Techno News

60 Miles presents 2 more transmissions of Swamp Techno from John Daly and Frawl, AKA 60 Miles. Not a long distance to travel for such hot shit. As always cut live straight to cassette, no sync, just pure vibe. This time you lucky listeners and deejays even get some vocals. You heard it here first. Drums, Jazz, Techno Soul, Total Surrender. 60 Miles.

Beautifully Designed 1LP, 180g Vinyl Press kit: Following his Extended Play EP on Other People last year, Jream House is the turbulent and spiritual debut LP of Mark Hurst aka A Pleasure. Blending mathematical composition with an unrestrained studio experimentalism, the sound of A Pleasure charts a space where formative influences confront the most immediate performative impulse. Using a process of numerical transposition, the names of personally significant bands and composers are converted into drum patterns. He then lets loose, improvising around these structures with a variety of traditional and unorthodox instruments: bass and guitar, bowed cymbals, drum machines juggled like turntables, blowtorch on aluminium, to name but a few. With his influences as start-points, he builds rhythmic structures literally in their namesake, blasting their hulls with walls of noise, monolithic basslines and any other jam-yielded shrapnel. Despite the chaos and complexity of the process, the results sound neither clinical, nor garbled. The tracks always find their way to an emotive melody or strong groove. Lush guitar strums and yearning keys ride the high-speed beat of Slow Channel", which seems to soar through cloud-cover as one snaking mass. The Order of Things' folds a cosmic guitar-part into a backdrop of heavily side-chained noise. Arthur Russell' features a neck-snapping rim-shot and crushed snare that splash up the bits of an elegiac vocal part. Through violent and idyllic atmospheres, Jream House jettisons its inspirations like landing shuttles, always in search of new ground. These are songs, not just experiments.

Nightmarish R'n'B, Bassrock and arcade inspired action by Abdul. Very low business risk. Brought to you by Funkycan & Max Gee

Universalist is the first album by ACT! Baroque, kaleidoscope electronics; material sound for a disembodied world. The energy is optimistic and posi - even naive - a statement of unity in the age of psychic dislocation.

10 Tracks of phosphorus midi and brittle digi textures feel indebted in spirit to the masters of psychic jazz as much as the physical euphoria of the club. Above all, this album belongs to the catalogue of Halocline Trance, yet subtle references connect it to a larger lineage of free sound. The empty, divine heaviness of songs like Ecstatica / On Patrol invokes Yusef Lateef's Little Symphony, while the computerized spontaneity of Lava Valley feels somehow connected to Yasuaki Shimizu's Music for Commercials. Non-musical sounds and evocative melodies sit side-by-side - new psychedelia for love and life in the digital jetstream.

ACT! is a project from Toronto-based musician David Psutka. Building on a diverse body of releases as Egyptrixx, Ceramic TL, Anamai and various other collaborations, ACT! denotes a new chapter of creative output from Psutka and the Halocline Trance label. Universalist follows a prolific string of releases in 2017 with Anamai - What Mountain; Ceramic TL + Ipek Gorgun - Perfect Lung; and Egyptrixx - Pure, Beyond Reproach, and synthesizes recurring themes of materiality and the unifying potential of sound.

The 2ND of 3 vinyl releases taken from his debut cd Shadows In The Dark.

the first part hits us with tinitius a veritable technoslammer. sub dubbed is a mellow string techno track

Things gettin' faster and more toolish on the second OSMUND AUDIO release. Alexander Brandl's Second EP is made for the dancefloor. His drawing board is the modular synth, that spat out three massive groovers with chords from outer space, super thick bass lines and a raw and reduced sound design with roughly edited drums.

This is the second Super Hexagon release. It's got three tracks from Alma at a total running time of 15 minutes and 32 seconds.

Borft proudly presents Anders 2nd vinyl on Borft, "Love Loser". As on "Tengdalsg. Acid Master" this is very Electronic and experimental Music but this time a more club oriented approach. Handstamped & Numbered to 300x

A surpirse. A good One. Stepping into an Electro tribe, with loud bass, and nice little dancefloor tricks. No easy vocal samples. The NEW STYLE for Tribe Music ???

New from the ever discerning Nous camp comes AYLN's RehtomEP, a 25 minute exploration of the kind of unrelenting machine music for which both artist and label have come to prominenc
.
Side A is a journey through sparse syncopated rhythms, industrial noise motifs and the kind of buzz and hum that the heroes of the second wave of techno music championed, culminating in the EP's title track 'Rehtom' which is an exercise in analogue techno mastery.

Side B's delivery is subtly more dulcet, kicking off with Digital Memories, which has a more classical techno structure than anything that came before, building intricate melodies into an otherwise taut and tightly woven electronic landscape while the closing Impulsive Sheit is a gentle downbeat number, exploring the space within the music and creating an atmospheric ambient discourse to outro the heady charge of the EP as a whole.

The hotly tipped UK artist makes his debut for Drumcode's vinyl only off-shoot. Focused on showcasing cutting-edge underground techno, Adam Beyer's always got an eye on the future when curating Drumcode Ltd. Taking inspiration from the likes of Marcel Dettmann, Truncate and Planetary Assault Systems, Turner's four-track debut 'Don't Talk To Me About Style' was birthed in his home studio throughout 2017. The industrious Brit delivers a powerful peak-time EP of nocturnal techno that moves between different moods. The title track pops with a thick grinding bassline and trippy synth effects, before 'Escape' envelopes you into a subterranean world. 'Diodes' follows, a fantastic slice of electrifying techno that bucks like a rodeo bull. The EP concludes with the blazing 'Tunnel', that makes its mark with deft drum arrangements and a piercing call-to-arms siren.

Spiritual/industrial cyberpunk techno tracks for the dystopian age. No pain, no gain. For all Bunker etc. heads. 300 hand-stamped copies - vinyl only!

Four intricate, sub-heavy, broken Techno and Electro excursions into imaginary worlds.

Recommended if you like anything from Conforce to Echospace, and you like things deeper than the Mariana Trench.
A return to form for Bokhari, who always provide interesting & off-kilter dance floor moments...

Celldod is Swedish producer Anders Karlsson. Anders has been active in the music scene for some time working on different musical projects, always with a strong DIY ethic His Celldod project has released several cassettes under his own label Brutal Disciplin and has also released records on Suction Records, Kess Kill and Femur Records. In 2017 Anders released an album under the name Vargdd on Opal Tapes together with Swedish techno artist Varg. Anders hardware driven sound has evolved over time now personifying finely sharpened EBM and techno crossover of the highest calibre. With a nod to the greats but with a forward thinking direction, we have four new cuts to destroy the darkest dance floors. Relentless, bass-heavy and blown-out bangers. Fans of DAF and maybe 242 meets Silent Servant will be blown away. Mastered by Martin Bowes at the Cage, UK.

Christer Bothén's new LP on iDEAL is a beautiful creation moving comfortably between improv, sound art and drone. Christer Bothén is a main character in the Swedish improv, jazz and world music scene. He studied music in Mali and Morocco in the 70s and collaborated w Don Cherry. Bothén has been active in bands like Bitter Funeral Beer Band, FIRE! Orchestra, Mats Gustafson NU Ensemble, Spjärnsvallet and Bolon Bata.

Movente Is A Debut Lp From A Vital And Long Standing Figure Of Italy's Clubbing Scene Under A Brand New Alias. That Alias Is Cleptophonic, And The Album, Due In 2019, Is An Autobiographical Collage Of Experimental Trip Hop Sounds That Is Truly Immersive.

Under A Former Alias, Cleptophonic Has Spent Years Djing And Experimenting In The Studio And Has Made A Real Impact On His Native Scene As A Result. He Is A Very Delicate Person With Serious Attention To Detail That He Puts To Best Use By Delving Deep Into What He Loves: Playing On Turntables And Immersing Himself In A Sonic Realm Cuts Him Off From The Real World And Acts As Therapy For This Meticulous And Selective Person And Artist.

He Is A Master Of A Stylish Musical Collage Technique - Both In Sound And Images. As Such Movente Is A Collage Of Different Sounds, Sampled With The Turntables And Put Together With Logic, While His Passion For Collage Also Spills Over Onto The Album Cover, Which Is Made By Pieces Of Paper From Magazines, Newspapers And Comic Strips. The Result Is An Experimental Trip-hop Album With A Singular Sound That Puts Together Pieces Of Life, Sounds And Images That Are Meaningful For Him, Especially The Last Song, Which Is Dedicated To His Mother Who Sadly Committed Suicide A Few Years Ago.

There Is A Beauty And Delicacy To The Music Throughout This Most Excellently Escapist Album That Is Utterly Absorbing. Pads Swirl Round Louche Beats, Crisp Hits Ring Out Into The Night And You're Left In A Deep State Of Contemplation Throughout. There Are Warped And Shimmering Cuts, Dub Tracks Drenched In Reverb And Melodically Rich Broken Beats. The Whole Thing Is So Spacious You Get Sucked Right Into The Centre Of It All And The Thoughtful Moods And Deft Sonic Details All Making A Truly Lasting Impact. This Is An Exquisite Album That Encourages You To Really Get Lost In A Unique Musical World.

Alex Dorn aka Credit 00 takes a sidestep from his Uncanny Valley/Rat Life camp to showcase his rumbling, industrial machine funk and bad-ass attitude on Pinkman. Vision gets blurry and panic sets in as the A-Side track "Exctasy Overdose" blasts with vibrating basslines and shrieking sirens. On the flip we have the stripped slowbeat electro cut "Data Control", showing a huge middle finger to online mass surveillance. The EP ends with the weirdo jam "Weg von diesem Ort" in which Alex samples synth and covers vocals of an obscure, industrial cassette tape from the early 80s."

The second release in Endless Illusion's series of Split EPs comes from Marcos Cabral & Daniel Araya and features two tracks from each artist. New York's Cabral is known for his experimental IDM and techno on labels like L.I.E.S. while Daniel Araya has recently released an album of acid, techno and industrial on the Classicworks label. Araya's 'We Almost Lost Detroit' is first and is a truly haunted deep techno cut with sparse acid undulations and a real sense of manic in the rasping synth lines. Softer pads in the background only add to the spooky nature of the track. 'Ghost Bass' is the other Araya cut and this one is more up on its toes, with mid tempo kicks down low and wonky chords up top. It's a mind melting tune that trips deep into the night. 'Live At The Egg' is Cabral's first effort and is a lonely and icy techno track that is supple and seductive in its long lines and paddy drums. After getting you into a state of hypnosis, some freaky vocal sounds only add to the unsettling nature of it all later on. 'Cuts & Bruises' rounds things out in squelchy and depraved techno territory. Muted acid stabs are off in the distance as swampy drums suck you in from the front. It's a brilliantly odd tune that close out a fine EP.

John Cohen aka Dead Fader first arrived on the label in 2016, with It Works 1 - a brace of warping, high energy electronic music compositions that while largely unclassifiable in genre, maintain a gloriously vibrant, emotive sensibility that owes much to early IDM excursions, and the more abstract tenets of the Krautrock genre. That said - the artist cites anything from Kanye West to Bach and back again as informing the decidedly experimental and potentially confounding work - and his latest offering for the Milan based label continues to riff on this open ended mesh of influence to great effect. The new LP, Jenny 153, runs out across nine tracks and operates at the fertile juncture between Classical and Club Music compositional structures, and examines the crossover points between the two disciplines. According to the artist, the work deals with themes of acceptance and an 'opening up' emotionally - and a palpable sense of catharsis runs deep through the recordings. Colourful and undeniably cohesive, in spite of it's rhythmic complexity - the recordings present a vital snapshot of the potential space that exists on the periphery of the dance music genre.

Row Records is back with a heavy bass leftfield 4 tracker EP by DJ Durbin & Manu

Dustin Zahn makes his album debut in March 2014 with the release of Monoliths on Adam Beyer's Drumcode label. Gestating over a period of a four years during break from releasing original solo material, Monoliths sees the Minneapolis native capturing the full breadth of his production style in the long-player format for the first time. Having become a mainstay of the Drumcode line-ups for their Berghain residency and beyond, the challenge was set for the Berlin-based Zahn to build upon the reputation he has established in the past decade-and-a-half since he first arrived on the scene, during which time he has also given a platform to artists such as DVS1, Minilogue, Psyk and Truncate via his Enemy Records imprint.

"Adam Beyer has supported me since day one and almost all of my output has found its' way into his sets since the beginning. Aside from being a champion of my music, he has also become a good friend and has been a big help to me when times were tough. Drumcode was a major influence on me when I first started getting into techno. Getting the opportunity to do an album for an inspirational label with a massive following made choosing them an easy decision."

The bracing retro-futurist synths of 1984 tease what's to follow: epic, ambitious, raw real techno - as imperious as the album title implies and impeccably designed for the tallest speaker stacks. When the record is at its most dancefloor-focused each cut is an amalgamation of classic techno elements that encapsulate the genre at its most uncompromising, though Zahn's skill as a producer shines through in his ability to demonstrate the range contained within this aesthetic. Whilst embodying the genre's purity of purpose, Monoliths is still able to find and explore different sonic palettes.

"The overall tone is noticeably a bit more industrial and colder since it was written over a brutal winter in Berlin. It also marks my return to a heavy emphasis on hardware for a more raw sound. A lot of producers try to show their range on albums by writing music that isn't necessarily their strong point. In result, you get a lot of albums with mediocre 'listening' tracks and a couple of token 'club bangers' that should have just been destined for an EP anyway. I decided that I was going to focus on my strengths and write a full-on techno album that sums up my career so far."

LIMITED PURPLE VINYL EDITION (200 COPIES)

Essential Electro from 1996 the mighty Thomas P. Heckmann aka Electro Nation!

Only three months after the release of the solo debut Primaer, Oslo based producer Espen T. Hangard presents his second LP Elementaer. Bristling with funky, playful and braindance influenced electro, Elementaer is a companion release to the 2018 debut. While Primaer leans towards tougher and more stringent stylings, Elementaer takes on a melodic and layered approach, with lush pads, acidic bass lines and trippy beats flowing through the album. The short and effective tracks on Elementaer all display a punchy, melodic nature, and the expressive programming gives them each a life of their own. Hangard's pure approach results in bouncy, fun music with a timeless and personal edge.

Like its predecessor, Elementaer was recorded between 2009 and 2012 in Hangard's Dogskool studio, mainly as studio live performances on hardware setups. The album was mastered by Robin Harwood (Rolando Simmons, Beatwife) at the Engine Installation in Essex, UK. Canadian artist Tag Andersson made the collage for the cover artwork, and StudioGeist designed the cover.

180 gram vinyl in white poly lined inner sleeve, full color sleeve printed on matte paper, shrink wrapped.

Fedbymachines has been active for almost a decade now, lurking in the undercurrents of netlabels and digital releases. Now Shipwrec shine the vinyl light of this shapeshifting musician, an artist who has ably turned his hand to a dizzying spread of styles. This skill is amply shown on his first wax release, Relapse EP, where a glut of genres are fed into the machine. Ambient. Electronica. Techno. Electro. All are combined to create a textured sound, one of delicate strings, ghostly clicks and static. Ochre closes the quintet with a remix, one that amplifies the organic nature of this absorbing encounter.

At night, things get a lot more unpredictable. A stranger can become a friend, you suddenly become intimate with a woman or a man who's name you will never find out, while darkness also allows you to conceal your true identity - even become someone else. Inspiration for this album emanates from the fascination towards the intensity of what nightlife has to offer ; euphoria and melancholy, spotlights or incognito, sexual contact or lonely voyeurism... Francois X entertains the listener with playful ambiguity and unsettling, yet sensual atmospheres.

Banging pumpin hardtek. No questions, only banging answers ! A little killer !

On his new EP ‘Music from Organ’, producer and live musician Giulio Aldinucci offers up four tracks of layered and meticulously-crafted ambience.

In his own words: “The EP explores the interaction between the pipe organ and the sound environment, in terms of architectural space and soundscape. Every single sound of this work is created from pipe organ recordings using different techniques related to sound reflection, from granular processing to filters that “carve” the sound emulating the phonemes articulation inside the human vocal tract.”

Farron joins the EP bringing a dreamy remix. Unlike Giulio’s approach, Farron portrays a left-field dance-floor feel throughout the track with beautiful ambient pads, pulsating along a warm electronic space journey.

H&S is back with another techno/electro release titled "Broken Spirit". "Digging Deep" with its hard driving kick and sub bass is sure to drive people to the dance floor. "E1968" originally part of the next Sonic Team is now featured on this release bring some mad ballroom electro. (All E1968 wanted was to fit in.) "I Remember" brings a smooth liquid melodic flavour perfect for that late-night drive, or dancefloor transition. "Broken" is straight from the 1980s underground electro scene and coming at you with pure fire.

Repress

Part I - Operated under extreme psychosis, performed live in the dead of night at the studio of The Hague's pirate 'Radio Tonka', these two records contain an apocalyptic selection of the very darkest moments of its maker, an Anglo-French 'Bruxellois' driftwood expat washed ashore on the West Holland wasteland just to get even more lost in its empty shadow chessboard grid of luscious ghost town smoke screen structures built on nothing but loose sand, to get even more entangled in its reef-like vortex of the fleetwood parkland dune estates' artifice of ugly evergreen high-tech verdure of 'Rose and Thorn', oh, yes, its many, many flowers 'sans Mercee', red and white Carnation, Asphodel, or 'Fleur de Lys' and 'Fleur du Mal', all awaiting, lurking gentle softness of the flesh, perfumed for luring prey, yet strikingly hard-wired through the courtly appearance and the troubling foliage of the Count's many hidden pleasures, His many secret palace garden hedges, His Royal Seal concealed behind, oh, yes, its many, many spines, all hiding midst the ticket, like cloak and dagger, that poisoned slip of tongue, or poisoned tip of blade, and all's so easy to slip away and disappear into the vine and creeper, to make one trip and fall in smear of mud or was it blood And then how swift and sudden one may hear the ominous approach, of tainted fearful hooves, of painful stainless steel, yet steadily encroaching, by mad design, this harsh and grinning, eerily certain sound of mind-breaking, body-slicing, brain-crushing, meat-cutting, soul-shattering Gargantua of industrial machines, this constant dissonant harmony, distant yet distinct, with certain paranoid unspeakable voices of deepest Hades' underworld despairs, this Abysmal flood of uttering words of God knows what madness, or God knows what truth This one-way Path, this one-man War, this one-track Fate, this endless Road to hit Rock Bottom, I'm terribly afraid it's going to be a very, very lonely place out there...

Part II - Operated under extreme psychosis, performed live in the dead of night at the studio of The Hague's pirate 'Radio Tonka', these two records contain an apocalyptic selection of the very darkest moments of its maker, an Anglo-French 'Bruxellois' driftwood expat washed ashore on the West Holland wasteland just to get even more lost in its empty shadow chessboard grid of luscious ghost town smoke screen structures built on nothing but loose sand, to get even more entangled in its reef-like vortex of the fleetwood parkland dune estates' artifice of ugly evergreen high-tech verdure of 'Rose and Thorn', oh, yes, its many, many flowers 'sans Mercee', red and white Carnation, Asphodel, or 'Fleur de Lys' and 'Fleur du Mal', all awaiting, lurking gentle softness of the flesh, perfumed for luring prey, yet strikingly hard-wired through the courtly appearance and the troubling foliage of the Count's many hidden pleasures, His many secret palace garden hedges, His Royal Seal concealed behind, oh, yes, its many, many spines, all hiding midst the ticket, like cloak and dagger, that poisoned slip of tongue, or poisoned tip of blade, and all's so easy to slip away and disappear into the vine and creeper, to make one trip and fall in smear of mud or was it blood And then how swift and sudden one may hear the ominous approach, of tainted fearful hooves, of painful stainless steel, yet steadily encroaching, by mad design, this harsh and grinning, eerily certain sound of mind-breaking, body-slicing, brain-crushing, meat-cutting, soul-shattering Gargantua of industrial machines, this constant dissonant harmony, distant yet distinct, with certain paranoid unspeakable voices of deepest Hades' underworld despairs, this Abysmal flood of uttering words of God knows what madness, or God knows what truth This one-way Path, this one-man War, this one-track Fate, this endless Road to hit Rock Bottom, I'm terribly afraid it's going to be a very, very lonely place out there...

That smells like hot powder !

(Snippets : we do again. was a problem)

As Hudd Traxx approach their 15th anniversary year, Iron Curtis steps up for a mini album split in 2 parts. As a long-time label collaborator and friend, it’s no surprise that Curtis delivers his 5th and 6th EP for the label. Total Art Of Living contains straight up house jams, hints of techno, nods to broken beat, references to Detroit and a few interludes for good measure. These new cuts are further proof that Iron Curtis music has always celebrated the deepest foundations of house and all its varieties, whilst resolutely refusing to get nostalgic. Curtis’ previous 4 Hudd EPs have gone on to be classics, Total Art Of Living has all the ingredients to become a future classic too.

TERRENG - a constitution of an open-ended landscape of contrasts defining space both in time and depth. a set of structuring elements forming by its positionally interaction a common platform created through its dimensional properties.

The drums and electronics on TERRENG trade off each other at times creating a sense of improvised space, but also comes together in parts to form a narrative structure of almost concrete sensibilities. Where the instrumental identities gradually bleed into each other to form a flowing texture of sonically defined terrain.

The multi-layered structure of the two tracks presented here draws upon a well of material, sources and references. Pandi and Wesseltoft build up a detailed and idiosyncratic work by the use of their constructive material. In parts quiet and open. In other parts chocked with information and intensity. Beautiful and fractured. Chaotic and meditative. TERRENG is a highly dynamic blend of improvisation, and a narrowly constructed electro-acoustic narrative.

Balazs Pandi is a versatile drummer with an almost encyclopaedic level of experience ranging from improvised music and modern jazz, to metal, noise and experimental electronics. Here he at times performs the role of improvising drummer trading off the collaborator, and at other times creates an almost ritually constructed sense of rhythmic space perfectly embedded within the overall structure.

Jon Wesseltoft is a musician and composer with a long history of work within the often overlapping fields of improvisation, sound-art, noise and electro-acoustics. He has a longstanding interest in musical systems and its concepts of representation, and psycho-acoustics and the phenomenology of sound and its narrative power. He has explored this interest in various forms ranging from solo work to various collaborations and projects to larger ensemble work.

Top Seller ! Cheezy Hardtechno dancefloor for the wasted cheeks !!

If there's one lesson we have learned from 2008, it's that techno is not nearly creepy enough. On Creep EP, Germany's Kevin Over injects pitch-black dread into the heart of his distinct brand of techno

The sustainably ascending Lockertmatik imprint is back with another electronic four-hole punch in which each incision makes a deeper dystopian impact on feet and brain as well.

Stephen O'Malley & Peter Rehberg's KTL find the darkest space between black metal and computer music - or presence and absence - with 'The Pyre: versions distilled to stereo'; a score for french choreographer Gisèle Vienne.

Continuing Shelter Press's on-going documentation of Gisèle Vienne's work after Stephen O'Malley's 2015 score for her 'Éternelle Idole' piece, 'The Pyre' also sees Gisèle paired with Peter Rehberg for first time since his 'Work For GV 2004-2008' album, serving to tie up their many, long-running and overlapping strands of practice into a mighty new KTL opus.

As almost anyone who's heard O'Malley & Rehberg scores for Gisele's work will surely attest, the french choreographer always brings the best out of her sonic familiars, and their work on 'The Pyre' is no exception. Some 6 years in the works, it has undergone multiple stages of processing since the initial seed recording made at IRCAM, Paris, 2012, with subsequent live stems overdubbed at Fennesz's studio, and further mixing by Randall Dunn all aiding to bring the score to life as it's own, standalone work of art.

At the service of Gisèle's choreography - a play on the existential tension between presence and absence - KTL render some of the most pellucid and unfathomable sound designs in their considerable arsenal, layering up from near infrasonic-levels of subharmonics to filigree timbral thizz and sferic reflection, in the process creating an illusion of spatial depth and dizzy scale that beautifully spins our gauges...

Kyle Geiger returns to Droid Recordings for a three-track suite of techno and rhythmic experiments, Jupiter Storm.
A1 (Jupiter, Hydrogen Edit) builds from a rumbling kick, slowly constructing a space of delayed tones and filtered noisse pressure aimed at the dancefloor.
B1 (Mars) takes things for a truly unexpected turn, borrowing some of Jupiter's sonic language and reformulating a triple-metered groove with waves of noise and distortion.
The title track, Jupiter Storm(B2) brings the full kick back into the picture riding the Mars rhythms against the standard kick for a track that's driving and infectious

Mark Van Hoen (prior jaunts in Seefeel, Scala, Autocreation among others) as Locust emerges with the first of a series of EPs for Transfusions that dive into unadulterated techno spaces that you were clearly not prepared for. Four powerful weapons start this series with sounds and textures that clearly incorporate Locust's indescribable signature that we have all fallen in love with but take the dance floor to an undisclosed locale where deep vibes transfix our minds into pure bliss. Armed with a new razor sharp identity and vision, we are in for an adventure. Completely new Locust logo and extra special sleeve artwork masterminded by Paul Nicholson (OG Aphex Twin artwork visionary). This is serious.

Techno from a new Argentine producer. 4 cuts of grooves and moods for the heads and deeper dance floors. The 4th cut Releasing Ourselves shows Luis Luchetti to be willing to push the boundaries of a dance track in ways few producers could or would. When Your Smile Reaches Me is emotive Techno of the highest order.

Very industrial and heavy, certainly no manierism of 'techno music' anymore, but rather transcended into 'phenomenai' of the fearful 'Kosmos', tragic Ouranos' 'Pankration', all that seems to manifest both wave and particle properties, as apparantly the right block of 'Parian marble' had been provided, already containing the very statue itself inside it, for the old, yet merciless tape and tube mastering machines that simply generate 'Xaos', this elusive and inscrutable 'quantum-engineering' process of 'Natura ex Machina', and that, guided by Providence herself, 'chiseled away like old Praxiteles the soft flesh of the 'kouros' until the bare shapes, 'ideai' of things finally came discovered and exposed' to the human ear and body, simply allowing the sound to 'fall right into its proper natural space form' or, perhaps, like in 'La Divina Commedia' our sad Poet Laureate in Purgatory did wonder: 'Poi s'ascose nel foco che li affina', 'Then hid him in the Fire that purifies them'.

The Manic Brothers EP begins with 'Praying Mantis'; a deep techno offering using a swelling bass line that rumbles under the track whilst the distinctive synth phrase shifts the groove of the track. 'Life After Life' is a more euphoric and delicate take on techno and uses subtle percussion and melodies to create an ethereal felt track.

part three of three!

Superb A1 tune brings a Hardtek Psychedelic track, melting many influences sutch as Ska Rock'n'roll and Tribe. A superb tune. A2 brings a Jungle bizarre tune, unformated and melting Dark Wave influences to Jungle. A bizarre melange well done to dath : a real tune. B-side starts Disco Techno and finishes breakbeat/Big Beat. A superb record, probably the best Idroscalo so far !!!

MIKE ASH'S NEW ACID TECHNO EP SOUNDS LIKE IT WAS MADE SOME TIME IN THE DISTANT PHUTURE, LONG AFTER THE FINAL HUMAN DOWNFALL BUT AT THE HANDS OF ARTIFICIALLY INTELLIGENT ROBOTS FROM A DISTANT GALAXY ROAMING THE EARTH DESTROYING THE MEGA CITIES AND ITS INHABITANTS WITH SONIC DEATH RAYS.

Just before the end of the year Mute. finally returns on the mighty Symp.tom imprint after a very long absence. Luckily, all that lost time wasn't in vein as he delivers a stunning release in his own unique style.

'Believe' delivers a consummate body of work with which Nicole's considerable abilities in the studio are clear for all to hear. A wide-range of sounds that is sure to appeal to the idiosyncratic tastes of the various sub-sections of electronic music community. Furthermore, it lives up to the high-standards of previous Drumcode long-players and is an engrossing and impressive debut; and one that offers a smooth segue into the next chapter of an already exciting career.

Sampler 3 kicks off with 'Liberum Spirita' with its mazy ethereal breakdown on the flipside is the rhythmically entrancing yet uplifting 'Fly With You'.

The Death of Rave is honoured to plate up the vinyl debut by NYZ, the cult, algorithmic/ generative music project of award-winning artist/scientist Dave Burraston (Bryen Telko, Noyzelab).
The A-side revolves 14 succinct blatz ranging from cranky percussive pieces to queered microtonal dissonance and SAW II-like atmospheres - notably including one track made on a
Sequentix Cirklon sequencer and PreenFM2 synth gifted him by Richard D. James - while the B-side contains a steeply immersive spectral drone tract that (never) ends in a locked groove,
especially cut at D&M, Berlin.
The results are wholly unique and speak to the endless, playfully experimental variation of NYZ's art/research. They reveal visceral, alien microcosms of curdled microtonal tunings and
proprioceptive chicanery bound to thrill and induce strange, new sensations in even the most hard-to-please fiend of electronic music. It's strongly recommended to followers of Russell
Haswell's kaotic gnash, the mind-bending tunings of Aphex Twin, the visionary algorithmic scapes of Roland Kayn, and Eliane Radigue's microtonal meditations.
In Dave's own words: SHFTR FRQ is a series of experimental studies into simple synth setups controlled by varying levels of generative complex systems (MANIAC cellular automata). Recorded over the last 6 years on an ever changing hybrid of equipment encompassing the domains of modular & MIDI based microtonal sound synthesis (analogue & digital). Setups were always ultra-minimalist, often with just the MANIAC cellular automata sequencer and 1 or 2 modules/synths to provide a consistent sensory focus. The studies range from ultra-short sequences, micro-ditties, investigatory motifs, to a full length high spectral drone meditation.
Dave Burraston has previously collaborated with Alan Lamb on recordings of a mile-long telephone wire in the Australian outback, and more recently he issued nearly a dozen NYZ tapes and CDs
with some of the most crucial modern music labels, as well as a number of releases under the Noyzelab and Bryen Telko aliases. In 2014, Dave self-published 'SYROBONKERS!', the most technical and in-depth interview ever given by Aphex Twin.

After several acclaimed EPs, including Risk in a New Age(Desire Records 2014), License To Desire (Desire Records 2015, reissued by Aurora Borealis recordings in 2017) andWeehawken (Clan Destine Records 2016) – Orphan Swords’ debut LP, Ascent, finally arrives. In recording the album, the duo took the radical decision to interchange their usual respective input in the creative process, which resulted in a revelatory piece of music, one that functions as an initiatory narrative summarized as follows:

Ascent is the story of an enigma vanishing into a mountain, somewhere undefined. You left your home long ago but still you endeavor to solve this mystery. At last, today you reach the highest town in the mountains, the ultimate refuge before the loftiest peak. You prepare yourself for the culmination of your search, the ascent.
As you climb, the path gets steeper and steeper, the air thinner and thinner. Exhausted and out of breath, you push on. Surrounded by clouds and ice-cold stone, through the haze of your confusion, you’re struck by the thought that the object of your obsession, the missing entity you’re driven to find, is a part of you. It was lost long ago along with every memory you had of its form and shape. Nevertheless you know for sure it’s what you seek.

Ascent is the story of that search for inner unity, through transience, emptiness, and finally, acceptance. Through profound introspection we ascend.’

Ascent is the first part of a diptych. Breach – also recorded during the same period – will follow and conclude the two-part conceptual series at a later date.

Single-sided 12" with etched B-side.

Shifted and Damon Wild kick off a series of remixes for tracks by Swedish techno boss Pär Grindvik ov the Aasthma fame alongside Peder Mannerfelt.

Shifted applies his patented greyscale texturing to ’Tide Us Part’ from Grindvik’s ‘Isle Of Real’ LP with gritty, forceful traction, while ‘Folium’ from 2013’s ‘Air’ 12” comes reworked as a percolated deep space techno mission by NYC’s Damon Wild.

Single-sided 12" with etched B-side.

Solid Blake and Art Alfie exert rude and moody remixes on Pär Grindvik’s catalogue in the 4th of five remix 12” for the boss of Stockholm Ltd and half of the Aasthma duo with Peder Mannerfelt

CPH resident Solid Blake resets ‘Silent below deck’ as a corkscrewing electro mutation pinned into place with jabbing drums and dry claps, contrasting with the arid, grumbling bass and dry-mouthed hi-hats of Art Alfie rolling techno spin of ‘The Marlton’.

Hard & Pumpin. 4 tracks in the Eraw mood, a bit acid. Nice.

This grouping of audio recordings is for aural use only. Any emotional content perceived herein is borne of its listener, and is in no way intended by its author. Any sounds resembling speech are not intended to convey meaning.

Several Shades Of The Same Color is Patricia's first album for Spectral Sound — produced in conjunction with his own label Active Cultures.

Tips for listeners: consider the moment in which you exist; pay attention to how these sounds evoke physiological (rather than cognitive) responses. Listeners may find themselves deriving immense physical pleasure from exposure to these sounds. Inability to achieve such pleasure is likely attributable to over-analysis of the aforementioned audio content — or to improper amplification.

Each of Shades' three LPs features suites of tracks that, considered alone, comprise their own distinct, unique worlds. Disc One opens with "I Know The Face, But Not The Name," an unabashedly plaintive trip through classic electro rhythms; flip it over for "The Words Are Only Sounds," a haunting affair for synthesizer and voice. Disc Two's "The Electric Eye is Upon Me" swirls endlessly, while "Shiba Inu Dub" is cut for the floor and coy as its namesake. Disc Three's jackin' "Feel Your Body" will cause you to do just that; "German Friendship" sounds like D.A.F. on dissociatives.

Any emotional associations incurred while listening come at the listener's discretion. Furthermore, the identity of the author and/or their passions regarding the recordings herein shall bear no weight on the listener's experience. This body of work is not intended to generate ideas; rather, its goal is to produce physical sensations in the listener.   
Taken altogether, Several Shades Of The Same Color is kaleidoscopic, a multi-faceted techno trip. Listen in full, or listen in part. And if you consider only one of these intermittent listening notes, make it this one: Don't think; just hear.

Written and produced by Pepo Galan recorded between Berlin and Malaga, mastered at Black Knoll Studio (NY) by Rafael Anton Irisarri.

This 3 track EP comes out of the Limited E's vault called Retro Vol 2 produced by Potential Badboy. Each of these tracks represents when we started to push the boundaries of Jungle and being more experimental back in 1992.

The now long running and still essential RZONE series hits release number 18 with four more busy and bristling cuts of club focussed weaponry. 01 has huge and coarse claps and skittish drums, frazzled synth lines and a rising sense of sci-fi tension throughout. It's a blizzard of sound that is unrelenting. 02 is much less full, and instead its menace comes from a dark, gurgling bassline and razor sharp hi hats. Stomping drums drive it along and at various points things pull back to a creepy, paranoid synth line. 03 is a mix of intergalactic sonar pulses, roaming and writhing synth lines and clattering drums and perc that push and pull you in many different directions at once. It's intense and mind melting before 04 takes a step back and layers up the sound of uncontrollable machines with pained synths. It's an unusual yet tender track that sounds like little else.

Duality Research presents it's first release with the sounds of the lost african Rahsaan Nova. Taking a peek into the mind of this mysterious producer, Rahsaan explores the world of afrofuturism and delivers a fresh and diverse release on this new imprint. check!

Hailing from Spain, we are pleased to welcome Ramiro Lopez to take the reigns for our next release. The in-form producer has already released music on the likes of Bedrock, Intec, Suara and Diymanic in a relatively short space of time and garnered major support from Adam Beyer, Carl Cox and Monika Kruse.
Coming out on 15th May, his 'Pretending' release comprises of 4 tracks that have been a mainstay of Adam Beyer's sets during the latter part of 2016 and now full force in to 2017.

The release opens with 'September'; Atmospheric to its very core, the crunching drums and low end rumbles make this one a sure fire weapon of choice. Next we jump into 'Loving You' with a haunting vocal that compliments the stripped back yet refined approach of this track. 'Come Closer' featuring Juliet Fox is a dark, rumbling number that screams building percussion that lends itself to become a peak time choice, whether it's a club or festival. The release closes with 'Pretending feat. KnowKontrol'; An 8-minute piece of work that is destined for unadulterated dancefloor destruction, whilst maintaining that melodic element that Ramiro Lopez is fast making his signature style.

Realistic Monk is the new performance project from Carl Stone in collaboration with artist and composer Miki Yui. Carl Stone is one of the pioneers of live computer music and has been composing electro-acoustic music almost exclusively since 1972. The Village Voice has famously hailed him as 'the king of sampling'. Miki Yui is an artist and composer who develops pieces of music, drawings and sound installations that start from a perception of the faintest sounds and noises and subtly reference existents. Realistic Monk has previously released the recording of their 2017 live performance at Caf Oto, making Realm their de facto debut album. Over the course of five pieces, they focus on small sounds, often at the edge of perception, aiming at a deeper listening and perception of their musical stance and technique. Soundscapes that play with enchantment and disenchantment, emerging out of voices, noises and field recordings and acoustic feedback, their work is as subtle as it is fearless. Realm's play with musical and other signifiers make the album into a highly relevant and even outspoken take on electronic music today.

Sam McQueen's 2004 EP Sephoria is next up to get the Delsin remaster, recut and reissue treatment. The Chicago native has released music as Indio with the likes of John Beltran and also appeared on the Indigo Area label. Across six cuts here -two of which have new titles- the little known producer mixes up. There is serene ambient landscaping on the 'Inception' and the beatless 'Graduated Frequencies', which resonates with exquisitely melancholic synths, then 'Simple Pleasure' is a celestial world of wiry synths and warm solar winds and 14 days has pillow drum programming and soft focus chords that sooth the soul. 'Yemia' is another symphony of chattery drum hits, meaningful chords and real astral techno beauty and 'Outer Drive' closes down the epic space voyage with delicate melodies and melancholic synths that encourage you to lay back and gaze into a starry night sky.

Scott Moore debuted a live set in early 2016 and quickly took to the studio to capture five of his compositions on analogue tape. The medium complements the sound, with its rich palette of strident rhythms, rubbery synths, and Pro One squelch snaking through a murky textured haze. The choices of gear, sonic approach and composition reflect the clear connection of elemental breakdown paralleled in punk rock, industrial music, and disco. There's a thick layer of crud on the lens these cuts are viewed through, making mystery and discomfort equal in their influence. In fact, the direction of this record was crystallized in the post-traumatic medication of a severely broken leg, as suggested by some of the titles. In that regard, Slow Motion Pictures was both therapeutic and ritualistic in execution.

Recorded on 24-track tape by Jack Shirley at The Atomic Garden Studio in San Jose, the 5 tracks were performed live, with a multi-track approach allowing for refinement of sound. Moore's live to board mixing and minimal post-production soundtreatment have produced an artifact that conjures the feel of his live PA performances.

Scott Moore is based in San Francisco, and is the guitarist in long-running influential hardcore band Limp Wrist , and in thedreamy dark unsettled punk and angular pop group Flesh World - both of whom are also about to release new albums. As anelectronic artist, he is one half of electro-collagist duo Concrete Island , and half of the oscillator-and-drum-machine trippingimprov duo Election Day .

The album features art by San Francisco artist and musician Marc Manning.

Scott Moore: Slow Motion Picture Jacktone Records:

After an intro of political ambient you'll enter the dancefloor side of this first EP from HZD sound system in Italy... Inviting Sifrec on one side and 2 HZD artists on the flip. Mental hardtek sounds.

Tenth 12" on Skatebård's imprint narrows the inspirational-arrow directly to Italian dance music. For each of the three artists involved Italian phenomenas Italo Disco, Italian House Music and Cosmic-Afro are undoubtedly strong influences. DJ Sotofett & Skatebård lowers eyebrows with narcotic synth patterns alongside classic TR-909 and tamburine rhythms, only paused by a cosmic & futuristic string break (almost same equipment used here as on Sotofett's Dritfett EP). Lauer collaborates with Sotofett on a sunny, warm B-side. Keyboard hooks and driving dubs of various sparkly synths and solos layer a driving arrangement and persistently alive house beats. It is not a copy, nor only an inspiration – it is a cue source of Italian Underground Clubs.

One Synth-pop powertrack & One darker acid track....

SPACE TRAC (sublabel of Bunker Records Den Haag): Where Futurism meets Atavism! The third release presents material from Louis Marlon van den Brink and Radboud Mens (Staalplaat). Heavy industrial soundscapes made with a no-input mixer. 'Just purely 'auto-generated', though never 'ex nihilo', by allowing Providence Herself to reveil the 'Vera Ikon', i.e. 'True Image', the 'Shape', raw form of 'things','de rerum naturae', 'Idea', during the 'random' man made manipulation, thus 'manumission' of the no-input-mixer's own electronic circuit feedback, deep, hard, dark cosmic, intense, and it really does not 'matter' whether this regards Nature's pulsar star destruction or Her deepest heart beat creation inside Her womb, Matrix, of the 'Teknon', i.e. 'Child, the very Miracle of Creation itself' for the ancient Greeks, nt 'techno', or God knows, perchance this may just as well be His Real and most atavistic, primordial Tekno still-going on ever since the very Dawn of the Universe

'strange Rabbits' Is A Bittersweet Kiss To Chill-out Room Jungle And Ambient Techno By Jimmy Donadio, Using An Early Alias, Stabudown Productions, To Mark His Return To Personalised, Esoteric Electronics After Years Of Raw Bangers Under The Prostitutes Guise.
Pushed To Write Some Melodic Tracks For The Crack Of It By Powell, Jimmy Drew From His Current Record Buying Habit For Early Jungle And Ambient Techno To Produce An Unusually Affected Batch Primed For The Kind Of Back Room/chillout Room Sessions Which Used To Be Common In Clubs, And
Have Essentially Morphed Into Afterparty/domestic Rave Soundtracks Nowadays. Reacquainting Himself With The The Shine-eyed Wonder And Sensuality Of Dance Music's Beta
Stream, 'strange Rabbits' Refracts Nyc Deep House And Neuropean Electronics Via The Prism Of Early Jungle And Jimmy's Fuzzy Memory. Its Ten Trax Reveal His Tender Underbelly Like Just The Right Amount Of Mandy, Resulting A Psychedelically Sensuous And Driving Album Characteristic Of The Sincerity And Allusive Impressionism That's Long Been Key To His Work, But Rarely So Thizzingly Effusive.
Hypnotic Highlights Such As 'wizard Upholster' And 'teenage Scream Dreamer' Recall Stakker's Early Techno Prototypes, While 'new Ogre' And The Cubist-electro Of 'warm Woods' Shimmy Like Richard H. Kirk In Nyc. Yoghurt Weaving Proto-goa Trance Shares Dancing Room With The Gnostic Bleeps Of
'wizard Upholstery', And The Slow Burn Swing Of 'totally Coral Reef' And 'koln Alone' Properly Nail A Hair-kissing, Head Massage-worthy Technohippy Vibe That's Been Conspicuous By Its Absence From Contemporary Floors - Especially For Anyone Old To Remember How It Used To Be. The Deeply Charming Results Amount To The Most Diverse, Techno-spirited And Pop-friendly Work In Stabudown's Singular Catalogue, Serving To Lend A Lush New Horizon To Jimmy Donadio's Previously Furrowed Rave Outlook, And In A Way Comparable With Everyone From Nwaq And Dj Sprinkles And Not Waving.

This futuristic proto Drum & Bass was previously unavailable on Vinyl this was a single sided Dubplate from 1993 by the great DJ Tango (RIP). The master is from DAT Tape remastered by Subvert Central Mastering.

Tendts are two brothers that make "music that you can da nce to, or not". It seems an odd phrase, but aptly explains the duality of the Greek duo. The compositions of Christos and Fotis Papadakis are both emotive and movement inducing, even though they are written and structured with disparate elements that refuse to fall into obvious patterns. They consist of palpitating beats, imaginative textures, seductive melodies and sporadic bursts of treated vocals.

'It's Everywhere' is a concept EP soundtracking Tendts' intergalatic encounter with The Pleiadians (dimension traversing Nordic aliens to the unenlightened ) at the far edge of the universe. Upon their journey home they brought with them not only costumes, masks and relics of extraterrestrial civilizations, they brought with them the spirits of two great celestial beings, Momongo and Floflolo. Fotis and Christos were the reincarnation of these two and the main purpose of their return was to enlighten the people of Earth about the beginning of the era of the Cosmic Swimmer.

Picture Disc

The Exaltics strikes back again after their last year's album "2 Worlds" on Clone Records. For the 50th release for SolarOneMusic he collaborates with Mack Goudy Jr. aka Paris The Black Fu from the mighty Detroit Grand Puhbas. Dark and deep Electro with the distinctive vocals from Paris. Highlights are defintly "The Troublemaker" and "Propaganda DNA" with rolling basslines, eerie melodies and thought provoking lyrics. All is again lovely presented on a limited picture Vinyl drawed from non other than Abdul Haqq from Detroit, which is famous for his unique style and the essential works for Drexciya. Limited to 578 copies so be quick.

Netherland Old school Acidcore coming straight from the past... Check this out and shut up !

Very special and highly limited electro / electronics project (tributed to James Stinson) from the Fundamental Records camp, produced by different artists that will remain anonymous, if they choose to...

After ANNA & KITTIN’s monstrous “Forever Ravers” which is already deemed as one of 2019’s biggest tracks SPEICHER is back with 3-tracker brimming with raw energy from three hotly tipped up and comers. BLACKRACHAS commands the A-side with his immersive late night tune “Giorno Di Pioggia”. It’s pure trance (not trance) of a darker kind with ecstatic melodic outbursts that’ll tingle all the right places. Stockholm’s CHRISTIAN NIELSEN is making his welcome return and he’s out to kill. Imagine a chimera made of brute early 90s Belgian proto-techno and uplifting hard house beats that recalls Jason Nevins at his prime. Last but not least, ODD OSWALD & STEPHAN BARNEM deliver a smart industrial banger complete with unexpected twists and turns that’ll certainly do the right kind of damage on any trusted main floor.

Nach ANNA & KITTINs Überbrett “Forever Ravers”, welches hier und da schon als einer der Hits des Jahres 2019 kolportiert wird, übernehmen auf SPEICHER 113 direkt drei heissgehandelte Newcomer das Kommando. BLACKRACHAS hat letztes Jahr mit “Rotary” sein KOMPAKT Debut gegeben und liefert mit “Giorno Di Pioggia” einen dark-trippiges Trance-not-Trance Brett ab. Stockholm’s CHRISTIAN NIELSEN beschwört mit “Gold” furztrockene Frühneunziger-Belgientechno-Vibes und paart diese mit einem knalligen Hardhousebeat, der den Halbgöttern dieses Sounds (Todd Terry und Jason Nevins) alle Ehre macht. Schlussendlich zaubern ODD OSWALD & STEPHAN BARNEM mit “Follow You” einen smarten Industrial-Kracher, der so lange Haken schlägt, bis sich keiner mehr so richtig auskennt. Ein manchmal durchaus wünschenswerter Zustand.

The world-renowned Crosstown Rebels add the third instalment to their annual Spirits compilation, an album which has become established for delivering some of the biggest hits that have been heard in Damian Lazarus’ sets over the past year, from some of the most esteemed artists in electronic music. Let your mind become absorbed in this collection of diverse and exciting tracks.

The man himself Damian Lazarus opens the release, setting the tone with the haunting hypnosis of Ergot which contains snippets of an ancient Chilean revolution song, relevant to the current political climate. Next up Guti & Fosky collaborate once again in fine style to produce a smoky, late-night atmosphere, with the moody bassline and expertly crafted beat of Da Drumz. Side B and legendary producer Martin Buttrich combines driving tripped out rhythms with warm surging pads, creating a great musical tonic during Slow Down. Denney & James Dexter then deliver a peak time monster in the form of Transcend.

Next up Harry Romero adds a touch of romance on It’s You with an unravelling rhythm of heartfelt synth. Dennis Cruz’s Mother Earth follows up with striking vocals playing off one another with soaring brass and strings. More DJ ammunition is provided by Piem on Freak Out where a familiar looped sample is manipulated to ignite dance floor euphoria. Finally the bounce of Adonis Rivera’s XX Acid will have you hooked from the outset, as you would expect from the title, razor-sharp acid awakens every sense in this heady piece. Another great Spirits compilation to add to the esteemed series.

Bonzai Compilation – Chapter One was our very first curation from 1993. In a pioneering move, the original Chapter One would become the very first CD compilation to bring the sound of the Belgian underground outside of the club and into your everyday life. In less than one year, Bonzai Records had stamped its mark on the scene and, laden with tracks, the logical thing to do was to get those tracks into the hands of dedicated ravers across Belgium, Europe and the world.

Chapter One marked the beginning of a string of compilations which featured full-length cuts from a burgeoning catalogue. Originally with 14 tracks including … Animals, Short Circuit, Soushkin, Plasma, El Punto Final, Fantasy, E-Mission and more found their way to the CD, but it was never released on vinyl before.

We have not only remastered & repackaged this compilation for CD, but also gave it a new lease of life on freshly pressed wax, a first for one of our original compilations. This gatefold sleeve 2 x 12” black vinyl limited edition features a selection of 13 tracks taken from the newly remastered 2CD pack, and includes tracks such as Filler, Let’s Go, Twilight Creatures, Fantasy, Guess Who?, The Bountyhunter, El Punto Final, Rediscovert, Sleepless and more. A real collector’s item because with only 800 copies being made, this one is for the trainspotters.

Enjoy this special remastered limited numbered vinyl edition of Bonzai Compilation - Chapter One.

Pivot. Run by Rotterdam rooted / Berlin based artist Versho. Aimed to release music by Versho and other like-minded artists. Techno with a street mentality!!

Wælder are moving between ambient, industrial and pop. Their rhythms and soundscapes of voices, obscure samples and distorted field-recordings build spaces of barren material and soft ground, which teem and crawl - strange and harmonious. To present their music live, Wælder are mixing analogue and digital effects with guitar, synthesizers, vocals and loops. Rhythms and atmospheres blur, dissolve and re-assemble. Their live shows are often framed by visuals, generated in collaboration with various visual artists.

"Very Urgent" is the second EP for the label is coming in March 2018. It features one original track and remixes from M.E.S.H., Peder Mannerfelt, and Kangding Ray. The label Refined Productions was launched by Aleksandra Grünholz, graphic designer and producer as We Will Fail, and Jakub Mikolajczyk, head of MonotypeRec label and MonotypePressing.

Landing 10 years after his first concept album, Wehbba’s drops his debut full-length on Drumcode, featuring collaborations with David Caretta, Thomas Gandey and Brazilian vocalist L-cio.

Following a series of globally adored EPs and inclusions within the imprint’s esteemed A-Sides compilation series, the chart-dominating São Paulo native now reflects upon his life as ‘the artist’, offering an immersive montage of stories that echo a tenacious dedication to his craft. Enlisting the talents of multi-instrumentalist Thomas Gandey, Electroclash pioneer David Carretta and fellow Brazilian L-cio, with his unparalleled flute mastery, Wehbba’s synergetic cuts span the breadth of electronic music’s sonic landscape, as he challenges the notion of genres with seasoned voices.

Birthed from the purest inspiration, the album’s 13 cuts represent a myriad of musical references close to Wehbba’s heart, running parallel with the organic sensibilities of his field recordings. An ode to eternal growth, the LP highlights a cycle of perception and projection, as Wehbba studies the morphing of genres through his own musical filter. Discussing the upcoming album, Wehbba commented: "The musical references on these works trace back to the 90s, when I started listening to electronic music and had no judgement of what was cool - when I was totally free. So they represent, without any filter, what touched me, ranging from braindance to goa trance, from ambient to hard house, and from drum n’ bass through every single mutation of techno and house music."

As a key ambassador for Brazil’s dance music community on a global scale, Wehbba’s long-standing career has seen him affiliate with many of the industry greats on both remix and collaborative projects; testament to his flourishing reputation. Following on from the geometric-led titles of his first two albums, Straight Lines and Sharp Corners alludes to the difficult decisions and blunt shifts he has faced in his career, and their capacity to shape his identity over time. Studying the great Antoni Gaudi, Wehbba’s third LP title takes reference from his perceptive quote: "There are no straight lines or sharp corners in nature, therefore buildings must have no straight lines or sharp corners. Anything created by human beings is already in the great book of nature."

Superb experimental Acid mental tribe. A wonderfull Long A-Side with a solid story telling, strange beats...
Brilliant !

The great YPY on the mighty Black Smoker records! Remixes from Compuma (Em Records) and Lena Willikens. BIG!

First pressing on solid red marbled vinyl. Han Frissen is well known amongst the techno faithful. Under his Doka moniker he has carved stark sculptures and moulded absorbing soundscapes. His Konstrukt label has been a proven fertile ground, not only for Frissen but also for a spread of upcoming and established talent. Arriving on Deep Sound Channel the dutchman is ready to premiere a new alias, Yugen. Forged in the warm rhythmic patterns of his previous creations, the Nijmegen musician folds new textures and tones into his compositions. From the intimidating industrial vision of "Response," Yugen amplifies abandonment in the reduced rendition that is "Notch." The flip brightens with the gentle movements and subtle ebbs of "16916" before the organic flows and angular builds of "Inward."

"Volta No Vento" is the result of a dialog between the French photographer Gilles Roudière and the French musician and composer Toàn initiated by IIKKI, between November 2019 and November 2020.

Toàn is Anthony Elfort, a French musician and composer from Brittany who has released previously his first release on the label eilean rec. in July 2017. After 3 years, this is his second opus splitted in two albums in Vinyl and CD for the experience of two reading with the book.

Gilles Roudière is a French photographer, born in 1976, who lives in Tours and Berlin. Member of the collective project Temps Zero and represented by In)(between gallery, Paris

Mats Erlandsson makes his debut on the Swiss label Hallow Ground with »Minnesmärke,« at once a nuanced sonic exploration of the industrial and political history of his native Sweden and a deeply personal album. One of the key figures of the Stockholm drone scene, the prolific composer worked with The Kilimanjaro Darkjazz Ensemble’s Hillary Jeffery, violinist and long-time friend Gaianeh Pilossian as well as sound artist and frequent collaborator Yair Elazar Glotman for a two-part composition built around tuned sustained tones performed by electronic and acoustic instruments that were combined with field recordings in order to evoke a psychedelic state of reflection, a dream-like elegy for the acoustic properties of the former iron ore mine Ställbergs Gruva where the music has been conceived and recorded. Following up on releases on labels such as Hallow Ground label mates Kali Malone and Maria W Horn’s XKatedral imprint, »Minnesmärke« is Erlandsson's most accomplished work yet.

Originally a commissioned work by the Non Existent Center for a month-long artist residency in Ställbergs Gruva last Summer, »Minnesmärke« conceptually picks up on the socio-political and economic history of the Bergslagen region where the mine is situated. After mining operations had been on-going for decades prior, in the Industrial Age iron became one of the country’s largest exports, making the mining industry an integral part of the country’s progression towards a socialdemocratic welfare state in the years after World War II. With the rise of neoliberalism and the simultaneous erosion of the welfare state however, the mines around the region started closing, which resulted in the surrounding community losing its relative prosperity. Erlandsson’s interest in this story though does not exclusively stem from the historical significance of the mine, that has been re-opened in 2012 as a centre for cultural activities and critical thought. In fact, his grandfather was born and raised in the vicinity of it and thus his life - and, by extension, his grandson’s - was inextricably linked to its fate and the ebbs and flows of the industrial development in the area.

It’s no surprise then that the two parts of »Minnesmärke,« which translates to »memorial« or »monument,« is marked by a sense of dislocation and dissociation. »Working in Ställberg was a somewhat surreal experience from the point of view of a musician some one hundred years later,« says the artist. »Being in that environment makes you view time from the side - since the place remains the same it accentuates the deep chasm that separates my perspective from those of my relatives, while at the same time providing a form of intimacy with them.« This naturally shaped the recording process, which saw Erlandsson create an interaction between the acoustic and the electronic, the human and the machinic as well as the natural environment and the technology that has shaped it as much as it has been shaped by it. A combination of synthetic and recorded sound sources was processed by reamping it in various rooms of the vast mining complex. The resulting hybrid field recordings were transferred to tape and have then been treated extensively. An arrangement for Pilossian’s violin, Jeffery’s tuba and trombone playing as well as Glotman’s parts on double bass were recorded separately and similarly manipulated to create an expanded chamber ensemble with a wider range and an ability to transcend the usual temporal bounds of the instruments.

The outcome of this intricate working process calls to mind Phill Niblock’s most dense compositions, the iconic yet subtle work of Pauline Oliveros in the field of deep listening or even Jóhann Jóhannsson’s evocative examination of similarly politically charged topics on the »The Miners’ Hymns« OST amongst others. While Erlandsson shows his knack for creating emotive dynamics by bringing the acoustic recordings into a pulsating flow, the manipulated field recordings are used as a counterpoint throughout both parts of the composition, commenting on and fostering the ever-shifting dramaturgy of the record. Most importantly though, the 41 minutes are marked by a continuous tension that almost feels tangible. It’s the looming shadow of history, materialising in the form of a monument, a memorial for the past generations that have etched their hopes and aspirations into the walls of Ställbergs Gruva.

ALPI releases his first vinyl EP on Planet Rhythm in his distinct deep style. Five subaquatic cuts that will take you on a introverted trip. Includes a collaboration with fellow "deep sea diver" Wrong Assessment and remixes by Alfredo Mazzilli and Edit Select who submerges "Chant" even further. B3 is a vinyl exclusive version of "Chant".

Remastered Reissue eines weiteren Klassikers aus Warp's legendärer 1990'er "Artificial Intelligence"-Serie: der UK Techno-Klassiker "Electro-Soma" (1993) von B12. Parallel erscheint "Electro-Soma II", eine Kollektion ultrararer Tracks diverser früher B12-Maxis, erschienen unter mysteriösen Pseudonymen wie Musicology, Redcell und Cmetric, ebenfalls remastered. 2CD im Digipak mit 32-seitigem Booklet mit ausführlichen Sleevenotes, Archivfotos und Memorabilia. 2LP "Electro-Soma" mit Poster & Download-Code im Gatefold.

This is the 15th release on RIOT Radio Records, an independent techno label based in Scotland.

Ben Pest is a producer, DJ and performer that’s established grandiose notoriety as an exponent of jacking live hardware-based techno. He’s a complete machine head that compulsively writes music, all the time, he’s literally obsessed with it. Any lengthy gap in time from not making anything leads him to thoughts of murder his need is so strong ……………………

This 12” has three cranking original tracks and two absolute club stomping remixes from Jerome Hill and Michael Forshaw. It’s a wonk meets acid meets punishment brawl of the highest order.

WARNING: INTENSE VOICES OF DISSENT ARE INEVITABLE ONCE THE SCOURGE IS UNLEASHED

This third release of Black Lotus on Florian Meindl's FLASH Recordings enqueues in her reflection on space and physics and hypnotizes the listener in her usual kind.

According to ancient and medieval science, Aether is the material that fills the region of the universe above the terrestrial sphere.
In mythology it is seen as the personification of the heaven - the soul of the world and element of all life. An undetectable substance.
The invisible material thought to permeate all the empty space in the universe. The pure air that the gods breathe in the heavens.

Kicking off with the opening theme, with its wild synth hook and sweeping ride, ÔAetherÕ induces a solid trip on the dancefloor.

The second track explores deeper territories with its dynamic cymbals, spacey 303 textures and monotonous dark mood.

Distant Signal is a supernatural story about incessant galactic bleeps, accompanied by heavy kicks and a highly energetic percussion.

Safe trip!

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With Situational Awareness, post-punk legends Crash Course In Science deliver a ten track album consisting entirely of brand new material. The songs on Situational Awareness sound crisp and ultra-fresh, while the band from Philadelphia, USA, maintains their distinctive DIY sound created by toys, kitchen appliances and self-built synths. Far beyond new wave, the music is experimental and danceable at the same time - science and art, together hand in hand.

Hooversound Recordings presents HOO02 from none other than UK producer Deft, as he delivers four high tempo dance floor ready tracks that fit perfectly into any club set.

From old school Jungle soundscapes to gritty 160 UK Bass, Deft is no stranger to exploring the different styles and BPMs of dance music. With HOO02, we see the talented producer explore the high energy realm of 160 as the ‘Burna’ EP merges together elements of jungle, techno, footwork, and grime making it the perfect hybrid to showcase the versatility of UK dance music in 2020.

Having produced music for over 9 years, Deft who has had support from Maya Jane Coles, Gilles Peterson and Mary Anne Hobbs adds his recognisable and intricate style of music production on the ‘Burna’ EP and merges genres effortlessly

Little repress - Big and efficient just like her first release on Cosmic Baby 01

We first encountered DJ Varsovie back in 2018 when Guillaume Labadie proposed him as the remixer for Walpurgis Night on the I Hate Models / Khemia release Midnight Cults.

So the dark love affair began and developed into an intoxicated obsession, The spores were planted in the dark substrata late at night and the mycelium thread led us to where you are now. The Monster devoured the Labyrinth.

After an EP on Creme Organization off-shoot Jericho One as DJ Plant Texture, Dona Basile now assumes his Dona alias for a new EP on the main label. Entitled The V.G.P Sessions, it features four new cuts from the Italian, with three of them being DJ PT mixes. Up first is a live cut version of 'Energia', a bristling electro track with globular bass and coarse hits. Turbulent but full of synth based serenity, it is a fine start. 'Cigarettes (DJPT Mix)' is rugged and broken, with glossy IDM synths and corrugated drums all loosely arranged into something prickly and unsettling. 'The Deads At Twelve (DJPT Mix)' then gets even more fucked up, with rusty synths and blown out drums making for a dystopian house groove that will likely soundtrack the apocalypse. Last but not least, 'Nr. 13 (DJPT Mix)' mixes up Detroit synths, wild acid, heavenly chords and chopped up, buried deep vocal samples into something that will fire every synapse in your body. This is outlier stuff from Dona that sounds like little else.

After starting out with EP's showcasing tracks by various artists, Invite's Choice is back with a 3 track EP by Drafted.

The EP is opened by Detached with it's dominating, repeating tom/percussive low-end sound. The frequential spectrum is filled up by other percussive elements and reverb-filled effects, which give the track a spacious feel. Oxidian starts out in your face with it's droning and repetitive synth. The track evolves into an abstract apogee with intense synthesis before it breaks down again, allowing for a smooth mix to be made. Sphere closes down this 3-track EP on the B-side and does so with lot's of fast changing hi-hat and ride patterns and one sharp sounding synthesizer, which makes it a perfect B-side closing track. Once again a great showcase of sustainable modern day electronic music by Invite's Choice!

Visitors - Projections is the first collaboration between veteran dj producer Tony Scott & Italys Antonio Ruscito .

Projections is a wonderful piece of work where the structures and melodies of the tracks combine perfectly with haunting atmospheres , weaving analog lines & attention to detail that makes for a very unique soundtrack.
A welcome return for Edit Select & a new star is born in Antonio Ruscito , a must for all techno heads ..

Denovali presents the first cooperation album of the Italian composer, arranger, producer and guitarist ERALDO BERNOCCHI with the Berlin-based Japanese violinist, composer, electronic producer and TANGERINE DREAM member HOSHIKO YAMANE.

Born in Osaka, Hoshiko Yamane attended the University of Arts in Aichi. Her training destined her to be a violinist in classical music - later on she extended her practice to modern and pop music. In 2011 she joined the legendary band Tangerine Dream. In 2014 she started to release her first solo works.

During his long lasting career in several musical fields and genres London-based Eraldo Bernocchi worked with artists like Nils Petter Molvaer, Harold Budd, Thomas Fehlmann, Bill Laswell, Colin Edwin, Mark Stockhausen, Mick Harris or Robin Guthrie.

The first collaboration of both artists called "Mujo" combines traditional classical music with innovative electronic production techniques. The result is a coherent album that combines eight pieces to a timeless soundscape. The artwork of "Mujo" was arranged by the renowned media artist Petulia Mattioli.

Hailing from New Jersey now based in Boston, Jillian Hoenig aka Expletive debuted last year on Brooklyn's FIRM Tracks label. Originally a "bedroom musician", Jill has infiltrated the Boston scene with very fast, often melodic, chiptune inspired dance music performed live. For this release she focuses on the prettier, dreamier side of techno, exploring utopian and dystopian themes.

repressed !

A producer, DJ, NTS radio host and label head, Finn has come of age representing Manchester's underground dance music scene over the last four years. Showing up with a timely debut for Defected that will stop you in your tracks, he's now turning heads way further afield from the North West. Following a digital release, this 7' features an exclusive instrumental. The formula for 'Sometimes The Going Gets A Little Tough' is beautifully simple, exposing an intuition beyond the producer's years. At 135bpm it's a straight pumper in theory, playing directly into the hands of festival sets over the summer; with its vocal loop and heartfelt lyrics it becomes so much more. Gathering over 2m Spotify streams on its initial release via Tom Lea's London imprint Local Action, the track also received radio support from the likes of Annie Mac, Skream and Monki and support from DJs as diverse as TQD, Diplo and Martin Garrix. The appeal is universal and the execution is perfect, making this the kind of life affirming record that 2018 needs.

Medical Records presents the eleventh release in our Transfusions 12" singles series. Guilt, the collaborative project of New York City based artists, Oliver Chapoy and Nathaniel Young, is the result of 2 recording sessions during the spring of 2017. Their self-titled debut perfectly illustrates their shared taste for cold and dissonant synth programing across 3 driving dance-floor ready cuts all rounded off by an unhinged remix from The Bunker New York's Lt.te. The material focuses on blurring the lines between texture and melody and exploring the tonal qualities that result. For fans of labels such as Perc Trax, Aufnahme + Wiedergabe, Rodz-Konez, and Sonic Groove.

After starting up the infamous Invite's Choice podcast series in 2011, Tim van Paradijs (a.k.a. Invite) notes that the time feels right to contribute to the techno scene in a totally different way. The long cherished wish of starting up a recordlabel under the Invite moniker and thus propagating his view on electonic music is now to be fulfilled.

Phonology is a deep and droning track which lends itself perfectly for building tension. Plenary is a more repetitive track with less of a deep vibe than the A-side track, but nonetheless is a track that manages to form a bridge between deep tracks and more straight forward ones. The EP is concluded by a short, funky and frivolous track dubbed Bisonspoor. All together the first Invite's Choice Records EP is a very versatile and thought through record with three tracks that stand alone and somehow still manage to form one entity.

Labelhead Invite returns to his own imprint with a stunning 4-track solo EP.The EP is opened by a 'Determine', a somewhat deeper track with a very simple, yet powerful sequence that is supported by a very powerful kickdrum. 'Measure' continues the vibe set on the A-side, with it's very deep low-end and hypnotising synth-sequence topped with an aggressive ride. 'Refund' - the first track on the B-side - is a very stripped down, four-to-the-floor track that feels like the type of tool-tracks you'd find on EP's back in the days. The EP is concluded by the wonderful ambiance 'Excitation' sets which is a great track for starting or ending a set. Invite's Choice is at it again with a great EP that evolves all around the style Invite is known for; chaotic sequences, oldschool, stripped down use of drum machines and deep yet powerful low-ends

Fresh from outings on Super Rhythm Trax, Killekill and Power Vacuum, Jerome Hill is back on his Don't label and presents 4 road tested tracks - each totally different from the last but with the common goal of striking out and injecting colour, fun and a good measure of "Don't" rowdiness into the Techno landscape. "Egg Roll" is a slamming broken beat Techno monster that has been extensively tested out in the field, "Scez princess" combines hardcore breaks with waspish synth riffs while over on the flip "I Know" hits hard with no messing around. The EP is finished off with the lumbering, stunted funk of "Mono Skank". Available on lovely blue marbled Vinyl.

2018 repress! Hard and dark robot music on dirty speed, black vinyl.

MANSUR is the newly initiated project by Jason Kohnen (ex-The Kilimanjaro Darkjazz Ensemble) joined by Dimitry El-Demerdashi (ex-Phurpa) and introducing Martina Hórvath on vocals. The sound of MANSUR navigates between the waters of musical fantasy and reality - it morphs and blends traditional instrumentation with modern day electronica.

Horváth, El-Demerdashi and Köhnen return to their otherworldly worldbuilding with their debut album ‘Karma’ on Denovali. MANSUR leads the listener into mystical and magical unknowns, that lie far past the realms of material perception.

As astronomer Carl Saga once wrote “Somewhere, something incredible is waiting to be known”. Universal lessons of life, brought by teachings and teachers of ages. Unimaginary worlds in all our capacities of being created. MANSUR is the transformational vessel guiding you to these non-physical realms. The realms you seek are already there, it's up to you to find them.