Cerca:g tech

We are back with more songs from Nicolai Zellmani, presenting a selection of 4 previously unreleased tracks from the vaults, retouched and Deejay ready.
Fans of his first EP on Public Possession „Percussion Heaven“ will notice with delight: a similarly tribalistic, warm & spheric approach to Techno on the tracks „Yongheng Forever“ and „Smutt“. Then you have „Nuevo Portamento“ a crazy, harmonius leftfield anthem and „Eternal Loop“ the ultimate song for a late night (early morning) ecstasy experience. Big Tip!

Cascading through kaleidoscopic stardust and forming in the outer reaches of the music universe, transcending time and distance, cosmonaut musicians Mo Morris & Zeben Jameson reconnect to write & record songs from opposite sides of their planet (Bali and London) written over the internet during the pandemic. Landing the much anticipated and eagerly awaited new A Mountain of One album "Stars planets dust me".

Welcome to the formative British psych electronic heroes A Mountain Of Ones 3rd studio album.

Mastered and reimagined and a full forthcoming album rework by electronic wizard, master selector & global superstar Ricardo Villalobos, featuring additional collaborations from 80s/90s Balearic legends "The Woodentops`s" front man "Rolo McGinty,”, Japan’s cult heroes ``Dip in the Pool" and "Unkle" and "Toy Drum`s" Pablo Clements.

UK Dub master "Dennis Bovell MBE" also makes an incredible appearance on the "Custards Last Stands" dub versions. Now available on a ltd Japanese 10". A beautiful artwork series generously loaded in by photography legend Dick Sweeney, and co-mixed by Dea Barandana in Indonesia. With its cosmic pop sound, soulful soaring, balearic sensibilities and feel good choruses it carries all the weight of a much needed revo- lution in psychedelic, conceptual ever popular music and sounds & feels like the infamous crossover album that promised to come from the heady days of the bands ascend last time round.

So here’s some back story, garnered from the hearsay, folk law, the myths and the legends, of 10 years ago, in case, like Mo & Zeb, if they'd remembered any of it, they probably weren’t there, after 2 much acclaimed albums and sellout shows vanishing in a cosmic cloud of dust the yin and yang brothers Mo Morris (ZSOU/Electric Stew) & Zeb Jameson (Oasis/Tricky/Pretenders) uncoupled and each em- barked on a pathfinder mission to equip themselves for their inevitable return... they just didn’t know it at the time... and as the global community ground to a halt 2 years ago they sought refuge from opposite sides of the planet in each other's company again.

The solace and rejuvenation it gave had them re-emerging as invigorated, inspired and wiser music creators, this has given rise to the evolution of their 3rd all important album‘s sound.

Zeb "our capacity as human beings is more phenomenal and limitless and way beyond the conventional thinking of society constructs but also in complete harmony with the intelligence and brilliance of advancing technologies".
Experiencing this energy together, as dedicated and devoted music pioneers, these great collaborative universal truths were revealed, imbed and steeped in their writing and recording experience as the music touched and resonated with all involved to create the fresh and fully formed A Mountain Of One 2.0.

Cybernetic connection between Italian insects of various crews and styles, a search for sound and tribal fun under the pirate flag of Gommadura techno family, we are one, one system, one sound, lower the ego baby and raise the tecno

Voivod wurde 1982 in Jonquière, Quebec, von Sänger Denis „Snake“ Belanger, Gitarrist Denis „Piggy“ D'Amour, Bassist Jean-Yves „Blacky“ Thériault und Schlagzeuger Michael „Away“ Langevin gegründet und nahm eine Reihe von Demos auf, bevor Brian Slagel auf die Band aufmerksam wurde und einen Vertrag mit Metal Blade Records unterzeichnete. Das Ergebnis war das furiose Debütalbum „War And Pain“, das im August 1984 veröffentlicht wurde. Zu dieser Zeit teilten sich alle vier Mitglieder eine Wohnung in Montreal und lebten von 150 Dollar Sozialhilfe pro Woche. Da sie die Schule bereits hinter sich hatten, konnten sie fast jeden Tag proben, was zur Entstehung ihres zweiten Albums „Rrröööaaarrr“ führte. Während der Aufnahme des Albums wurde fast die gesamte Ausrüstung aus dem Proberaum gestohlen. Um Geld aufzutreiben, organisierte die Band zusammen mit ihrem Manager Maurice Richard das legendäre „World War III“-Festival. Dort lernten sie Karl-Ulrich Walterbach kennen, der Voivod davon überzeugte, bei seinem Label Noise Records zu unterschreiben. Nach „Rrröööaaarrr“ von 1986 hieß Voivods zweites Album für Noise „Killing Technology“ und gilt weithin als der größte kreative und klangliche Sprung der Band. Es wurde in West-Berlin unter den wachsamen Augen von Harris Johns aufgenommen und kam 1987 auf den Markt. Weniger hektische Kompositionen wie „Tornado“, „Ravenous Medicine“ oder „Killing Technology“ hoben die Kanadier schnell von ihren Thrash-Zeitgenossen ab. „Rrröööaaarrr„ haben wir mit unserem Tontechniker in einer heruntergekommenen Schule ohne Geld selbst produziert“, erklärt Michael Langevin in dem Buch „Damn The Machine. The Story Of Noise Records“ des amerikanischen Autors David E. Gehlke. „Plötzlich hatten wir ein professionelles Umfeld, ein richtiges Studio mit einem richtigen Produzenten und ein Label, das die Finanzierung sicherstellte. Es ging Schritt für Schritt. Für „Killing Technology“ haben wir vielleicht ein bisschen langsamer gemacht. Wir konnten die Rollen spielen, und es hat viel Abwechslung. Es ist mein Lieblingsalbum und in meinen Ohren die perfekte Mischung aus Thrash, Prog und Hardcore. Es ist definitiv ein entscheidendes Album.“

Lithuanian DJ and producer Somniac One returns to her own imprint Somniverse with a techno 4-tracker designed to keep you up at night.

This EP showcases her signature blend of dark and intense techno, highlighting the creative freedom that comes with running her own label. With carefully crafted synth lines, dramatic pads, and hard-hitting drums, the record draws from a wide range of influences, including classic hard trance, UK rave, speedcore, and even actual techno! Perfect for a sweaty night out or a tearful night in.

Schwefelgelb return with a brand new EP titled "Trigger". 2 original tracks pounding energy-loaded drums over catchy basslines at 138 bpm. Cleverly designed details in arrangement and sound design make this production appear like a fresh approach on the raw side of Techno. The next step in Schwefelgelb's musical evolution is a highly effective sound which combines hard stomping Techno with a tonal playfulness. Hence it seems only logical to complete this release with 2 remixes which extend the versatility further. A remix by UFO95 adds a dubby flavor whilst still being 4-on-the-floor Techno, whereas a remix by French artist Flore completely pulls it to UK Bass territory. "Trigger" will be released 29th of November on n-PLEX, 140 g colored vinyl including download code.

Cosmic Tribe is excited to release CALAGAD 13’s latest EP, “Bio-Synthetic,” a compelling exploration of a dystopian future where biology and technology intersect. This limited edition white vinyl release, with only 150 copies available, features the original tracks “Biomantics” and “Synthogerm,” alongside standout remixes by CREASOL, C-SYSTEM, 5ZYL, and EC13.

“Biomantics” immerses listeners in a dark sci-fi realm where scientific advancements manipulate memory and energy, introducing a biotechnological entity that defies natural boundaries. The track explores the fusion of biology and technology in a dystopian world.

“Synthogerm” continues this theme with its depiction of hybrid beings created from the combination of synthetic and biological elements. It offers a glimpse into a future where scientific frontiers are continuously evolving and life is constantly reshaped.

The EP’s remixes add diverse stylistic interpretations from leading names in the European underground electronic scene:

CREASOL and EC13 offer unique takes on “Biomantics,” with CREASOL providing an 80s synth wave flair and EC13 delivering an Electro-techno twist.

5ZYL and C-SYSTEM reimagine “Synthogerm,” with 5ZYL infusing it with an Electro/Breaks vibe and C-SYSTEM adding a techno edge.
The “Bio-Synthetic” EP is a must-have for collectors and enthusiasts, available in a limited edition white vinyl format.

Serbian powerhouse KATRAN, the mastermind behind Jezgro label and one half of Ontal, unleashes four colossal, rhythm driven, noise infused industrial techno anthems accompanied by nasty remix from talented 6SISS. This meticulously crafted dystopian soundscapes are engineered to obliterate any dancefloor, heralding the chaos. Handle with caution this is dangerous material.
The album ignites with intricate drum patterns that thunder like tanks across a barren, icy wasteland, while haunting atmospheric elements loom, setting a menacing tone for the journey ahead.

Next, a feverish descent into robots nightmare ensues, where mechanical drum liturgies weave relentless tension, immersing listeners in a post human auditory realm.
As the odyssey progresses, doom laden horns and mechanized drums merge to unleash subversive, devastating frequencies.

Just when the intensity seems to peak, filthy analog sine waves bubble through obscurity, pushing the boundaries of industrial techno music to its limits. Annihilation is the word that resonates here.

Hubbard was only 22 years old when he recorded the album, yet it showcases his prodigious talent and hints at the remarkable career he would go on to have

The album has become a classic in the hard bop genre, combining elements of bebop and blues with advanced harmonies and improvisational flair and features a stellar lineup of musicians, many of whom were already influential figures in the jazz world or would go on to become so Freddie Hubbard, Tina Brooks, McCoy Tyner, Sam Jones, Clifford Jarvis. "Open Sesame" is rooted in hard bop, a jazz style characterized by a mix of bebop's fast tempo and complex improvisations with blues, gospel, and R&B influences. Hubbard's trumpet playing is both aggressive and lyrical, marked by his technical precision and emotive phrasing. His performance is complemented by Tina Brooks' soulful tenor saxophone and McCoy Tyner's distinctive piano comping, which adds a rich harmonic layer. The album's compositions range from the upbeat and fiery title track "Open Sesame", to the lush ballad "But Beautiful", and the bluesy groove of "One Mint Julep". The track "Gypsy Blue", written by Tina Brooks, is a highlight with its sophisticated chord changes and melodic inventiveness. Open Sesame received critical acclaim upon release and established Hubbard as one of the premier trumpet players of his generation. It's considered a cornerstone of Hubbard's career and a significant recording helped launch Hubbard into a long and successful career where he would collaborate with some of the biggest names in jazz, including Art Blakey, Herbie Hancock, and Wayne Shorter and remains an essential listen for anyone exploring Freddie Hubbard's discography.

A masterpiece by George and Sleepy with the new Big Four! A veteran talks about the fun of "those days" and the fun of "now". Jazz is so fascinating!

1950s. The Big Four led by George Kawaguchi gained overwhelming popularity as a pioneering group of modern jazz in Japan. They were active for a long time with changing members and left a big mark on the Japanese jazz scene. This work "George & Sleepy" was released in 1969 as one of Victor's "Japanese Jazz" series. The commentary at the time said "A record that attempts to reproduce the nostalgic George Kawaguchi Big Four", but that is by no means a simple nostalgic work. "Lover" and "Charade" are reminiscent of the Big Four of those days and are undoubtedly fun, and the songs that skillfully incorporate modern techniques and musicality, such as the sophisticated groove of "Tuesday Samba" and the exotic beat of "Vietnam", are also attractive. This is a thrilling piece that conveys the charm of jazz, past and present, with a deep performance that only a veteran can have.

FERMA third vinyl release lands just before the close of the year and it is a special one. Petros Spatharos leads with a set of bangers distilling perfectly the sound of the label. Athens-based artist is widely known for his dark, immersive industrial sound, so yeah expect nothing less.

Side A starts with ”Datura”, layering heavy drums with dark reeses and syncopations – solid stuff. ”Xorkia” is an eyes-down track which will keep you in the zone with stellar percussion and atmosphere. ”Vultures” closes the first side with higher energy levels and more distinct breakbeat elements.

On Side B, Randstad remixes ”Datura” and pumps up the tempo to create a mind-bending industrial electro track with aggressive synths. Boris Barksdale wrap-ups the physical release by remixing ”Xorkia” and changing the core to techno and reworking percussion to create an industrial heavy-hitter track.

Roberto Cacciapaglia is an Italian composer and pianist who started out in the fertile Milan avant-garde scene of the 1970s, which included Franco Battiato, Giusto Pio, Lino Capra Vaccina, Francesco Messina, among others. After studying at the conservatory, he worked at RAI's Studio of Musical Phonology – an electronic music laboratory similar to NDR/WDR in Germany, GRM/IRCAM in France or BBC Radiophonic Workshop.

Originally released in 1979, Sei Note In Logica (Six Notes In Logic) is Cacciapaglia's second album. While his debut, Sonanze, offers a series of ambient mini-soundtracks, Sei Note presents a singular, sinuous piece. The composition is based on a finite set of musical notes, yet this limitation is the point of departure for a grand tour of possible combinations and enthralling timbres (marimbas, strings, reeds and human voice).

Like Steve Reich's Music For 18 Musicians, the joyous experiment of Sei Note is grounded in constant variation. Often doubled by multiple instruments, non-repeating patterns are exquisitely layered, while electro-acoustic signals transform and further refract through visceral effects. Within this conceptual framework, Cacciapaglia does not so much juxtapose rigid dichotomies – acoustic vs. electronic, melodic vs. dissonant, simple vs. complex – as fuse them into an expansive whole.

What started as an inspired study in Minimalism becomes a bold feat of 20th century music. Sei Note In Logica is deeply sincere and, at the same time, quite playful. With one foot firmly planted in the past and the other steeped in technology, Cacciapaglia's influence can be heard in the work of Jim O'Rourke, Fennesz and Ben Vida.

'Mei Semones' sweetly evocative blend of jazz, bossa nova and math-y indie rock is notonly a way for her to find solace in her favorite genres, but is an intuitive means ofcatharsis. "Blending everything that I like together and trying to make something new -that's what feels most natural to me," says the 23-year-old Brooklyn-based singer-songwriter and guitarist. "It's what feels most true to who I am as an artist." Plinking guitar tones and asymmetrical time signatures exemplify her forays intoangular indie rock more now than ever before, especially on her debut Bayonet Recordssingle "Wakare no Kotoba"_its wide-interval arpeggios in odd meters being some ofthe most technically difficult guitar work Mei has ever implemented in her songwriting.Translated to "parting words'' in English, the self-described "anti-love song" serves as afarewell to a toxic friendship, complete with orchestral swells and crashing guitars. Originally from Ann Arbor, Michigan, Semones began playing music at a young age,starting out on piano at age four before moving to electric guitar at age eleven. Afterplaying jazz guitar in high school, she went on to study guitar performance with a jazzfocus at Berklee College of Music. College is where she met her current bandmates,including string players Noah Leong and Claudius Agrippa, whose respective viola andviolin add softness and multidimensionality to Mei's intricate guitar work. After releasinga slew of singles and an EP in 2022, coinciding with her move to New York City, Mei andher band have since gone on to collaborate with post-bossa balladeer John Roseboroand embark on their first-ever tour with the melodic rock outfit Raavi. Semones chronicles infatuation, devotion, and vulnerability in her songs, complete withsweeping strings, virtuosic guitar-playing and heartfelt lyrics sung in both English andJapanese, that have all become part of her sonic trademark: ornately catchy, genre-fusing compositions serving as the backdrop to tender lyrics touching on theuniversalities of human emotion.

After navigating the labyrinthine musical chambers of their 2023 modern exotica album 'Palace Of A Thousand Sounds', Reno. Nevada’s Whatitdo Archive Group has returned with their first-ever holiday offering—venturing into the darker side of Christmas folklore with their new ice-cold 45, 'Wild Man'. Drawing inspiration from a global archetypical myth of the same name, Whatitdo Archive Group examines the ancient story of the Wild Man—the hairy, half-human, half-beast that stalks the shadows of humanity’s shared primeval past. The myth of the Wild Man is a folktale that goes by many names: The Yeti of the Himalayas, the Bigfoot of North America, and, of course, Krampus of Eastern Europe—a yuletide beast with a reputation as a child-devouring "Anti-Claus" who now finds himself the subject of Whatitdo’s latest musical exploration.

‘Wild Man’ gives us a glimpse into the band’s newest sonic direction. With a heavy rhythm section carried by Alexander Korostinsky’s driving bass line, the sticky wah-guitar of Mark Sexton’s L-5, and the acrobatic lines of the Wurlitzer electric piano, “Wild Man” revels in the spiritual jazz flavors of Pharoah Sanders and grooves hard like the classic soul-jazz stylings of Ramsey Lewis. Much like the Krampus myth itself, 'Wild Man' is meant to weave an ominous spell over any Christmas cocktail party long after the kids have gone to bed. Hear the warning for yourself in the song’s haunting chant: "You better watch out for your life, when the Wild Man comes in the night".

But mythology isn’t abandoned on the B-side. The band takes the traditional English folk melody 'Greensleeves' and reimagines it through the musical lens of Ethio-jazz. Recorded live at the Archive Group Studios, the track exudes a dark, roomy atmosphere, drenched in unease and mystery courtesy of the wandering electric piano dancing above the hypnotic rhythm section and mesmeric groove of the distant Batá drums. This fresh reimagining taps into the ancient, cross-cultural lineage of the "Green Man" myth, a pagan symbol of rebirth and the power of the natural world, further blurring the lines between holiday cheer and the primal, elemental forces enshrined in our collective cultural memory.

After the band’s 'Palace Of A Thousand Sounds' was named 2023’s "Best Library Record" by PopMatters Magazine, their new 'Wild Man' 7” capitalizes on the same creative process that shaped their last record, while now exploring new conceptual territory. By drawing inspiration from archaic global folklore and again utilizing their peculiar recording techniques, W.A.G. has crafted a truly unique holiday offering that unearths the darker, more primal undercurrents of the Christmas tradition. The 'Wild Man' 7" is released as part of the Snowflakes Christmas Singles Club, pressed on snow-white bio-vinyl and limited to 300 copies.

Mixtacy, a new independent label based in Tokyo, was launched in 2024 by DJs, for DJs, and of DJs. Their passion lies in updating the classic house style with modern underground artists. The first EP features four exclusive tracks by mysterious Japanese underground artists, available only on vinyl. All tracks are mastered by the Romanian talent, Dragutesku. A1 Addictive Desire by YAMADAtheGIANT, whose debut 12inch vinyl sold out 200 copies in just two months in Japan. This raw acid deep house track made by hardware synths, sequencers, and sampled vocals from the cult NY house track The Playground/Desire (1992). A2; Nightfall Yearnings by P.S. Morris, a 20 years experienced master of MPC from rural Japan. This classic-style deep house tune boasts a phat groove focused for the dance floor. B1; Forest is by Bitowa, originally from the Japanese hip-hop underground, now coming into the techno field from Okinawa, southwest Japan. This modern tech house track features acapellas sampled from garage classics and disco, resulting in a unique texture. B2; Lost Sweet Cherry is made from cut-ups of Japanese porno analog tapes by the owner of strange vinyl shop Tonotopica in Asahikawa, northeast Japan. This dub sets a psychedelic atmosphere as the night starts.

"Following last year's LP on Lowless, Formant Value offers two half-tempo, obscure IDM dubs for BSUN. His usual ephemeral soundscapes are prominent, but wade into heavier waters by way of the two remixers. Valentino Mora reworks "Funzione I" into a misty, peak-time techno weapon, whilst Notte Infinita's "Funzione II" take is a high-tech, sub-heavy roller. Woofers at the ready."

Written, produced & mixed by Formant Value.
Master & cut by Marco Pellegrino at Analogcut Mastering.
Design by Otto Von Lumi.
Limited run of 200 copies.

CARNIVORE is an American crossover / thrash metal band from Brooklyn, New York founded by singer and bassist Peter Steele, and was formed out of the breakup of the Brooklyn metal group FALLOUT in 1982. The first CARNIVORE album was heavily influenced by the contemporary New York metal scene. It also drew inspiration from BLACK SABBATH and early JUDAS PRIEST, whereas the second album had significant crossover influences. The "post-apocalyptic" theme that dominated the first album and was carried onto parts of the second album was apparently inspired by a dream Pete Steele had and which became the basis for the lyrics of "Predator", the first song from the original album. The lyrical theme was then expanded on to describe human society ( or the lack of one ) between imaginary World Wars III, IV and possibly V (as referenced in the song "World Wars III & IV"). Other lyrical themes included nihilism, anti-religious sentiment, cynicism, and explicit but tongue-in-cheek depictions of gore and despair. Song titles such as "Jesus Hitler", "Race War", "Thermonuclear Warrior" and "God is Dead" reflect these themes. In August 2017, it was announced that CARNIVORE would officially be reformed as CARNIVORE A.D., featuring original drummer Louie Beato and guitarist Marc Piovanetti along with secondary drummer Joe Branciforte sharing drum duties and also introducing new member Baron Misuraca as the bassist/vocalist. The band then made their live festival debut at the 2018 edition of Hellfest. CARNIVORE's "Retaliation" is a legendary and authentic metal/hc crossover album and an admittedly very heavy devastating wall of music with very much tongue in cheek lyrics. It became an absolute classic in the metal genre. It has remained unreleased for too many years and has now become very much in demand, now available again in Deluxe exclusive Limited edition 2LP vinyl and Digipack with no less than 3 bonus tracks ! ESSENTIAL CLASSIC !

"Ghostwood” is the debut-album of the Dutch melodic death metal band Procreation. This long-out-of-print cd-release was recorded in 2014, but only officially released two years later by Vic Records. Now finally available again, and for the first time on vinyl. The band chose some new artwork and did a re-mix/master of the 2016-release; and it came out damn dynamic without losing the original brutality. It brings you back to the early ‘90s Gothenburg sound’; Swedish melodic death metal à la Dark Tranquillity, At The Gates and In Flames, spiced up with more progressive and technical influences (Edge Of Sanity, Soilwork, Disillusion, Opeth and Scar Symmetry), thrash vibes (Flotsam And Jetsam, Evile, Destruction and Sodom) and brutal old school death metal (Benediction, Unleashed, Bolt Thrower, Obituary and Massacre).

"Ghostwood” is the debut-album of the Dutch melodic death metal band Procreation. This long-out-of-print cd-release was recorded in 2014, but only officially released two years later by Vic Records. Now finally available again, and for the first time on vinyl. The band chose some new artwork and did a re-mix/master of the 2016-release; and it came out damn dynamic without losing the original brutality. It brings you back to the early ‘90s Gothenburg sound’; Swedish melodic death metal à la Dark Tranquillity, At The Gates and In Flames, spiced up with more progressive and technical influences (Edge Of Sanity, Soilwork, Disillusion, Opeth and Scar Symmetry), thrash vibes (Flotsam And Jetsam, Evile, Destruction and Sodom) and brutal old school death metal (Benediction, Unleashed, Bolt Thrower, Obituary and Massacre).

A surreal mosaic of eerie chant processionals, tape-rot trickery, and panicked oud madness. These are sonic forgeries of atavistic heritages, recorded by analog means using esoteric techniques."" They have been known by many names: The Givers of Illness; The Bandylegged Riders of the Ill-Promised Sun, etc_ Honed and expanded through their travels, Ak'chamel's singular sound comprising desert-scorched psychedelia, post-apocalyptic shamanism, and bizarre ritual folk is as unique as the physical theater of their otherworldly live performances.