Techno News

Formed by Swiss post-metal veterans from Knut and Abraham, strom|morts' goal is to compose music inspired by their Alpine environment and its weather, which glides over impassive mountains, evolving with the seasons. Such a landscape encourages deep listening – minimalist musics whose subtle evolutions reveal themselves over several minutes, disturbing the perception of time passing or even provoking, through deep and sustained concentration, a meditative state.

strom|morts write: "Clock Resistance is all about time and chaos, reflecting the behaviour of nature around us, embodying the cycles of life and death. The sinister yin yang of strom|morts symbolising the source and the end of everything we have known so far. Two drones were composed as an embodiment of this concept. This record was mainly made with modular synths for their flexibility, but you can hear here and there the ghost of a Moog Voyager. One drone is totally synced, the other one is free. One side's got a guitar, the other one is synths only. Achieving symmetry, the two drones have the same timing." –strom|morts, Conthey, Switzerland, 19 May 2020.

Gabie Strong is the founder of Crystalline Morphologies community imprint, dedicated to releasing experimental sound works by historically underserved Los Angeles women, queer and non-binary artists. She has been working in experimental music since the early 90s. The recordings on this cassette document a series of live performances from 2017-2019 in which the Los Angeles artist Gabie Strong asks, "What does the body sound like when it is making its own music?" A hard-of-hearing interdisciplinary artist, Strong asks us to consider that hearing is subjective, based on how the brain translates the reception of sound. Each track documents a performative questioning in which Strong suggests that being deaf is not living in silence, but rather it is navigating a highly complex and nuanced soundscape of noise that is audible only to the deaf body. For Strong, deafness comes from her own skull working against her, closing off external sounds and sending scrambled messages back to her consciousness. Captured at Ende Tymes 9 Festival of Noise and Experimental Liberation, Land and Sea Oakland, Volume at Coaxial and the Sagehen Creek Field Station Experimental Forest, Strong layers the kinetic sound of contact mics running over her body and through her hair, ambiguous vocal utterances and amplified guitar feedback to create a visceral soundscape of her body.

"This tape gathers a series of demos and live recordings of a short-lived Portuguese band from the 1980s: Os Senhores (1985-87, briefly resurrected in 1990).

Portugal was just beginning to open up to the international cultural scene back then; for a younger generation of creatives, this meant a visceral rejection of tradition ("Fado??? The past!"), and a thirsty embracing of whichever echoes made it from abroad, often in the shape of expensive import vinyl or hissy third or fourth-generation cassette dubs: from post-punk to post-modern, we all wanted to break from the old paradigm. And yet we were painfully blind to the fact that we were largely replicating another paradigm: we simply lacked the broader conceptual and contextual milieu in order to push things further beyond the peripheral or derivative.

A venue in Lisbon, Rock Rendez Vous, was congregating this younger generation through a series of rock marathons and competitions. We dutifully applied and stepped on stage for the first time ever in March 1986; track three of this tape begins with the first few seconds of such gig. A handful of gigs followed, and we recorded various sets of demos at Luís Carlos' Studio X in Porto.

Paradoxically, our objective lack of formal musical training and relative scarcity of musical skills provided us with a potential degree of freedom. And oh, we were free to be our vicarious selves: the female singer was a Siouxsie devotee, the male singer was heavily into Krautrock, the guitar player wanted to play the blues, the drummer just wanted to hit stuff. The bass player and the keyboard player held it together somehow. This seemingly impossible mix of aesthetics could have produced something special; instead, we tended to cancel each other out. We were just too often caught between the dilemma of pursuing said freedom (and risk illegibility, even to ourselves), and the desire to prove our worth within the familiar canons.

As a consequence, there is little of musical or aesthetic interest in these recordings: their value is essentially documentary, more of a snapshot of a given era. Yet their release provided us with an opportunity to revisit the source material and have a go at reconfiguring it into something else that, while remaining faithful to its original references, would make a somewhat better statement in itself.

We tried quite a few approaches, to no avail… some worked sonically but distanced themselves too much from the original, thus losing the plot; other attempts just seemed dragged down by the linearity of the original compositions.

In the end, we opted for a more straightforward approach in the re-working of the original sources: we had various recordings play simultaneously, without further tweaking. Whatever fell on top of whatever else, so it stayed.

In this way were able to preserve the original sonic, structural and contextual aspects of each recording, while somehow amplifying the tightrope of chaos/ineptitude we traversed throughout those two years. And just as decisively, through this process of superimposing, we were able to reveal a few odd juxtapositions that, had we had the vision back then, could have been infinitely more promising than the elusive post-something format we obsessively kept hunting down.

So what do you know: the first release by Os Senhores, over three decades after we split (and not very amicably, as rock and roll would have it). Hey, it took us slightly longer than originally expected. And we are all now back in touch: old age has its perks." – Heitor Alvelos, Porto, 16 March 2020

tehran born, stockholm, sweden based(now berlin) dj and producer aril brikha is no newcomer to the global electronic music scene.

since the late 1990ees his genre meltdown between techno and house seduces club music enthusiasts around the world. influenced by all sorts of electronic music - ranging from depeche mode, front 242 and jean-michel jarre to robert hood and underground resistance – his sounds always wind between straight up club tracks and more deep unwound moving arrangements.

as one of the most prolific producers around he released ep’s on labels like kompakt, poker flat, his own company art of vengeance as well as an album for derrick may’s transmat imprint and a long-player for legendary peacefrog records. after mesmerizing ep’s for mule musiq in early 2019, he now drops a quieter album on the tokyo based enterprise, showing his love for slow trance influenced compositions, that are perfect for meditative moments and thoughtful party situations.

his new productions listen to dreamy names like “a cautious gaze” or “everything was here first” and get constantly enlarged with melodies, sounds and harmonies that go beyond the usual characteristics of a dance album.

the overall touch is ambientish, partly discreet rolling bass-lines call for a physical movement while spherical synthlines drift across deep floating trance territory.

an album for dreamers, that love to get lost in a contemporary un-nostalgic musical journey without the dictation to dance. a record that explores an infinite space of sound with a heartfelt human touch delivered in eight slow grooving tracks mixed in perfection.

all hand out a moving story arc full of fluid in-the-moment moods who dance around subliminal bass shapes and dreamfully synth pads. you can call it ambient. you can call it trance. whatever you name it, the laidback enthusiasm of “dance of a trillion stars” brings an auditory experience that haunts deeply, gives space for the tones between the tones and prepares all aril brikha fans peacefully for his upcoming adventures for the dancefloor.

The second release of Black Merlin's SFORMATOR series on Pinkman. Three cuts of hypno-beat electronics, created through ritualistic embodiment of sound by the machine doctor to expand minds.

Three Little Birds 001 - LTD copies - 180 grams vinyl only

Arcing Seas is back. Cassegrain present pulse-quickening and detailed textural techno on their latest EP. Psychedelic processing of the highest order.

Long term friends of Geddes Chris Wood & Meat deliver four stomping cuts for nofitstate's white series

Long time techno soldier Clark Davis hails from Hamburg, Germany, where he runs his parties and label District 66 with his friend Markus Schwarz. We all met back in March 2015 during a Wall Music party in Hamburg. That's almost 4 years ago... Since then, we regularly exchanged demos back and forth, waiting to find the perfect tracks that would fit our common vision of techno. That time is now: Clark Davis delivers a piece of wax that defines his view of electronic music, influenced by the American techno scene. Dig in!

Cryogenetic teleports us back in time with his DAT recordings.

Disabled is a new project consisting of Tobias Schmidt & Cynthia Stern. Varvet 003 is the result of two sessions in Berlin in late 2016 / early 2017. Bassy techno/electro/punk for the late late hours.

Mastered by Thomas P Heckmann.

Beautiful 1 Lp Edition 140g Vinyl, Heavy 350gsm Sleeve, Sticker

- Official Reissue Of Hard-to-find Favorite L'univers De La Mer By Dominique Guiot, Considered By Some The Greatest Library Album Ever Recorded. Available On Vinyl For The First Time Since 1978 And For The First Time Ever On Vinyl And Digital.
- For Fans Of Synthesizers, Library Music, Prog-rock, Experimental, Ambient, Folk, Medieval, Movie Soundtracks, Sci-fi, Schicke Führs Fröhling (sff), Tangerine Dream, Mike Oldfield, King Crimson, Didier Bonin, Claude Perraudin, Jacques Wyrs, Oceanic Vibes And Giant Squids.

Wrwtfww Records Is Honored To Announce The Official Reissue Of Super Rare And Fabled Prog-rock/library/synth Album L'univers De La Mer By French Composer Dominique Guiot. The Full Length Release Is Sourced From Original Masters, Available On Vinyl Lp For The First Time Since 1978 And Housed In A 350g Sleeve With A Spellbinding Artwork By Surrealist Sci-fi Artist Jacques Wyrs. It It Also Available On Cd And Digital Formats For The First Time Ever.

Written, Composed And Played By Dominique Guiot With His Mellotron, Minimoog, Clavinet, Organ, And Guitar, L'univers De La Mer Draws Its Inspiration From Deep Sea Exploration, Oceanic Creatures, And Underwater Kingdoms. The 12-track Album Navigates Organically Through Diverse Mutations Of The Prog-rock And Synth Kind, From Scenic Meditation Pieces ("wind Surf Ballad"), To Medieval Electronica ("une Ballade Pour Une Goélette"), Spacey Smooth Jazz ("les Deux Poissons"), Funked Out Fantasy Folk ("l'univers De La Mer"), Or Even Incredible Sega Mega-cd Vibes ("la Danse Des Méduses") - Altogether Painting A Fascinating World Of Eerie Magic And Subaquatic Sensuality. It's Escapism At Its Best With Subtle Overtones Of Schicke Führs Fröhling, Mike Oldfield, And Claude Perraudin.

The Sound Of The Album Is Brilliantly Captured By Its Surreal Cover Art, The Work Of Legendary Artist Jacques Wyrs, Whose Memorable Record Sleeves Include Klaus Schulze's Picture Music, Eloy's Floating, Ange's Le Cimetière Des Arlequins, And The 1974 Reissue Of Larry Coryell's Spaces.

Three strikes deep so far, Gregor Tresher ignites the GTO machine for another unique two-track techno excursion that digs deep into his past while staring defiantly at the future.

First, the future: A place totally accessible with 'Substance' as it surges triumphantly into the unknown with a continuous cycle of new elements layering up over the laid back groove yet-relentless modulating pattern. Suddenly Gregor's signature pads hit home and the future has landed.

For a taste of the past, check 'Inhale': A bass-heavy electro breakbeat that nods back to Gregor's rich electroid history as Sniper Mode who released a body of work on Elektrolux, Mikrolux and Electrix during the early 2000s. Slinky-yet-sci-fi, spaced yet dense, this one will have you creeping right back to the source.

Back to the present: Dokser's Atoll build on the momentum he has developed on Inctacto with a breath-taking alternate take on 'Inhale'. Pounding into tomorrow with raw drive and determined peak time darkness, it's devilishly direct... Just as all GTO releases have been so far. Don't sleep.

full cover artwork !

Fresh bangers for the summer of 2016! Enjoy the festival season, see you front left ,)

We premiered with this EP collaborated with Ambient/Dub master Heavenchord with its outstanding sound and Gaby Green collector of electronic music since 1994, based in Valencia, founder of this Label.
Listen Feel & Dance...

Jay Lumen returns on his Footwork imprint with a very unique Acid Techno loaded dance floor monster.

These days it's almost impossible to find people on the streets who are not constantly tuning in with their smartphones or tablets. Or we see friends sitting around a table who are not actually talking to each other but tapping theirs phones and surfing the web. Jay was inspired by this current problem of the digital era.
Jay Lumen: "Wake up people and watch the real world, the nature around you, make real connections, relationships, friendships, families, talk to each other in the real world.... and go to a Techno party to dance your head off..."

Connected' drives on Jay's distinctive 303 sounds combined with a fat kick and bass-line. While the raw energy creates a throwback of old school Acid Techno it clearly resonates a fresh new school sound.

Mantra Techno And Cinematic Textures Opening Up Rooms.

UX 001 is a conscious effort to push buttons and turn rotary encoders whilst using ears to monitor the results. Three tracks all with different durations and sounds in each of them, it's deep stuff.

Myk Derill is back on Knotweed.

The E.P. opens with 'Compulsive', a slow minimal dub anthem like only Myk can deliver, full of positive vibes. Cut in 45 rpm for maximum audio damage.

'Sacrifice' is a much tougher big room affair, bringing sinister synths, dark voices and rolling snares on top of a sub bass heavy drum kick.

In 'Group Cohesion', Myk drops an acid line, dripping and tingling down your spine like there is no tomorrow. One of these tracks where less is more.

This first album proper from Polish composer/violinist Olga Wojciechowska was originally released on CD only by Time Released Sound, and has been out of print for some years. We are very pleased to be bringing you this long overdue vinyl re-press, in an edition of only 200 copies, each of which comes in a beautiful 24pt heavyweight jacket, with translucent 180gm disc.

Maps and Mazes is a stunning collection of 10 pieces that were originally written for various international theater and dance productions, and their overall feel reflects this performative nature. These electronically treated, modern-classical beauties are somewhat dark and moody at times, and with their elegiac violin and haunting horns are both elegant and absorbing, and the ultimately lingering effect is one of series of spine tingling, late night serenades.

As part of the third volume of Peter Van Hoesen's Uncovered 2008-2018 retrospective comes a four-track vinyl edition. A selection compiled out of unreleased tracks, sketches and edits from his live shows transformed into an essential and club ready 12" with fierce techno from the highest order.

Intense electro tracks by plant43 who delivers a worthy follow-up for his critically aclaimed release on Frustrated Funk earlier this year.

RAINDANCE ALERT! Do you know what RTR means? Just RTR.

Telemorph006 represents two different electrical sketches of another reality.

SUMMER OF SEVENTEEN are MONIKA KHOT (NORDRA, ZEN MOTHER), WILLIAM FOWLER COLLINS, DANIEL MENCHE, FAITH COLOCCIA (MAMIFFER), and AARON TURNER. (SUMAC, SPLIT CRANIUM).

Wildfires plagued Washington state during the summer of 2017, their smoke drifting westward toward the Seattle area and toxifying the air. Shortly before that trauma, MONIKA KHOT, WILLIAM FOWLER COLLINS, DANIEL MENCHE, FAITH COLOCCIA, and AARON TURNER had gathered at the latter two musicians' House Of Low Culture studio on idyllic Vashon Island with revered producer RANDALL DUNN. There they cut eight songs that capture the makeshift band's feelings of what COLOCCIA calls "a kind of doomsday lurking in the background." It's as if these highly attuned players had a premonition.

"Summer Of Seventeen" -which was edited and arranged by MONIKA KHOT, who records apocalyptic music solo as NORDRA and plays in the avant-rock band ZEN MOTHER—is a nuanced admixture of these musicians' sounds and a culmination of all of their previous collaborations. COLOCCIA and TURNER have created eldritch folk and chamber rock for over a decade in MAMIFFER while engaging in various solo and group projects that explore their profound spirituality in sound. MENCHE has been a fixture on the abstract composition scene for 31 years and COLLINS is a savvy explorer of drone and ambient forms. Their ephemeral summit meeting has yielded a masterwork for the ages.

A heaven/hell and beauty/beastliness dichotomy pervades the album—as if a titanic struggle was transpiring in that small studio. The fearsome trumpet fanfare that starts "Chorus Of The Innocents" heralds a baleful fate. With a subliminal industrial rhythm bristling beneath the eerie exhalations, the song submerges us in a slow-motion maelstrom, a horror-film facsimile of MILES DAVIS' "Bitches Brew". "Perceived Slight" threads death-metal screams through a stark, suspenseful atmosphere, with austere glints of guitar and beats like fists on a casket lid intensifying the dread.

Angelic chants and celestial drones perfume the air in several of the songs on "Summer Of Seventeen", countered with muted blast beats, serrated hums, jagged glitches, simulacra of grinding gears and lightning. It's as if no good deed goes unpunished. "Spirits Of Redeemer" could be an elegy for the human race while "Cultural Orphan" sounds like a symphony for a malfunctioning factory. The album ends with "Theatre Needs An Audience," a harrowing ballad somewhere between EINSTÜRZENDE NEUBAUTEN and MERZBOW; it's a savage rent in the space-time continuum.

"Thinking about this record now," COLOCCIA recalls, "it seems like we were all sort of anticipating something like this current pandemic happening, although we were thinking about it as fire in the hands of man (literal fire, and also gunfire) that would overturn the normal running of things and reveal the current false beliefs systems holding up most of America."

That grave aura infiltrates "Summer Of Seventeen", However, a hopefulness bubbles beneath the foreboding architecture of sound and noise summoned here. The bunker is the new penthouse.

-Dave Segal, April 2020

Based in Grand Rapids, Michigan, Calder City Development Corp. was developed to build and reshape the landscape, structure and concepts of urban electronic music by using a philosophy of deep experimentation and raw vision.

The first release Stratospheric Architektur' comes from West Michigan native Translate', who's debut release Station Identification' was on the legendary label FEROX. This three track EP features two 10 minute bangers for the club, very much techno but with house sensibilities that should satisfy deep house to techno heads.

Face 1///Break beats begin this release but then is quickly changed into a four on the floor. The rumbling kick establishes the pulse as a hihat comes in to join the rhythm. The baseline come in slowly, syncopated as it likes, steadily as more percussion establishes the groove. Long chord pads come in to say hello as they steadily modulate underneath the feeling emanates soft and hard simultaneous. The tune gives of opposing feelings but always of goodness.


Face 2///A kick drum drops that introduces a vocal sample that slowly fades in from the ether. Flowing pads join slowly giving a sense of ubiquity. Percussion then arrives creating the full amount of the groove. In the middle of the tune, the full vocal sample comes in as the track is fully cooking now and continues to rock until its conclusion.


Face 3/// An ambient piece that features some pitched white noise and droning pads. Sometimes spooky and harsh but with a soft tone due to the pads that pulls a listener's emotion in different directions.

For the 7th vinyl release we joined our forces with a renowed german duo, TWCOR. Björn and Markus develop their sound from the inspiration of everyday influences, which are augmented and brought to life by their unique set up. They ride the creative wave of each sound and produce techno without compromise: raw and unapologetic. On the remixer side we are pleased to welcome Endlec. His first ever vinyl release was from Rotterdam based Mord Records, that got the attention of the international techno scene.

Rebekah - endlec remix and vervoids are killer!
Regal - very cool, thx!
Dave Clarke - The Digi Bonus Tracks works well for me
The Advent - great ep, a few tuff ones here..
Slam - Thanx
Jay Clarke - Endlec Remix for me. Will try Paragon Lost too! Thx
Raphael Dincsoy - thanks! will try out
Roman Poncet / Traumer - like paragon lost thanks
Volvox - will play!
Henning Baer - killer relase!

Upfront and unreservedly ‘The E-Street‘ captures the soul of eccied warehouse club culture with a thunderous, addictive chord melody from the word go. Belly-deep, sweltering bass made for sweaty body masses. 'Sfääri' takes a serene, almost dream house turn, side-chained lo-fi pads and twisting, turning acid bass.

Flip the plate for more gutteral, darker acid techno - like the head-rattling 'UglyTruth'. Disturbing broken-machine sounding hook looms over bubbling accented acid squelch, while the 303 abuse continues on 'Uprising'; an eerie vocal sample reminiscent of classic Chicago jack tracks, with driving hi-hats and a psychedelic sliding acid line.

*** For the 1st time on vinyl! With remixes by CHRISTIAN FENNESZ (Touch, Mego) and STEFAN NÉMETH (Radian, Innode) & unreleased material from 2000 ***

** The LP comes as beautifully crafted collectors edition with CD & DL-Code & 30x30 cm inlay with background information in English & Japanese **

* Mastering & Vinyl Cut by Kassian Troyer at Dubplates & Mastering, Berlin *

After receiving an honorary mention at the Prix Ars Electronica 2000 in the category Digital Music, Ulrich Troyer's Debut EP NOK was originally released on the highly influential experimental music label MEGO in October 2000. The "soundtrack for an imaginary cartoon", combines a palette of extreme high and low frequencies with organic sounds in a polyrhythmic flow.

Now, NOK is available for the first time on vinyl as a full length album supplemented with previously unreleased material from 1998 - 2000 found on the original DAT-Tapes. The reissue includes 2 new remixes created 20 years later. Christian Fennesz (Touch, Mego) delivers a powerful, guitar driven remix that is simultaneously joyful and sorrowful. Stefan Németh (founding member of Radian, INNODE) creates a precise condensation of NOK's sound world with additional overdubs using the MS-20 he was using 20 years ago.

All tracks have been completely remastered from the original DAT-Tapes and cut to vinyl by Kassian Troyer at Dubplates & Mastering, Berlin.

The Vinyl comes with CD & DL-Code & 30x30 inlay with background informations in English & Japanese

10 years ago the29nov films was started in a small village in Southern Germany. Thousands of videos and millions of views later Sebastian Kökow and Kevin Paschold have become one of the most sought after video producers in electronic music - mostly for industrial-leaning techno, but also for all other kinds of electronic music.
To celebrate their 10th anniversary the29nov has finally gathered a few of their favourite artists and they all have contributed to a compilation, which will be released on 2 double 12"es, one out in November 2016, the other one to follow soon.

Celebrate with us!

Argentinian duo Dying & Barakat return to Knotweed with a wonderful 4-tracker to warm up your winter. They keep developing their unique sound, blending the darker shades of techno with the warmer sides of house, always with a perceptible happiness oozing from each track.

‚Sandcastles', ‚Timbuktu' and ‚The Back Door' are just three of many tracks that were produced by Dennis Ferrer & Jerome Sydenham aka Ferrer & Sydenham Inc. and caused serious damage on the dancefloor by that time. After more than 10 years, Ferrer & Sydenham Inc. return for a one-track single release only on a more darker and techno'ish side.

French producer Leghau is back on Knotweed, taking his sound design craft one step further.

With dream-like space patterns on the A side and metallic guitar-like driven sounds on the B side, he delivers four tracks where the tension is constantly building throughout.

Essential!

Soma favourite Mark Henning makes a welcome return to the label after last year's
smash, Titan, with the jacking Joyride EP. Mark has been busy in the studio this last while
and drops 4 perfectly made, machine based weapons for your aural delight.

Title track Joyride kicks things off with a straight up 909 beat, complete with sci­fi sweeps
and classic wood block percussion, quickly working its way into an very subtle groove
with every element working effectively to keep it fully funk laden.

Sideways completes the A side of the release and gets going right from the beginning.
Pumping percussion takes hold and hits the ground running before a perfectly weighted
synth hook lashes over the top with Henning playing with the synths LFO to creative
effect.

Dust takes things down a notch as swirling pads drape themselves over a serious 909
beat. Henning lets this one loop out, letting the subtle variations in the synths do the work
as the 909 holds the beat solid and reminiscent of early Berlin/Detroit dub techno
crossovers.

Mars Attacks closes of the EP and does so in particularly fine fashion. A more broken
beat affair this time from Henning and he really works his machines into a sonic warfare
of bass tones and tweaked out synths that sear through the crashing percussion workout.

Mark is never one to disappoint with his Soma EPs and with Joyride, he delivers 4 varied,
top drawer tracks.

support from Marco Zenker, Eric Cloutier, Ben Sims, Adam Beyer, Josh Wink, Truss.."

Michal Jablonski is back on Secret Keywords and this time with a solo EP, with remixes by the French producer AWB and the Argentinian duo YYYY

"Chimaera" is the first vinyl release of the Berlin based label, composed by 3 original tracks and 2 remixes whitch will hit the bull's-eye.

"In Without," the track that opens the record, is an impact noise of one-minute and forty-seven full of abstractionism and anxiogenous power.

"Left Object" the track number 2 of A side follows the style of the hypnotic, dark and convoluted melodies typical of the Polish producer.
 
"Chimaera", the track which gives the title to the whole record, is pure energy from the first to the last note. Marked beat, enchanting rhythm and remarkable acid nuances define it as the perfect track for the dancefloor.

The remix of "Chimaera" on the B side by YYYY is determined by a stronger industrial - less melodic and more aggressive sound than the one of the original track. Pure power for body and mind of the listener.

"Left Object" AWB Remix is the track that closes the entire EP, and is outlined by the typical style of the French producer. Elegant sound assembled by a refined use of synths. Apocalyptic mood taste as hypnotic as physical and concrete.

Vinyl Only. 180g. All Off Tape presents its second product: an all-around exceptional release.
Three originals Pressure Point delivering a collection of odd-ball house cuts filled with rubbery grooves and crispy percussion, with Akufen showcasing a tripped out journey in line with his Horror Inc outings. Get your hands on it!

PE012 is a label friends & family junction, a 12” summoning the distant yearning of otherworldly sonic release. Ciel and D. Tiffany unite as new collaboration Psychedelic Budz, long time friends who share a mutual affinity for prog and a desire for elevated states; offering Faerie Stomp, it’s internal reworking plus remixes from Ludwig A.F. and Adam Pits. The aural synergy of the record is laced throughout, tripped out spooky tech-trance, evocative dark imagery conjured at different speeds and energies. Like most of the Planet Euphorique catalogue, these tracks can duly be heard echoing throughout the night sky through forest or bush, as bodies flicker and move in hypnotized, unleashed states.

The A side; the Origin Mix of Faerie Stomp and the Enchanted Mix by the Psychedelic Budz themselves sets the tone; tweaked atmospherics and field recordings, scurrying textures creating rhythmic collage. Drama and tension build through drones and bubbling 303 lines, villainous cackling and delay consuming the introduction in anticipation as the track develops into a stomping four to the floor promenade. Snares roll and chop in dizziness, encouraging your surrender to the lucid melodic synth lines, twirling in transfixion. The alternative mix could almost fit entwined into the original, slightly murked and more rhythmically rigid with metallic snares cutting through the denser timbre. Overall an expanded aura and creative opportunity for the deejays and those inhibiting dance space.

Flip to the B side for the remixes, firstly Ludwig A.F.’s Haunted rendition. Keeping the eerie attitude in check he morph’s Faerie Stomp into a bombastic bass heavy club anthem, playing with build ups and stripping back elements for effect, the track is always propelling forward, shuffling shakers and scratches making it impossible not to move with it. Adam Pits also maintains the essence of the original whilst offering a whole new translation for his Undergrowth Mix, gargling baselines and whip crack percussion - buckle up for a hard and fast trip to new heights. Sweet relief is brought from floating stabs and melodic subtlety, softer break chops rolling over the brutal low end before the end of the record dissolves down to the encompassing swirling modulation and charging drum work.

Four different devilish dance workouts for this unprecedented time. The power lies in the mesmerization. Lose yourself to the supernatural environment in the sonic texture.

With the Cogito Ergo Sum EP Samuel Padden shows a UK vision of 2 step breaks and acid all merged together in a unique style.

The A-side is all about 2 step breaks with a slow acid on A1 and a funky track on A2.

While the B-side takes you on a straight forward house adventure on B1, followed by a quirky outro on B2.

vinyl only

Tolkachev has established himself firmly on the minimal industrial techno forefront. 2019 repress comes with extra single sided 12'.

There is a dichotomy within the very definition of the word Vault...on the one hand, a vaulted ceiling is typical in many sacred places of worship, forming an arch that is perfect for a choir to sing their praises to a higher power. On the other hand, one must go into a deep underground chamber or vault in order to unearth rare treasures only found through deliberate exploration.

Strathy's new release embodies this split personality with four tracks that climb to the roof tops with euphoric synths, only to plunge down into turbulent catacombs. ''Space Nation'' begins with a static radio transmission coiled around a cluster of drums ready for lift off. ''Duruti March'' takes us down a granular path full of dense texture and grit and doesn't let go. ''Arggg'' comes barreling through at a breakneck pace and just as you settle into the raucous, galloping groove, a radiant choir chimes in as a counterbalance to the chaos. ''Modern Slave'' lets us breath and gives room for a slightly twisted vocal to meander around a broken beat including the hint of hopeful yet melancholic synths and a bag of symbols seemingly being dragged across a concrete floor.
Strathy weaves these elements together in a multifaceted ep that is sure to challenge the body and mind and leave ecstatic dancers wanting to dig deeper into the Vault.

the usual concept. an evergreen techno style tune and a hard dirty remix from Endlec. no-frills just techno.

vinyl release only, limited edition 100 copies only

mastered by Black Monolith Studio

supported by Truss, Perc, Truncate, Samuli Kemppi, Alessio Pili, Jonas Kopp, Alexander Dniel, Maks, Astronomical Telegram, Mental Resonance, Aymeric G, Biemsix, Bosh, Datura Dilema,Mirko, TZX Grinder, Overdraw Records, Subsist, Thomas Hessler

After our first release MO-OB is back with another great V/A.
This time we have on board Javier Carvallo from Unders your seat, Overall and Vatos Locos, the great talents Kepler & Porter from Rubisco and label owners MOOB. Vinyl only!

We proudly present Synesthesia's first EP- Vinyl Only-which is signed by Vlad Alexandru Dinu a Romanian artist from Bucharest with a style that we consider to have an unique musical flavour.
'Other way around' is the name of the EP and it contains 3 tracks, including a remix from the well known artist Tommy Vicari Jnr (V.I.C.A.R.I).

Greetings from Sucksonia! This is Rat Life number 17 - straight from the arse end of nowhere called Saxony. Westlake & Hayter dedicate their debut EP to this not so special part of Germany. Moving here voluntarily from the western sector pissed off their parents and friends, so they had to join the local freak music underground. Apart from this, what other option do you have as a free spirit, in a place that is controlled by crazy old men and their weird ideas? Right! You deal with the messed up reality by making some beautiful messed up music. And the two did very well! Spreading their Mutant Freak Funk over four tracks that will make your nice little suburban homestead collapse, this way it will fit in perfectly with the industrial ruins in the neighborhood!

The new OFF Recordings release is from the label boss himself, and follows Andre Crom's recent EP's on Josh Wink's Ovum Recordings. In the past months Crom has showcased the darker side of his style with thundering techno releases on imprints such as 2000 And One's 100%% Pure and Hans Bouffmyhre's Sleaze (UK). This new EP kicks off with 'Consciousness', a minimalistic peaktime burner based on an acid bassline, a mental percussion loop and the name-lending 'Consciousness' vocal. 'Resonance', while being based on a similarly tight groove, takes things to a slightly deeper level with its emotional chord-pad-theme. On remix duties, BEC makes her debut to the label, who along with being an artist on Pan-Pot's label Second State, has also released on imprints such as Carl Cox's Intec. BEC is a rising star who has been proclaimed as 'an artist to watch in 2018' by a number of press publications, and her remix on this EP is nothing less than exceptional.

7"

Liebemelodie is a song based on a true story. It’s dark. It’s good. It’s romantic. Play it in the rain when you cry or listen to it when you burn your ex lovers stuff. It will break you and heal you. Love is the drug.

*Repress*

From the slamming science of “Ricochet,” through the jittery ghost-rave of “Survival” and the outer-space lover’s rock of “Dubbing You,” to the manic magic of “Finest Illusion,” this collection of early EPs by rave legends Foul Play tracks an astonishing evolution across barely more than a year. Some of the top tunes to come out of the hardcore > jungle > drum & bass journey? Yes, but also some of the most thrilling and gorgeous music of the entire ‘90s.

Simon Reynolds, author of Energy Flash: A Journey Through Rave Music and Dance Culture.

Re-mastered by Beau Thomas of Ten Eight Seven Mastering and re-issued for your aural pleasure. Don't sleep on this one!

The first impression in one word: Detroit. While dancing to - Edge by Kaelan you will find your path in the music to another place in space.
Wherever your personal way might guides you it must be a better place.
The straight groove of the sound keeps warmth without any kitsch and Kaelan does it again in - Suppressor .
The Birth of Frequency Remix of - Edge surprises as a completely different told story of - Edge .
Deepness created by the use of more subliminal sounds like a slow rolling thunderstorm.
This is EP contains serious techno. We promise. You dance.

Supported by
Pfirter,Benjamin Damage,P.E.A.R.L.Juho Kusti,
Eric Fetcher,Dr. Motte,Monoloc,Jonas Kopp,TWR72,
Antonio De Angelis,Krenzlin,Truncate,Kwartz,
Marcel Dettmann,Forest People,Arnaud Le Texier
Jeroen Search,DJ Hyperactive and many more...

Fanciful Limited is back with his second release.
A split Ep from Mandat and Rocco Caine.
Mandat comes out with their debut release on Fanciful.
Wholetrain 5.4 is a very rhythmic and powerful track characterized by his vigorous hi hats.
With Hybrid, Rocco Caine creates a dark and energetically atmosphere but always with the focus on the dance floor. Mastered by Green Light Audio.
Follow us in the reality!

Two seminal and thoroughly essential bangers from Marc Acardipane's ahead-of-his-time back catalogue. For its 13th release, RYC takes us for a one-off, wildly enjoyable detour via the classic hardcore scene with fully remastered versions. First in line, the originally 1996-released 'A New Mind (Cold Rush Future Mix)' proves it's lost nothing of its implacably pinning, gravity-defying impact. Slowly but surely obliterating all will in you to resist the forthcoming tide in a blaze of whooping 909 punishment and screeching tyres, the second half finishes us off in a euphoric explosion of seesawing bass stabs and poly-octave rollercoasting. A raging anthem of its own recorded in '92, 'The 2nd Coming' picks up the flow and amps up the horsepower to weave a frantic ballet of steroid-infused sines, molten circuitry and all-devouring drums. 28 years on and counting, where are the disciples at? Flip sides and here's The Hague's duo Ghost In The Machine taking on Rave Creator's 'A New Mind'; steering the original further deep into murky industrial rave waters. Emphasising on elements lifted from the track's uplifting finale, the Dutchmen's buildup aims at striking hard and striking sure. A no-frills, rugged-as-it-gets weapon of sorts, the revamp's all set at plunging the dancefloor into the most dystopian of scenarios. Commissioned to add their big-room-ready spin to Mescalinum United's time-proof ripper 'The 2nd Coming', Italian outfit 999999999 (read NineTimesNine) unleash a fierce whirlwind of 303-brined pyrotechnics, light-fast machine-talk and breakneck old-school dynamics. The result is a brain-melting slice of hardcore techno tailored for extensive jump-around workouts. If some artists have a hard time staying relevant as decades succeed, this is further evidence that Acardipane's sound retains the untamed, fiery brilliance it had back in the day, when it revealed to a whole generation of young ravers a world they could never have dreamt about. Pressed on 180g audiophile quality vinyl, and clad in a pristine, silver metal package to please your eyes and ears in equal measure.

Neil Landstrumm new form as a sexless gas was taken in response to the decline of need for physical form in the facebook era of humanity. Brain Rays facilitated this transformation at his Bizarre Rituals event that he holds in the South West of the Brexshit UK in 2017. From this alchemic fusion of sexless gas and thermal energy was born the Dark Magus project of 1980s 12-bit spell casting and is now manifest in this mini-LP relaunching the Scandinavia label on 1990s techno based fame. Alternatively Landstrumm and Brain Rays can be found on a capitalist-disaster product market stall in Totnes most Tuesdays renting out knives and forks and tents to post-Brexit Tory victims.

The genie of Wadi Rum, found by Brain Rays and held captive in a small perfume bottle found on the streets of Salisbury to be freed only once returned to his native desert in Jordan by the mythical Hans of Pllazoor. This 12' is their communication to attract and seek Hans of Pllazoor and form a trilogy of cunts to make the epic journey by ancient Landcruiser to the valleys of Wadi Rum to the source of Dark Magus itself. Answers will be found as to why people STILL vote Tory in Britain and why a racist curse was placed over the moist islands in 2016.


What do/did you want to express with this record

How it feels to be a sexless gas in post_Brexshit Britain on a mission to release the genie of Wadi Rum with the help of Hans of Pllazoor. The mood was alchemic 12-bit spell-casting from deep inside the fantasy portal and the state of mind was careless panic.

How did you record it / technique / material

Brain Rays invited Neil Landstrumm to contribute tracks via the fantasy portal . Unfortunately lacking fingers, the sexless gas of Neil Landstrumm (ghost of the 90s) simply vaporised the material and breathed it through a hollow tube towards the portal. Brain Rays, who has fingers, simply gathered the gas and boom!, the vapour was mixed into a perfect holofane file.


Which influences / scenes did you want to represent

Brain Rays and Landstrumm wanted to represent disaster based capitalism and promote their weekly Brexshit market stall renting knives and forks and tents to Tory victims in the lovely town of Totnes in Devon. We exorcise evil Brexshit spirits. Influence was also taken from the 'Powder Exhibition' and several packs of Beef Rings. We represent 'Tales of Immoral Spell Casting' in 2019.

The Future -

We don't have any gigs as dancing social media expert DJs with USB sticks take them all these days from actual proper real record producers.

Next release of the Düsseldorf label Gua Ltd.
With great pleasure we present you "The Soul Attic EP from Nudge.
The guys from Nudge coming up with a modern interpretation of pure analog house music straight outta Bologna city.

After two years and his album Schwarze Messe, Patrick Arbez returns with a new vinyl. On these release are three new techno tracks with a lot of new fresh dark melodic grooves in Arbez manner.

On the A side are the tracks KEROSIN, a fat techno track with fresh dark vocals and NOWY POKOJ, a melodic techno track with a little bit alien fantasy.

On the B side are the tracks FIEBERGLAZ, a classic melodic techno track in perfect Arbez style with nice female vocals and warm synthesizer and a Remix from KEROSIN, sponsored by the label head TOM ALMEX.

200Stk. // Limited // Vinyl Only // No Repress

New vinyl only label out of London. Leaning
towards Dub & Experimental electronic music.
Debut release comes from Montreal based,
Archipel & Climat label boss, Pheek.

"transform Colláge" Is The Industrial-rhythmic Project Of Sven Bussler, An Electronic German Musician Active Since 1993. 
After Almost Twenty Years Of Silence With This Project, The Artist Returns On The Infidel Bodies' Cassettes Presenting An Album Composed Of 12 Tracks, 
Side A Was Recorded Between 2017 And 2018 Exclusively For Infidel Bodies And Side B Was Recorded In 1996 At Noise Research Laboratories. 

Transform Colláge Plays Harsh Electronic Music With Arpeggios And Synthesizers In An Ebm/electro Key With Heavy Techno/post-industrial Drums And Neo-classical Melodies Typical Of The Dark Age Accompanied By His Distorted Voice.

C-60 Tape Pro-dubbed, Jcard Printed 2 Sides, Download Card.
Cassette Comes In Deluxe Gatefold Box With Stickers.
Limited To 70 Copies

Doesn't matter what you're wearing. Doesn't matter who you are. Doesn't matter what you do. Doesn't matter what other people are thinking. Holy Shit! Get your feet on the dance floor and forget everything around you. UNDERtheGROUND 5 takes you onto a vibrant groove until you can taste the sweat. Trying to stand still while listening to those catchy beats Not happening!

Enrico Mantini back again on Gua Ltd. 012
With his new Many Years Ep
Written and produced by Enrico Mantini.
Recorded at Down Da Mountains Studio.

Second release on Ostcode Exile Records by Fran Hartnett from Dublin. 4 straight techno tracks to drive your mind to another place. Early support from Surgeon, Ben Sims, Truss and Sunil Sharpe !

Up next on the FORMAT release roster is this brand new three-tracker from label newcomer Joton, which includes a fiery remix by underground heavyweight ROD. The Spanish producer's label debut is another prime example of FORMAT's steady and stripped-down techno sound, which is built on hard knocking grooves and industrial twists for the darkest of clubs. Kicking things off is 'Mental Blank', a high tempo slab of dirty brown techno that blends in both futuristic as oldschool elements while being fueled by menacing bass stabs. Following up, 'Cosmic Explosion' spawns a more hypnotic sound propelled by swirling synth loops atop a shattering basement groove. Hands down solid originals! Flipping over, one of techno's most trusted producers pops out a deliciously less-is-more rework of 'Cosmic Explosion' that bears ROD's signature all over. Sometimes all you need is the bare essential to make it work, and this ace re-rub proves it.With their sixth EP, FORMAT prove once more that they're literally on the right track:

Rewire continues with his fine minimalism style with a new superb release by the Spanish talent Medu.
Medu's growth so far has been impressive and in this release has maintained his unique relentless,
hypnotic, techno groove but in a different way.
Besides releases on his own labels Tip Tap Records and Rewire, his music has been released on Dissonant,
CMYK, Inmotion and Metroline amongst others.
The A side, 'Natarash', is a ten minute techno experimentation that rattles, twists, shakes and rises with
elegance.
This track is perfect to get tripped at some after-hours early hours, with clever use of dark pads, hypnotic
ambience, organic textures and off beat piano keys.
On the B side the French producer Doubtingthomas (who we got to know for releases on influential labels
such as Eastenders or Amam) takes Natarash to different territories adding plenty of funk and groove. His
remix is a super funky and infectious minimal bomb, getting a pure rhythm behind of the original textures and
vibes!
The closing track (B2 side), 'Dios del Rio', is a trippy and groovy sound. Super clever drum programming
and vocal hooks are the main elements of the track, while a huge sub bass and bright hats lead the song!
Two exceptional originals, one perfectly executed remix. Medu, Doubtingthomas and Rewire Musik have
delivered something really special right here...

IARLTD003 is the debut Vinyl release of Illegal Alien Records Label Head, Ricardo Garduno, a new Ep called "The Man is just Confused" which includes two great remixes from VSK and Ben
Gibson.

Both Sync 24 & Radioactive Man need no introduction as they both are heavy hitters in the electro world and this release is no exception with the original tune 808 driven with an underpinning of breakbeat in a section of the track whilst the bassline damage will test any sound system!. Stepping up to the remix plate is the magnificent Jensen Interceptor with serious four-to-the-floor 808 action and the bassline takes no prisoners. A 2-tracker guaranteed to lift the roof off any club. Vinyl only, no repress, limited to 200 copies.

Belgium's Thomas Moon has made his own sound in electronic music. Playing in his career in more than 15 countries in 5 different projects, he now produced for the first time a SOLO album with his new project. Born in Belgium, he grew up with the Belgian sound, infused with grunge and rock until the "new beat" and "dance " took over the world. He started producing electronic music being influenced by the most interesting music genres, from hard techno to classical music. With over fifteen years of DJ experience, he is eager to enter the club at all times and that shows in his eclectic performances behind the desk . Thomas Moon played at some of the bigger trance festivals in all of Europe, Israel and as far as Brazil.
Now his first (solo) album - MICRO SCIENCE - is coming to the scene, reflecting a story that will take you from darkness to the light, on a flowy beat creating a mellow atmosphere!

Nazdar Pumpaz !

180g
In order to celebrate 5 thrilling and inspiring years, we gathered well-known artists, Goldmin regulars and emerging talents. It was really important for us to express the elusive nature of the Goldmin sound, in the form of a compilation tracklisting. Over the past 5 years, we had the chance to meet most of these guys in person, follow their very own creative path, share ideas, thoughts and there’s no doubt that they all had their part to play in crafting our sound. This intimate and stimulating kind of collaboration had to be expressed and there couldn’t be a better way to capture what we’ve been busily working for, than a serie of Various Artists 12″. What it comes down to is a quintessential, hard-to-follow Goldmin selection devoid of any specific standard or norm. And this whole compilation seems to reflect that non-septate artistic direction, this little something, which has grown throughout our whole catalogue, since the label’s birth.That’s why, picking these select few tracks, that could illustrate Goldmin Music’s essential freedom was probably our toughest work yet. It was also important to pick only the most original and iconic tracks from each artist. In the end each track had to be their most Goldmin one and they all have been tried in all types of situations, in club at 1 and 5 AM, on the highway at night or even staring at the ceiling during a sleepless insomnia session. They all fullfilled their duty.

2016 is bright ahead, but lets take a moment to look back to the Intacto breakers and shakers in 2015. It was a year filled with surprises, warmth from our talented artists and wealth of strong releases. For our annual dance-floor dedicated compilation we've made a special selection including tracks by our label heads Shinedoe and 2000 and One alongside Mars Bill, Samuel L Session, Niereich and Macromism, Electric Rescue, Ricardo Garduno and Alex Dolby.

With all that said, we wish you all a magnificent 2016!!!

NCZ007, 'In Memory Of,' brings together Stanislav Tolkachev, VSK, JoeFarr and ONTHEGROUND for a 4 track compilation. Each artist has contributed a track to the general theme of 'broken techno,' with outstanding, stylistically diverse results.

'Ant Parade' by Stanislav Tolkachev opens the record with a hypnotic march. Over a gently lulling rhythm, a bright melody repeats over an eerie and disorientating soundscape. VSK's 'Blue Snake' ratchets up the energy, with skittering percussion and tense, murky bleeps propelling the track frantically onwards.

Nicz records owner Myztical teams up again with Diagnetic Origin as ONTHEGROUND on 'Interstellar Gardening.' A sonorous melody emerges from rattling beats, serving up a heady communion of intangible, elusive euphoria and melancholy. JoeFarr concludes the record with 'I am a Visitor.' Staccato kicks and fuzzed out synths stretch and twist, while a dislocated, brash voice announces itself to the listener.

TIME TO BE ALIVE - The newest and third 10" in the candomble various artists series - Featuring 3 mystic tracks by DJ Ungel, Instrumensch and D.J. Rasputin.

Our first publication comes from Phil Cole and Nicola Koch.
Two artists with her quite own grooving
Elastique Music sets itself in the electronic underground.Every artist we choose for our Label got its own strengths wich we want to emphasis.

Broken English Club presents the second part in the White Rats trilogy, a full-length double vinyl album that focuses heavily on the dancefloor with droning techno, head banging acid and cinematic synth noise. This album continues Oliver Ho’s musical journey, fusing techno with industrial post punk and textures of death metal producing a unique electronic vision. Ideas and influences that went into the writing of the album was the dark soul of Wormwood scrubs prison in west London and the obsessions in the JG Ballard book Crash. White Rats II stands as a relentless and personal portrait of techno and all the things that feed into the creation of it.

Elad (aka Elad Magdasi) Debuts The "rainbow" Special Spot Series With A Diverse Meditation On Drum Machine Mania. Opening The Full Spectrum Of Fundamental Techno, The Elad Ep Uses Undulating Colour And Light To Highlight Techno's Capacity For Pure Revelry.

The mysterious musical group ,debuts on the Faith Disciplines label with an album of industrial music with a variety of ethnic influences, voices and traditional instruments fused with powerful rhythms

Made up of six tracks but presented as two ~17-minute pieces, the record meanders through warm chordscapes, glistening synths and loose live percussion, weaved together with field recordings and ambience.

Born between Brooklyn and Madrid, Mari.te presents uncharted sounds on a new label that will test the dancefloor and create new paths for those who remember long after the lights turn on.

The debut vinyl-only EP comes via Neik, alongside a remix by Noha. The atmospheric frequencies of Radio Tango' are built for the moments that bookend the party, a slice of building raw euphoria. Then comes the skittering bounce of Doc Knock,' a cut filled with its own playful sounds that warm and soothe. Desmaterializado,' and its hurried bassline, turn slightly more experimental without losing its groove. Noha follows up with a dreamy, drum-filled remix fit for dawn as the record draws to a close. These are tracks to reflect on when the magnetism of the night before won't quite leave you, even as the next one begins..

Special edition coloured vinyl version of Mercury Music Prize nominated Anna Meredith’s ‘Varmints’ album. For all its atmospheric diversity, Anna Meredith’s ‘Varmints’, released on Moshi Moshi, is held together by her expert understanding of dynamics. “Pacing is a physical thing,” she explains. “I can feel when stuff has to happen in a
track. I knew I wanted ‘Varmints’ to end privately but start confidently, have moments of privacy and moments of power and build. I love writing a build - my friends talk about ‘the Meredith Build’! I love the feeling of ‘get on board, we’re building up now!’ Even if you’re dancing at a club, there’s an amazing transparency to a build.”

Aside from sharing bills with Anna Calvi, James Blake and These New Puritans, Meredith’s dizzying CV includes being Composer In Residence for the BBC Scottish Symphony Orchestra, writing a piece for MRI scanner, soundtracking Prada’s Spring / Summer 2015 campaign, symphonies created for nursery children, music for park benches in Hong Kong and sleep-pods in Singapore.

Performances at the BBC Proms have included collaborations with Laura Marling and The Stranglers for the first 6Music Prom, a performance of her bodypercussion piece ‘Connect It’ from the BBC Ten Pieces project and her Last Night Of The Proms composition
‘Froms’, simultaneously performed by five symphony orchestras across the UK and broadcast to an audience of 40 million people.

Renaissance are proud to announce the arrival of Fur Coat to the label.

‘Hurricane’ is the first single to be taken from their upcoming album, ‘Polyphony’ (due October), and features the vocal talents of Running Pine who came to prominence last year on Mind Against’s ‘Trust My Eyes’.

The original version of ‘Hurricane’ also marks a double first as it sees the Fur Coat duo - Sergio and Israel - exploring new sounds. “There’s a more indie, electronic vibe to ‘Hurricane’,” explains Sergio, “because it’s from the upcoming album we had the scope to experiment more.”

“It’s still us though,” continues Israel, “I think it maintains the melodies and groovy elements that characterise our sound.”

And the good news is the release doesn’t stop there. If bass guitar and Running Pine’s haunting vocal’s aren’t your thing, the guys have kindly contributed a dubbier, club mix, which really is Fur Coat in all their melodic techno glory. “If the original is more for the day, the clue is in the title of this mix; we specifically produced it for the peak, night time dancefloors,” Fur Coat confirm.

Last, but by no means least, comes Tim Green, who supplies one of the most beautiful remixes you are likely to hear all year. Tim’s been forging a rich vein of form of late with releases and collaborations on Seb Leger’s ‘Lost Miracle’ and Lee Burridge’s ‘All Day I Dream’, and his mix firmly taps into that ethereal, deep sound.

Therapy With Colour is the Constellation debut by Montréal-based producer and sound artist T. Gowdy, who has released three prior albums of exquisitely textured, predominantly ambient electronic music (most recently Pachira Aquatica via Shimmering Moods Records in 2019). His sublime audio/visual performances have featured at MUTEK (Montréal and Barcelona) and Spektrum (Berlin), alongside his ongoing work as an in-demand producer/engineer with over fifty album credits to date, including Suuns (Secretly Canadian), Ensemble (Fat Cat) and Ada Lea (Saddle Creek) to name just a few. Therapy With Colour is Gowdy’s most sonically and conceptually acute solo work to date, inspired by experiments with the Nova Pro 100 Light and Sound Mind Machine (among the best-known home hypnosis ‘mind machine’ devices, first released in the late 1990s). For Gowdy, the ritualized therapeutic reprogramming of consciousness promised by this technology has two primary personal dimensions: “to explore psychological ‘debiasing’ and decorrelation of heteronormative narratives that exist within my familial, intimate and economic relationships; to let flow neutral communication with the self and others” and to circumvent the technical biases and temporal blockages endemic to digital audio workstations and the computer-based editing that governs production of most electronic music. The album’s five tracks are extracted from live, linear, real-time stereo recordings that have their origins in an audio/visual collaboration between Gowdy and light artist Laura Buckley (whose scanner artwork features on the album cover and packaging). The music on Therapy With Colour is indeed meditative, but in a resolutely contemporary and highly engaging way, eschewing gauzy New Age or environmental music tropes and instead conveying the rigour and empiricism of controlled experiments. Consistent with theories of ‘mind machine’ brainwave synchronization, these tracks involve oscillating, shimmering Minimalist pulse and techno-adjacent rhythm that reward active listening, while working coequally as dissociative concentration music. Each of the five songs has a distinct vibe but constitute a deeply satisfying and cohesive flow. From the day Gowdy dropped this record on us a few months ago, devoid of context or background notes, we’ve probably listened to it more than anything else – not realizing we’d been self-medicating. But we can see everything so much more clearly now.

After the initial label launch in 2016, Desroi has been working insistently. Debuting on labels such as Henning Baer's Manhigh or Shifted's Avian, the young artist has worked his name into the scene. This time, Desroi returns to his own imprint with 'Eutheria'. With an unadorned focus on percussive drive and rugged atmosphere all three tracks invite to be played out in a dark but hypnotizing warehouse rave. His ability to shape-shift from experimental sonic explorations right up to pure and straight-forward techno cuts reiterates that Desroi is someone to keep an eye on.

Repress

Strings of Fear is a glance into a damaged, yet ubiquitous beauty fetishism, when succumbing to the collective consciousness means walking a thin line between vanity, sanity and self-loathing. The four-tracker ties into a journey through fear, confusion, anger, desire and loathing, all fitted into one shot of adrenaline in a form of an EP.

Following our deep & dubby vibes, this time is our British friend now based in Australia, Niko Maxen, as usual, no digital promotion and limited edition.

Two years after debuting on Central Processing Unit with the acclaimed Aftrmth EP, Nullptr returns to the Sheffield label for the release of new full-length album Future World. Nullptr has created a set of perpetual-motion marvels here, wind-'em-up-and-watch-'em-go electro tunes in which synth lines and 808s weave dexterously in and out of one another to form these lovely interlocking patterns.

Many of the tracks on Future World are anchored by needlegun grooves in the Drexciyan mode. The album's opening number 'Arrowhead', an eerie dystopian-electro take, sets the scene in this regard, and cuts like 'Cytron' and 'Phantom Cell' also have a rugged bump to their low-end - particularly the latter, which features a deliciously nasty bassline drop about halfway in.

While busybody drum programming persists throughout the album, Nullptr's fondness for washed-out pads means that Future World also provides the listener with space for contemplation. Third track 'Sweet Luna' may be robust enough to do damage on the dancefloor, but its deep chords and relatively muted bassline also push it in the direction of 90s electronica and IDM-techno. 'Sweet Luna' opens the door for many of the subsequent numbers to balance driving beats with wistful textures, and while electro remains Future World's core style the harsh sound of machine-funk is softened throughout by these warm synth tones.

Rather than playing it safe within the genre's familiar confines, Nullptr instead uses electro as a base from which to incorporate other sounds throughout Future World. 'Wave Cannon's bleep-bloop modulars and twittering hi-hats are pure robo-funk, but the track's jumpy bassline shows off a sense of adventure derived from braindance. There is also the ghost of a breakbeat in Nullptr's snare programming here, something which lurks in the back of 'Arvanche' later in the tracklisting. Meanwhile the uptempo 'Bit Device' pushes through to the ruminative techno of Virginia's early Ostgut Ton releases.

Nullptr throws us another curveball in Future World's home straight. The album's title-track closes the record out, and it's a cut which takes us deeper than anything that's come previously. Here Nullptr both lowers the tempo and also does away with drums, leaving the listener with little more than some hanging-garden synth pads and pregnant bassline. It proves to be a hugely atmospheric coda for this delightful album.

RIYL: Jensen Interceptor, Assembler Code, The Exaltics, Drexciya

We're accustomed to hearing releases from Central Processing Unit which veritably fly out the traps. Indeed, you could spend hours listing all the great uptempo club tracks that have dropped via the Sheffield label down the years, rambunctious rollers from artists like DMX Krew and 96 Back. However, there is another side to the CPU sound, one that is slower, more considered and owes plenty to downtempo and 90s electronica.

Paul Blackford is a producer who has long embodied these two facets of CPU's output. On one hand you have his 2014 label debut The League Of Shadows, a set of fizzing IDM-techno innovations which remains highly sought-after to this day; on the other there is Light Years, the cool and collected return to CPU that Blackford made three years later. The latter record, with its painterly synth work and neck-snapping drums, remains a touchstone for Blackford's latest CPU release, a new twelve-track LP entitled Betamax.

While the tempos of Betamax may be rather relaxed, the sonic palette used here very much links up with CPU's other drops. It is one forged in the forward-thinking electronic styles of the 1990s - Drexciyan electro, Boards Of Canada's wistful electronica and the boundary-pushing IDM of Rephlex Records. Mind you, this is also one of the first CPU drops to draw a little from another side of the traxx - though Betamax may not be as schooled in plunderphonics as DJ Food or Nightmares On Wax, there is something in the lilt of these beats which obliquely doffs its cap to those old breaks.

Betamax proves yet again that Blackford is adept at experimenting and incorporating new influences across the course of a record without disrupting its vibe. As well as standing adjacent to the machine-funk sound that has long been a cornerstone of electro, Light Years was an LP in which subtle nods to G-Funk and P-Funk could be discerned in the rhythmic programming. These influences are felt once more on Betamax cuts such as 'Far From Home' and 'Fortress' - the former comes off like an after-hours take on Space Dimension Controller, or maybe even Daft Punk's 'Something About Us'. Meanwhile a space-age, slightly alien quality enters the production in the album's final third, something signposted by aptly-titled highlight 'The Nasa Beat'.

While Paul Blackford's Betamax may switch the pace up for Central Processing Unit, the album's richly-harmonious electro-hop sound proves a fine foil to the label's more high-octane releases.

RIYL: Boards Of Canada, Bochum Welt, Luke Vibert, Steven Rutter, Space Dimension Controller

Picking up where 2018's debut album left off, Pleasurekraft continue their foray into the Cosmic Techno sub-genre they helped usher in to the dance music lexicon.

Having released on their own Kraftek label - as have fellow techno explorers Spektre this year - and had one of the biggest tracks last year on Drumcode with their remix for Adam Beyer's “Space Date,' they always bring forward thinking grooves embellished with astral melodies and spaced out synths that make for emotional as well as physical experiences.

The new album Love in the Age of Machines is in no short supply of the sonic signatures the production duo have become known for, there is a clear maturation at work here. The album's non-techno tracks showcase an artistry rarely seen in conventional dance music and techno in particular. From the gritty dystopian future that establishes the album's themes at the onset in Last Sapien, to the dark,

rainy, urban-lit textures that form the spine of Nostalgic for the Future, there is a sense of impending self-wrought catastrophe, tempered with a sense of wonder of all that is, and all that could be if humanity somehow overcomes its hubris.

Things get more intense and turbulent on Panopticon (The Patron Saint of Global Surveillance) ft. Thomas Gandey before the voyage to the edges of our galaxy continues on I Sing the Body Electric & Main Sequence which keep up the enthralling techno atmospheres with increasing pressure, before the tension is released with the cinematic grandeur of Novacene. Two more hard hitting bangers in At The Mountains of Madness and Primordial then rebuild the all consuming techno mood before you're left adrift in the cosmos with the album's swan song Requiem For the American Dream.

3x12" Tsunami Records sales pack including:
* V/A - Time Wave Zero TSU 018
* DYAD - Irrotational Vortices TSU032
* Developer - Proxy Conflicts TSU039

Compilation album curated by Kaitlyn Aurelia Smith

The directive for the composers featured on Breathing Instruments was, in effect, to accentuate the ways in which instruments sound like they are breathing. Some have recreated the literal experience of feeling or hearing the human breath. Others take a more abstract approach, where “breathing” is more motif than object of emulation.

From hushed pulsations and distant vocals in Kathryn Shuman’s ‘Objects creating a womb-like environment to Julianna Barwick’s blissful ‘Newborn’ the tracks give sonic form to the experience of emerging from the womb.

There is also a striking concurrence of woodland sounds throughout this collection from the ghostly tones of Emily A Srague’s ‘Flew’ to Cool Maritime and Kaitlyn Aurelia Smith’s dew dripped ‘Daybreak’.

Meanwhile the undulating seascape of Geotic’s ‘Uncaught’ conjures moments of Evening Star by Fripp/ Eno, but supplants that album’s crystalline production with the warm crackle of vinyl.
If we learn anything from Breathing Instruments it is that we are inextricable from the natural world.

Boomy, straight forward, pure Techno in best Cheap tradition.

"Lugar Alto's newest project is the idiosyncratic album MUMIA (portuguese for MUMMY). Never released before, it is a work that was originally recorded on cassette and combines elements of post-punk, industrial and ambient music.

Kodiak Bachine and Celso Alves formed the ephemeral and eponymous duo in 1988. The partnership resulted in a single recording derived from improvised sessions using minimal amounts of electronic equipment at Celso's country house, located in the interior of São Paulo.

Bachine was an important figure in the São Paulo underground. His most renowned project was the band Agentss from 1981, which also consisted of Miguel Barella, Eduardo Amarante, Elias Glik and Lyses Pupo (later replaced by Thomas Susemihl). In its brief duration, the band released only two seven inches that were considered seminal artifacts in the Brazilian post-punk scene: “Agentes / Angra” from 1982 and “Professor Digital / Cidade Industrial” from 1983. These two rare records are highly sought after by collectors and DJs from around the world for their inventiveness and originality.

Similar to Agentss, MUMIA brings with it extreme authenticity, managing to extrapolate the barriers of more traditional Brazilian music and interact with unorthodox elements. The lyrics are a mixture of Portuguese and English and it is still possible to identify picturesque fragments of Spanish, French and German. In addition, sonically, the record portrays aesthetics from the eighties and dialogues with themes relating to LSD. Another notable feature is the fixation on Egyptian post-mortem themes, providing a cinematic and lysergic experience of the desert landscapes from the African country.

It is a recording with comic passages which provokes an unpretentious reaction from the listener. However, it still has more ethereal and atmospheric moments, such as the opening song “Ave do Deserto”. In the final two tracks, it is possible to enjoy a darker MUMIA, which with “Massacre da Serra Elétrica I” and “Massacre da Serra Elétrica II”, provide a sound experience capable of accompanying intense scenes from the macabre productions by Tobe Hooper and George Romero.

The striking new artwork was created by the Sometimes Always studio, a partner of Lugar Alto and responsible for diverse graphic collaborations with artists, venues and parties in Brazil. The album, mastered by the prolific Arthur Joly, also has a booklet containing Kodiak’s texts in Portuguese and English, in addition to the lyrics, which serve as a logical exercise for further understanding of the album.

MUMIA was unearthed by the renowned Brazilian DJ Millos Kaiser, who in addition to kindly curating this album, put together the compilation “Onda de Amor: Synthesized Brazilian Hits That Never Were (1984-94)”, released by Soundway Records.

Now, after 32 years in its tomb, the MUMIA has risen and thanks to Lugar Alto it can finally be celebrated and appreciated."

1 per customer, 180g, vinyl only

Purple marbled limited edition!

4th release on Nocturbulous records, back again with analog stomping sounds like in the 90's. « Techno Soul ep  » contain a Remix of the Legendary Jacky Meurisse/SA42 from Belgium and The Acid House Godfather DJ ESP/Woody McBride from USA. What we're gonna do right here is go back, back into time !

ARTSCORE presents one of the key artists behind the Modular Sonic aspect of Techno music: Judas. Sound and aesthetic before anything else, this is the mark of a rising star and he is quickly becoming a big member of our collective. 12" Gold press on B side.

Non Reversible comes back to Knotweed with an E.P. of epic proportions. He delivers his unique style of melancholic techno, full of intricate acid lines and low frequency drum patterns

Back in 2014, Sushitech Records persuaded UK techno veteran to release his first Wise Caucasian record in 16 years.

Signed to Eturia Beat and Flash, a vital part of the Voxnox collective and now part of Amelie Lens’ Fabric presents mix CD, the Berlin-based Italian is now making some significant waves since starting the production project back in 2015.

On this debut release with Suara, you can hear his trademark industrial beats and uncompromising style. What sets them apart is his attention to detail and the funky polyrhythms he creates layering melodic and percussive elements so uniquely.

Title track ‘Ever Gone’ rumbles with menace from the first bar, eerie pads and sonics create a sombre atmosphere on which the female vocals lamenting change ring so true. Whilst ‘Vision’ is a masterpiece in tension and release, utilising rave stabs, sirens and vocal shots like no one else out there.

Produziert und aufgenommen von Arca, definiert KiCk i eine neue Ära in der Multiplex-Welt der venezolanischen Künstlerin, Sängerin, DJ, Performerin und Komponistin. Mit Björk, Rosalía, Shygirl und SOPHIE hat Arca zum ersten Mal Kollaborateure in ihre Welt eingeladen. Zuvor produzierte sie für Björk, Kayne West und FKA twigs, komponierte Musik für das MoMA, erschuf gewaltige Noise-Skulpturen oder legte bei Festivals als DJ auf. Mit KiCk i wird nicht nur die Freude gefeiert, die Arca in ihrem Leben finden konnte, sondern auch der manchmal beschwerliche Weg, den sie dafür zurücklegen musste. Ihre Bemühungen, ihr venezolanisches Erbe und ihre trans-lateinamerikanische Identität zu versöhnen, entpuppen sich als Reggaetón und spanischem Pop. Aber KiCk i ist nicht nur eine Pop-Platte oder eine experimentelle Platte, oder auch nur eine Mischung aus beiden, sondern alles auf einmal - und noch so viel mehr. Je nachdem, wo man die Nadel aufsetzt, findet man Bubblegum, raue Geräusche, elektronische Psychedelia, Balladen, Knaller, Gelächter, Tränen, Leidenschaft und Glaubensäußerungen - Klänge und Ideen, die nicht einfach miteinander verschmelzen, sondern gleichzeitig in einer Quantenüberlagerung koexistieren. "Ich möchte nicht an ein Genre gebunden sein", erklärt Arca. "Ich will nicht als eine Sache abgestempelt werden." Wo sie jetzt ist, endet das Nicht-Binärsein nicht mit ihrer geschlechtlichen Identität. Es ist zu einer Denkweise geworden, bei der keine eine Sache nur eine Sache sein muss, bei der mehrere Bedeutungen, mehrere Realitäten in überlagertem Gleichgewicht koexistieren können. In diesem Raum zwischen den Staaten, in dem das eine Ding das andere ist, hat Arca ein riesiges Feld unerschlossener kreativer Kraft entdeckt.

Victor Kiktenko aka Module One's EP for Anna Wall's imprint The Bricks is inspired by the disciplines of Detroit. A sound shaped by luminaries like Mike Huckaby, Rick Wade and Kyle Hall, Victor has spent the last nine years refining his own unique approach to this style of house music.

Residing in the industrial city of Novocherkassk in the South of Russia, it wasn't until the summer of 2018 that he relocated to Berlin - and it was a liberating decision. 'With the growing power of the Police structures, the parties and festivals were often shut down the last minute which gave absolutely no way to plan our careers and I remember having up to 4 jobs at the same time to survive. Russia is a pretty poor country...the majority of people working extra hard and having several jobs. Berlin wasn't only an inspiration, but also a very logical and pragmatic move.' 'The One I Believe' was made during his time at home as he awaited the German visa process.

The four track EP displays the various forms of Module One's production; from the dub-techno sounds of 'Morning Dub' to playful electro kicks on 'Liquid Forms'. Chicago's Tyree Cooper has given 'The One I Believe' a classic rework adding his trademark drum machines and a subtle 303 acid line that compliments the original.

Early Support:

Jus-Ed - 'Dope EP! I will be playing this...and Tyree Cooper killed it!' 5/5

Laurent Garnier - 'Lovely release - will play' 4/5

Jacques Renault - 'Excellent dreamy EP all around, OGs and killer drum workout from Tyree...' 4/5

Amidst her work with the primitive-futurist neo-psych outfit Zen Mother and as a touring member of Daughters, Monika Khot creates apocalyptic dirges combining modern classical explorations of electronic ambience with hardware-fueled industrial barrages under the name Nordra. The project has taken her across North America and Europe, performing in both the high-brow art world and in the underground rock trenches on tours with artists like SUMAC and Algiers. Nordra’s third full-length continues her penchant for chilling digital drones, thunderous clatter, polyphonic idiosyncrasies, and a search for a harmonious balance between wrangling sounds out of new technology while exerting an undeniable human presence over the machinery. This final factor was of particular importance to choreographer / multi-media artist Colemxn Pester, who enlisted Khot to score their modernist dance performance trilogy PYLON, which explores the themes of resilience in the age of technology, surveillance, and other man-made impositions on the human body. Nordra’s second outing, the commissioned score for PYLON II, was a hard-edged martial exercise— fitting for the dystopian nature of the series’ second installment. But for PYLON III, Pester was looking for the light at the end of the tunnel and requested that Khot instill her work with hope and calm in order to serve the utopian aims of the performance.

Despite this direction, Nordra’s latest offering retains a certain tension and power present in her early work. “All of the writing techniques I intended to use remained in place, but I think the emotional resonance of this piece of music changed over the course time,” Khot reflects. “I don’t think this piece embodies utopia or the shedding of a corrupted society at all even though that’s what I set out to do... there’s a dystopian destructive sound that I can’t shake just yet.” That unwavering sense of foreboding is evident from the first note of the record, a massive square-wave pulse that ushers in “Prologue.” But the musical embodiment of hope follows close behind with sublime electronic drones that continuously push and pull the composition between major and minor keys. Digital hisses, the clatter of machinery, and the doomsday clock-tick of the hi-hat nudge the tone back into dire settings while swells of pocket trumpet and ethereal choral vocals struggle to provide solace. The duality of hope and despair was perhaps inevitable given the climate around PYLON III’s creation, with Khot dealing with a close friend’s cancer diagnosis and Pester’s performance preparations interrupted by technical setbacks and injured dancers.

It’s impossible to convey resilience without also capturing hardship, and the album’s second track “Remembering” excels at communicating a sense of calm while some vestige of danger percolates beneath the surface. Khot’s dreamy wordless-vocals sit at the forefront of the piece while stuttering percussion and groaning drones bubble up from below like buried memories. On “Monologue On The Beach,” Khot uses sporadic guitar harmonics, fractured piano melodies, and soothing digital hums in a manner that feels spontaneous, fluid, and human, effectively creating an underlying sense of peace amidst disorder. This dichotomy between chaos and calm was one of the shared themes between Pester and Khot’s work, and it manifested in a variety of ways on PYLON III. One of the most obvious examples occurs on “Searching In Fields For Elements,” where Khot filters digital noise through a MIDI note interpreter and inserts the resulting melody as a sequence of synthesized bell notes. “I wanted to create an actor that represented this industrialization so you could see if you found it endearing or not,” Khot explains. Our response to these random elements opens up a dialogue about the will of the element. “Some days I’m an anarcho-primitivist and some days I’m curious about what the exploration of machine-learning has actually taught us about our own consciousness,” she continues. The notion that technology could accelerate our journey towards enlightenment is perhaps the most utopian vision one could have in our current age.

Ultimately, the music of PYLON III provides one context as backdrop to Pester’s multi-media performance, but it has its own life and own character when absorbed on its own. In terms of emotional timbre, it’s a departure for Khot, even if the instrumentation and hardware tonalities are consistent with her self-titled debut LP and PYLON II. “I don’t think I would write the music on this record with no context,” Khot says. “It is completely fueled, adapted, and created with thematic, visual, and choreographic content in mind.” And yet even without those components, the experience of listening to PYLON III is haunting, compelling, and ultimately redemptive.

ALBUM RELEASE
Pylon III
ARTISTS
Nordra 3
LABEL
Sige Records [43]
AVAILABLE FORMATS
SIGE 071 LP LP September 04, 2020
GENRES
Electronic Industrial

Revolting Cocks' origins date to late 1984, when Front 242 started their first American tour as an opening act for their then-label mates Ministry. Afterwards, Alain Jourgensen asked Richard 23 to join forces and produce a dub-remix project. After returning to Brussels, Richard proposed this collaboration to Luc Van Acker who decided to team the band just after talking with Al over the phone.

“Big Sexy Land”, originally released through the legendary Wax Trax! Records in 1986, is the debut studio album by this supergroup featuring a mix of industrial, hard rock and EBM with dominating sampling and strong synthesized beats. It was composed mostly using a very expensive Fairlight CMI II synthesizer, sampler and work station that Al Jourgensen got funded by Sire Records. Luc Van Acker attributed album's mixing to Jourgensen's sessions with Adrian Sherwood on Ministry’s “Twitch”. Al surreptitiously took notes on Sherwood's settings, but, without any context for the numbers, they had to later guess at what the settings were for, such as reverb and delay time.

Album's title is a reference to a strip club in West Berlin. Al Jourgensen said that club neon sign was “the biggest capitalistic tease” for citizens in East Germany. The idea to use Revolting Cocks came from an incident that took place in a Chicago bar. According to Luc and Al, they all was trying out "insulting French expressions" on a waiter, ordering something they said meant “revolting cock” which led the waiter to say, “You are revolting cocks!”.

“Big Sexy Land” would be the only album made by the original incarnation as Richard 23 quit in 1986, after falling out with Jourgensen over an Adrian Sherwood's remix of the song "You Often Forget”.

Limited edition re-release on double vinyl with gatefold sleeve and expanded artwork including all original tracks plus the singles “No Devotion”, “You Often Forget” and another remix of “T.V. Mind”.

Techno from label boss of illegal allien, TOP!

Distant Worlds HQ has tasked 4 sonic scientists, spaced intermittently throughout the earth, to each intercept a transmission on behalf of the electronic music community. Tagwell Woods steps up first with a mournful, melancholic but beautiful interpretation of hardware-based electronica. Castel unearths a track from the mid 90s telling of a progressive approach to acoustics. Flip over for a downtempo trip into the future past courtesy of label fave, Mihail P and HOLOVR tops this release off with an acidic excursion into an expanded state of consciousness.

The awaited annual collection of Pushers from all over the world finally lands in this pandemic scenario.
A storytelling of 18 tracks, from ambient to electro.
NON SUMMER COMPILATION -

The release will be available from September in a limited series of 30 transparent red tapes series + digital download code.
Compiled by Asymmetrical
Mastered by Giovanni Inglese at FAUNA53