky return after a brief hiatus with this incredible EP featuring band of the moment Afriquoi. Many of you will already know one particular tune here: ‘Cold Harbour’ used by Bonobo on his Fabric mix compilation back in January. This gem is now backed with three more blissful, vital fusions. All created with different members of the deeply-rooted London-based live band.


‘Valmer’ sets the tone with its chimes, bells and chants, featuring the drumming of percussionist Andre Marmot aka Minioca. It's measured, restrained and impossible not to get goosebumps to, a near-spiritual experience the deeper you get into the groove. Elsewhere ‘Love Walk’ takes a much more subdued sojourn into the cosmic dusk. Mid tempo and much more focused on the rich layers of atmospherics than the beats, this will disarm a crowd at 50 paces. Next our minds are altered by eight-minute synth-striking mystique marathon ‘Cambia’ featuring the Kora playing of Jally Kebba Susso. Finally, ‘Cold Harbour’, one of the highlights from Bonobo’s evergreen mix from the London club institution, the combination of those rattled strings, pregnant bass staccatos, rolling percussion and deep undulating bass make it one of the most versatile and touching tracks Dark Sky have given us so far. And that’s saying something.


Breaking the Dark Sky silence that’s been almost two years, the ‘Clod Harbour’ EP opens up a whole new page in the London act’s legacy. And there’s plenty more to come. Watch this space...

Time for the host to show up: HomeMadeZucchero co-founder Giesse gets in the game with a one track EP plus Demdike Stare's rmx able to fully scan one composition from two absolutely different perspectives. Main track Goji is a deep and overwhelming embrace among decadent IDM sounds, grooves oscillating between jungle and drum'n'bass, and rarefied atmospheres based on vague hip-hop reminiscences turned into echoing and saturnine shards.

The remix brought by Demdike Stare, strips the original piece to its bare bone by subtracting elements and shaping everything in three different blocks, working like independent acts that climax in a stunning drums maelstrom and resolves into a dramatic ending tending to a relentless sonic collapse.

Funky soul-jazz organist Caesar Frazier crafted superior Hammond funk. 75, his second LP, is a rare gem. It’s comfortably his greatest artistic statement.

The follow-up to Hail Ceasar!, it’s a taut, grooving set that expands his sound and, put simply, it’s got better songs. The key elements of his debut album are all there – production from maestro Bob Porter, accompaniment from hip players (Bernard “Pretty” Purdie, Cornell Dupree, John Tropea) and arrangement from Horace Ott - but the overall sound is elevated. The tightly jamming, expressive jazz-funk makes for a richer, fuller, more satisfying experience.

75 is a mixture of hard-driving originals, deeply beautiful slower numbers to vary the tempo and a couple of classy covers. The crazy bombastic “Mighty Mouse” - a riot of horns, organ and in the pocket drums - became an acid jazz classic at Dingwalls and it’s easy to see (hear?) how. A blissed out, lushly instrumental take on Seals and Crofts’s “Summer Breeze” follows, perfect for those sunshine sets.

Side A closes with the heavenly “Sweet Children”. A loping, funky jazz masterpiece famously sampled by Kanye West for Common’s “Real People” from Be. It opens beautifully, with soaring sax and a funky horn section combining with weightless keyboard tones atop snapping drums. Unsurprisingly, the excellence endures right through to the end.

The B side opens with perhaps the album’s most famous track. "Funk It Down” contains the familiar “I can feel the funk” vocal refrain throughout. But it’s the gorgeous, insouciant bridge that you should all know and love, having been used as the hook for Gang Starr’s “Ex-Girl To Next Girl”. A great cover of Stevie Wonder's “Living for the City” comes next, with an unforgettable bass-line which anchors the entire heavy rhythm section workout. Dizzying organ, triumphant horns and sun-dappled guitar grooves combine to create “Walking On The Side”, rounding out a pretty smoking set.

This is one of those rare 70s funk-soul-jazz LPs on which a bad track cannot be found. It’s all essential. So of course finding original copies on vinyl at affordable prices has been tough for years.

Mastered brilliantly by Simon Francis, cut by Pete Norman and with painstakingly reproduced artwork by the Be With team, this fresh Be With reissue ensures this legendary LP now sounds, looks and feels as sensational as it should.

This is already EP number three of these two techno heavy weights from Zagreb and Germany, Petar Dundov and Marc Romboy.

After „Caper Tran“ and „Dimension D“ it´s time again for real techno music:

„Upiter“ shows us how musically the Croatian-German friendship team is able to create dark and deep tech tunes. The warm and catchy arpeggio combined with a shuffling 808 groove takes us to a journey of spacy and trippy speres.

„Ex machina“ is forward thinking techno music however with the spirit as it was made in the 90s when the machines were the masters of the music and ruled the structure of the song. The track surprises with unexpected turning points and moving sound synthesis.