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Super deluxe lo fi 7" grape-colored vinyl housed in DIY low-budget sleeve, + includes "I love my VCR Sticker"

WRWTFWW Records is thrilled to announce the release of the long anticipated, always delayed, 30-years-in-the-making PSYCHOS IN LOVE Original Soundtrack, available at last and for the first time ever in a super deluxe low fidelity _7" grape-colored vinyl edition, housed in a DIY no-budget sleeve, and loaded with extras, including words from film director Gorman Bechard, lyrics of the theme song, a promotional postcard with a picture of the cast, a poster of a woman attacked in a bathroom, and the infamous as-seen-in-the-movie "I LOVE MY VCR" bumper sticker!

Filled with sleazy funk, macabre synths, homemade electronic kitsch, anti-grape propaganda, and rewind-worthy dialogue excerpts, Psychos In Love is the ultimate lo-fi horror-romcom soundtrack adventure with a theme song so memorable you'll find yourself humming it every morning. In Gorman Bechard's words, "For the Psychos In Love theme I purposefully wrote what I hoped were the worst lyrics of all time, giving them to Carmine Capobianco with one note, 'use them to write the worst song of all time.'"

The movie Psychos In Love (1986) is a trenchant, laugh-out-loud indictment of slasher films, romantic comedies, and grapes (that's right, pal, grapes), a true genre-defying post-modern cult classic that will wind its way into your heart as its characters work _their way through vats of gore. Packed tight with sly homages to - and parodies of the work of such cinema legends as Alfred Hitchcock, Woody Allen, Roger Corman, Groucho Marx, and Gerard Damiano, Psychos In Love foreshadows the grand guignol culinary delights of Silence of the Lambs, served up with a healthy portion of wry wit and all-American t&a.

Bugsy hails from Milan where he is resident and co-host of the brilliant Take It Easy club night which brings many of the finest house DJ's to the city and remains packed week in and week out. With his featured producers Astroloop at his side Bugsy has come up with a quality debut loaded with fat, low-slung deep beats and Detroit-inspired grooves for Freerange entitled the Svegsy EP. The lead track sets the mood with mid-tempo loping beats that have 'Freerange' written all over them. We can't get enough of the simple yet satisfying warm-up vibe which oozes from this track. Understated, warm and relaxed yet with a bump and grunt which calls you to the dancefloor.
A2 is a track entitled New Vision where we find a straighter groove underpinned by a restless, pulsing, analogue bass and shifting block chords. With it's heads down attitude and simple, rolling arrangement this is Jimpster's personal favourite for banging on a big system. Flip over for the aptly titled Ghost Song. Here we get off-kilter vocals and fleeting glimpses of a melody which then disappear into the ether. All in all a slightly surreal yet groove-heavy track which has a charm of it's own.
Rounding off the EP we have Chicago house legend Boo Williams on the remix of Ghost Song, where he takes a minimal approach with a hint of acid but keeping his soulful touch. Enjoy!

As we move forward, Corseque Records introduces a concept which we simply call Faction. A series of joint releases between artists from different corners of our beloved scene and label head Ascorbite. For the third vinyl we are pleased to have with us Berlin based producer Mike Wall (Wall Music/Wall Music Limited).

Legendary Los Hermanos member Santiago Salazar's album 'Aspirations For Young Xol' is given a vinyl release courtesy of Rekids.

A heartfelt dedication to his son Isaias, 'Aspirations for Young Xol' takes us through the life of a pillar in the electronic music community - Santiago Salazar. From his formative years spent in California to his connection with Detroit and the passing of a childhood friend, the long-player's tracks signpost the musician's significant experiences, both positive and negative. This meaningful body of work was released digitally on Pastel Voids and now Rekids release the album on wax.

'Saturated Fear' sets a deep tone for the LP, flanging melodies and echoing claps float through the composition before the album's title track 'Aspirations for Young Xol' offers haunting arpeggios with occasional acidic overtones which are cleverly offset by beautifully designed lead synth transitions. 'Bloodlines' follows a similar musical vein with delayed bass riffs that are suspended above shimmering hihats and a weighted kick.

Santiago provides three beatless pieces throughout, which digress into more emotional territory whilst offering brief respite from his heavier drum work. 'Xol's Pain' combines orchestral strings and swelling synthesisers which build tension with a subtly complex, evolving motif. Both 'Dark Matter' and 'Ode to Stinson' use arresting atmospheres, warped arpeggios and ethereal pads which lull the listener into a retrospective mood.

An intensity builds in the later tracks, a gritty but powerful low end provides a solid foundation in 'Orange Blossom Thump', eventually making way for a hectic and elastic lead synth before 'Pachuco Dub' displays drones that build a dissonant pressure in which the complex tom rhythms and rolling hi hats can grow. 'Sarah Rivera' hypnotises with its delectable chord progressions and complimentary melodies which seem to float above a rigid drum composition to close the album with style.

Anthone and Katsunori Sawa team up again under their BOKEH alias delivering a 12" single on The Weevil Neighbourhood.

On A side "Lancashire", BOKEH explore the realms of Drum & Bass tempo challenging the how-low-can-you-go with extremely deep subs while "Fast Fiver" on the B side doubles up on your regular 4/4 while on a heavy dub chord's leash.

The release comes on black vinyl. The center label artwork is done by Lee Noble (No Kings Records/ Bathetic).

Straight out of Queens NYC, Love Letters makes their debut on YIELD. The 5th tape release is accompanied by the first vinyl release of the imprint. Love Letters provided 3 stunning and diverse cuts of the track 'Ducue', traversing the variety of early house sounds.

The 'Single Mix' is the classic House jam with a warm piano, jacking groove and seductive vocals by Love Letters themselves. 'Xtended Dick Dub' sets the mark at a stripped back and hot pace. Its penetrating groove and thumping low end will make it impossible for any dedicated dancer to stand still and ignore the energy. On the flip side is the 'Turtle Bugg & L.L. Free Edit', a collaboration with DJ and friend Turtle Bugg, which will literally vibrate the sweat off the ceiling with its 808 and 303 violence, showing no mercy for those who fail to yield.

This November will see Elia Perrone launch his new Jun'Ai imprint with his very own 'Flowers' EP, accompanied by a remix from Romanian minimal powerhouse Vid.

Tuscan producer and DJ Elia Perrone has long been one of the most respected figures in Italy's underground electronic music scene having co-founded the Klang Club in Arezzo which has seen him play alongside the likes of Simoncino, Juju & Jordash and Move D. Amongst this Elia, alongside brother and production partner heads up Unclear Records which plays host to their collaborative works as Easy To Remember as well as material from the likes of Baby Ford, Roman Fluegel, Christopher Rau and Dandy Jack amongst others.

Here though we see Elia turning a new chapter with the launch of his Jun'Ai imprint and taking the lead on the inaugural release is 'Flowers', a mind-altering slice of micro house fueled by pops, whirrs, clicks and sample cuts while fluttering atmospherics and bright string plucks ebb and flow throughout the murky depths of the composition. Vid aka Egal 3 steps up on remix duties to follow, delivering a straight edged take on things via crunchy organic percussion, billowing echoes of the original's atmospherics and a robust sub driven bass line.

Opening the flip side is 'Rain Smell', a slow brooding, hypnotic number employing dynamic string licks, modulating synth drones and bumpy 4/4 drums before 'Moshishi' closes out the package with airy ethereal textures, glitched out off-kilter percussion and rumbling low end tones.

Idle Hands continues its quest to support new talent coming out of Bristol with a fresh 12" from local beatsmith Crump. Up to this point, he's been quietly slipping out razor sharp reduced house cuts on various artist releases for Extended Play and Banoffee Pies, but it's high time he had a 12" of his to truly showcase his sound.

The two tracks on this single tap into a consistent thread on Idle, fusing the minimal sensibilities of contemporary European house music with a swung, dub-weighted presence fit for soundsystem consumption in the fair city we call home. Much like previous releases from Leif, Christian Jay and Matt Karmil, this is a demonstration of stripped down music loaded with swagger.

"Ice & Spheres" pivots around an ear-snagging 2-step shuffle that cuts through any mix, but there's scores of subtlety woven in between the drums to reward the attentive listener. Snatches of vocal, distant field recordings, low-blowing synth licks and other unidentifiable sonic matter lurk quietly in the mix to cast a spell on the sleep-deprived twitcher and warm-up head-nodder alike.

Sporting a brighter disposition thanks to the sheen of its chords, "Mechanisms" provides a different vibe on the flip. The beat throws down with a rugged nod to West London broken styles while still tapping into that aforementioned continental 4/4 sensibility, injecting a refreshing variation into the densely populated minimal house landscape while maintaining the meditative qualities that keep the genre close to our hearts.

Written, performed and produced by Thomas Moen Hermansen @M57 Studios Asker Jan-Sept 2016

Published by Smalltown Supermusic/Sony ATV Scandinavia

Mastered by Schnittstelle , Photos by Ragnhild Fors, Design by Metric Design

After the slightly more conceptual "Principe del Norte"album, "5" takes two steps forward and one step back
collecting a batch of tracks that was recorded right after it's preceder and in tandem with the recent "Square One"album with Bjørn Torske.
A "freedom"album of sorts, beyond the slightly misleading album opener "Here comes the band" there's a variety in these tracks tracing inspiration from 35 years (unhealthy)obsession with all things "good music" played enthusiastically.
"5" also marks the launch of my new label "Prins Thomas Musikk".

A run through the tracks with a couple of hints to titles and inspiration:

"Here comes the band"
A planned album of a fake band consisiting of me only was ditched. This is their only entry...
Very loosely inspired by "Bandwagonesque"era Teenage Fanclub

"Villajoyosa"
Melodic ideas hummed into a handheld recorded and specific notes about instrumentation scribbled down while on holiday in Villajoyosa in Spain turned into this little ditty when back in slightly colder Norway.

"Bronchi Beat"
Made in bed during a rough patch of bronchitis. Heavily influenced by prescription cough medicine.
Orbe from Madrid made a dizzy techno version which comes out soon enough...

""
I find great inspiration in working on new ideas while travelling the skies. Partly inspired by a detour into the soundtrack of my early teens (Paul Hardcastle, Warp 9, Maze, Mtume...)this particular one was started on a bumpy flight home from Athens and later finished in my tiny M57 Studio(R.I.P.)

"Æ"
Another bronchitis-ridden idea. Slow and low is the tempo. Beat originally inspired by Brian Briggs "AEO", melodies beamed in from Wally Badarou.
"Æ"is the norwegian pronounciation of the A in Acid refering to the 303 screeches going through the "song"

"Ø"
By the title you might think I'm running out of ideas. Not sure what happened here and why...

"Lunga Strada"
The track that took me the longest to complete hence the "long road".
Personal favourites The Pilotwings from Lyon sent over 2 ridiculously good and fun remixes which will
be released on a separate 10"

"London til Lisboa"
Another idea made on a plane when I should have tried to catch some sleep.
Direction steered by Plaid and Pat Metheny. Thank you for the inspiration

"Å"
Initially the final track AND then: scrapped idea for the alphabet soup of "Principe del Norte".
Later evolved into what we have here. Comes with a really nice remix by Pional on a separate 12"

"Venter på Torske"
The final recorded addition to the album. Made while waiting for Bjørn Torske to reply on a text message...

"Aske Hermansen"
In all seriousness, this is probably as soppy as it gets with me.
Tears into my computer keyboard, made on the road missing my wife and kids.

* Walton drops his third instalment on Tectonic in fine style, calling upon Japanese influences to create a truly unique sonic across both tracks in the release. Asian instrumentation meets directly head to head with the cutting edge sounds of a UK grime-techno axis to great effect.

* 'Praying Mantis' captures all the charm of a fine Japanese watercolour painting by means of some spectacular midi-harp programming. Hi-hats and detailed percussion set a shuffling pace, building the mood up before a beautiful harp section unfolds and takes over, expertly programmed by Walton to sound as if a master harpist had stepped into the room! As drums and bass join the party we have all the makings of a low-slung grimey masterpiece, both soothing and energising in a perfect zen balance.

* Flip then for 'Koto Riddim' which again brings Japanese influences to the forefront of the track. Walton programs classic sounding Japanese percussion sounds along with grunting vocal cuts and a charming flute-based melody. As the track drops, it switches into a more familiar, grime-based palette of sounds, deftly arranged for most dangerous impact.

Dungeon Acid, bred in Gothenburg's (Sweden) obscure music scene during the eighties and nineties, releases his second 7inch on Hoga Nord Rekords. Dog Acid and Sex Beat focuses on those remote corners where Jean-Louis Huhta have rooted his musicality. With legendary bands like Cortex, Anti Cimex and The Skull Defekts on his resume, Huhta is most definitely one of the most interesting artists in Sweden!
The music on this 7inch breathes sex, concrete and dark seas. The tracks differ in instrumentation but they expresses the same feeling: uncomplicated and straightforward components, perfectly balanced In relation to each other, shutting down unnecessary body function, aiming for your lower back. Spastic curling synthesisers rests upon soundwaves heavier than the swell against the Norwegian North Atlantic coast.
Dungeon Acid is the miner of your record crate - hard at work finding the nuggets in punk, rock and electro to develop the strict techno.

Two of Hospital Record's most electrifying artists have formed an allegiance for a true coming together of titans. Bournemouth's Krakota and Sao Paulo's Urbandawn have combined their production talents to create the five-track 'Focus Shift' EP - a real drum & bass mash up of styles and sonic sequences.
The aptly named 'Coyote' is an absolute howler, unashamedly powerful and loaded with energy, distorting and plunging itself into new streams of audio chaos throughout.
'Laguna' fits with their alter-egos - sweet, pensive and majestic. Operating within a more classic Hospital framework, this rolling stroke of musical bliss will leave no party unsatisfied.
Sitting in the middle of this concerted creation is title track 'Focus Shift'. Informed by both liquid-funk and tech styles, it's gelled together with scathing bass riffs and high profile percussive chops.
'Epigram' has all the bassweight you'd expect from such a monolith collision of production powerhouses. Crisp and sinful, with a consistently militant atmosphere this song is pure depth, darkness and danger, with a genuinely intriguing sonic progression that renders this track as devastating as weapons grade plutonium.
Seeing the release home is 'Paladin'. An ardent dancefloor destroyer that fuses the power of the stepper with the groove of a roller, that even angels would find themselves bustin' a skank. Uplifting and powerful with cosmic subtleties in the low end twinned with sombre melodies and skittering drum-work all tempered in unison to create a certified banger.

Shimza, real name Ashley Raphala, is one of South Africa's brightest young talents. 'Ascendent", his 4 tracks debut E.P. on Cadenza reveals solid production skills and an innate instinct for peak-time bangers. The opening track, 'Congo Congo' is a dark ride over abysmal tom-tom drums, lively percussions and a gloomy bass lead, ignited dramatically by an ensemble of wide synthetic stabs and chords. In its 'Dub- Mix", the drums and the percussion become lighter without diminishing its dynamic tension. The overall weight of the leads and the stabs is reduced, leaving more space to its intense piano and string chords and swinging sub bass. 'Shimza - Secret Melodies' starts with an obscure bass line, but the intense twist of fractioned rolls and arpeggios bring an ascending piano progression that quickly blooms into an uplifting symphony. 'Selector' is a deeper cut that keeps the gaze on the dancefloor: the incessant hand clapping and a cloud of low frequencies bumps unexpectedly drag its hypnotic harmonies into a breath-taking drop.

In 2017, the musical term electronic' is nearly obsolete given the ubiquity of computerized processes in producing music. Even so, the prevailing assumption is that musicians working under this broad umbrella must be inspired by concepts equally as electrified as their equipment. Kaitlyn Aurelia Smith has demonstrated in her still-blooming discography that this notion couldn't be further from the truth, and that more often than not, rich worlds of synthesized
sound are born from deep reverence of the natural world. Smith (who by no coincidence, cites naturalist David Attenborough as a contemporary muse) has embodied such an appreciation on
The Kid in as direct and sincere a way as possible by sonically charting the phases of life itself.
The album, which punctually follows up her 2016 breakthrough EARS, chronicles four defining cognitive and emotional stages of the human lifespan across four sides of a double LP.
The first side takes us through the confused astonishment of a newborn, unaware of itself, existing in an unwitting nirvana. Smith's music has always woven a youthful thread befitting of the
aforementioned subject. Here she articulates it in signature fashion on the track An Intention,' which serves not only as a soaring spire on The Kid, but on her entire output. There is playfulness here, but it's elevated by an undertone of gravity into something compelling and majestic that is fast becoming Smith's watermark. The emotional focus of side two is the vital but underreported moment in early youth when we cross the threshold into self awareness. The subject is profound enough to fill an entire album, but rarely makes its way into a single track, indicating Smith's ambition to broach subtler and deeper subjects than the average composer. This side offers up another highlight in the form of In The World But Not Of The World' which serves its subject well with epiphanic, climbing strings and decidedly noisy textures over a near-Bollywood low end pulse.

Side three emphasizes a feeling of being confirmed enough in one's own identity to begin giving back to the formative forces of one's upbringing, which is arguably the duty that all great artists
aim to fulfill. This side ends with the exploratory album cut Who I Am & Why I Am Where I Am' recorded in a single take without overdubs on the rare EMS Synthi 100 synthesizer. This humble
piece of sound design serves as a contrast to side four's verdant orchestral moments, all written and arranged for the EU-based Stargaze quartet by Smith herself. This final side represents a
return to pure being, the kind of wisdom and peace that eludes most of us until the autumn of life. On To Feel Your Best' this concept is voiced in the bittersweet refrain one day I'll wake up
and you won't be there' which Smith intended to be a grateful acknowledgement of life rather than a melancholy resentment of loss. The song has both effects depending on the mood of the
listener, and both interpretations are equally moving.
Kaitlyn Aurelia Smith belongs to an ilk of modern musicians who are defined by their commitment to creating experiential albums despite the singles-oriented habits of modern listeners,
and here she represents her kind proudly. The subjects on The Kid are not simple to convey, and yet through both emotional tone and lyrical content, Smith does just that. There is a similar
gravity to both birth and death, and rarely is that correlation as accurately and enthusiastically mapped as it is here.

Alan Watts, another logical inspiration of Smith's, once expounded that people record themselves to confirm their own existence, and as such, echoes and resonance are reminders that we are alive. You're not there unless you're recorded,' Watts muses, if you shout, and it doesn't come back and echo, it didn't happen.' The Kid speaks to this idea directly. As Kaitlyn Aurelia
Smith explores her existence through music, she guides us in gleefully contemplating our own.

47013 sees the first solo EP from the label head himself, Tommy Four Seven.

After releasing 8 dance-floor focused cuts across 47's VA series, 47013 follows three well received solo EPs from Killawatt, VSK and Headless Horseman. This record sees Tommy present perhaps his most diverse and resolute release yet, exploring merciless low frequencies and sound design across 4 diverse tracks, as always offering his forward vision of techno.

Marco Bailey's 5th full-length album, one that he personally claims to be the best overall representation of his sound. With seventeen tracks comprising almost an hour and a half of music, he has ample room to stretch out and to give listeners an excellent portable version of his potent live show.

By maintaining a consistently high-quality output that does not merely ride the wave of current trends, multi-faceted producer Marco Bailey has managed to survive through decades of mercilessly shifting adjustments to popular taste in dance music. From his beginnings in the late '80s spinning eclectic sets comprised of everything from punk to old school hip-hop, to his present interest in pure unadulterated techno, the Belgium-based DJ and producer has won over audiences with his keen knowledge of how to squeeze the greatest physical and emotional impact out of a few well-placed elements, along with his instinct for seeking out the most innovative and resilient kindred spirits (his impressive number of professional friendships includes artists as diverse as Markus Suckut, Jonas Kopp, Alex Bau, Edit Select, Speedy J, Steve Rachmad and many more). These combined talents have led to his formation of several different labels: MB Electronics in 2001, the 'limited edition' label MBR in 2013, and lastly the new Materia Music label begun last year. His similiarly named event series, Materia, has also been a truly worldwide 'state of the art' summit for advanced techno artists.



The full-length personal releases by Marco Bailey, which stretch back to his mid-'90s period as a trance producer, have been gracefully arcing and anthemic affairs composed of individual tracks that follow that same blueprint. He is now about to drop his 5th full-length album overall, one that he personally claims to be the best overall representation of his sound. With seventeen tracks comprising almost an hour and a half of music, he has ample room to stretch out and to give listeners an excellent portable version of his potent live show. Of course, an epic running time alone is not the marker of a great audio experience, but an epic running time in which one loses track of time completely is - Bailey accomplishes this feat by never rushing the payoff; by organically building up each track until listeners are fully immersed in his alternate universe.



This skill can be heard on banging, sweat-saturated tracks like 'Ash', 'Genetix' and 'Hasai,' but also on comparitively gentle pieces like 'Klauth' (which straddles the line between disciplined electro and something more dreamlike and weightless), or the blissed out 'Suoh,' which feels like a fresh snowfall in audio form. Low-key cuts like 'Rex,' driven by echo FX and other windswept sounds, form natural counterparts to busier tracks like 'Ruth,' with its spring-loaded sequencer attacks, or 'Reboot That Device,' which is ingeniously driven by a psychedelic organ whose sound evolves with various filter settings. Minimalist vocals are occasionally injected into the mix - i.e. on the 'The Darkness' - to impart a subtle message of constant, ongoing expansion into unexplored galaxies without and within. It's as good a definition of the artist's musical mission as any.

After their highly acclaimed album - Dis Side Ah Town Roger Robinson and disrupt are returning with a reel full of new tales about survival in a Dog Heart City. These stories, delivered in Robinson's full vocal spectrum between low-end dub poetry tremors and haunting falsetto singing, are trying to make the invisible lives visible: giving people affected by gentrification, racism, unemployment and low wage work a sense of authority and aesthetic nobility.
Each song on this album became a story in that city, while the record itself is like the city holding these stories. Nightshift' tells about the workers who clean the buildings where power
is held, and the contrast between their lives and where they clean. Flowers' comments on the rate of young black men getting killed, where another victim dies even before the last mourning flowers have dried. There are stories about tower block life, the claiming of a postcode or how the city wears a Swastika like a proud badge in Post-Brexit UK.
This beautiful LP collects a pile of special riddim cuts from the Jahtari vaults, from re-edited classics by Bo Marley, unreleased gems by John Frum to completely new experiments, all lovingly dubbed live and soaked in analogue goodness by disrupt.
Stunning hand-painted cover art by Kiki Hitomi.

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)

New York native Caiazzo releases 'The Devotion' on his and P.Leone's E-Missions imprint featuring three dusky techno tracks and a remix from White Material co-founder Young Male.

Much like P.Leone, Caiazzo's debut release (entitled 'The Dredge') landed on Work Them Records; Spencer Parker's label that's featured names such as Radio Slave, Rodhad, DJ Richard and Ryan Elliot. Launching E-Missions earlier this year, the pair continue their high quality output by following up two releases from P.Leone with three uncompromising original cuts from Caiazzo himself.

Rolling percussion drives '917 (Sportmixxx)' whilst intoxicating drones operate throughout, making way for 'Lifeform' with its layers of thick synthesised sounds that build on top of a relentless drum composition with subtle but effective transitions. 'Godbody' offers a stripped back approach to techno with an intricate percussive composition that allows a deep low-end and a hypnotic perc to take control.

Finally, White Material label boss Young Male provides his take on 'Godbody' where bass hits combine with haunting atmospheres and warped rhythms, closing the release with style.