Techno Vinyl New Releases - News

Glaswegian sound wizards MR TC and Lo Kindre step up for the next Neubau EP and deliver two dubbed out slow jams. Both original tracks make up a super hypnotic listening experience with the right amount of bass impact! For the B-side label boss Heap created a remix which could easily soundtrack a visual sequence depicting your idea of time travel.

Helltown Acid Militia return for their forth outing on the RE-303 imprint, this time with some serious electro influences. The first track "Dear Mr Stinson" is an obvious nod to someone who's music has recently had a huge influence on the lads current local sound ("futureacid"). The second track "Is Love" takes us deeper into the set with poignant bass tones and emotive stabs. "Missing Time" is another epic adventure into time and space which feels much like standing in a field at 5am somewhere in the 90s, the final climax of the track is an electro reprise of "Is Love" on the flip. The EP ends with "Alive" which has even more electro overtones. This might just be the lads finest record to date.

A truly essential EP of the deepest Electro-Funk sounds.

From the vaults of Canadian power-house record label Big Shot we're proud to present a fully legitimate and remastered repress of Hi-Bias' seminal self-titled EP from 1990. Produced by Big Shot records mastermind Nick Fiorucci and Michael Ova this 4 tracker mines a more Electro / Freestyle centric sound that glides effortlessly. Cool, sleek, bass-heavy and immaculately programmed and mixed, the EP is an essential for lovers of analogous grooves, bass and timeless machine-funk. For example, EP opener 'Wind It Up' does exactly what it says, metronomic, clicking drum machines lead us into some epic synth breaks and a tense, sparse mood... a dramatic build-up that eventually crescendos into a deep, futuristic bassline, beautifully mixed and produced this sonic high-quality feeling is evident across the whole record, from the downtempo blissed-out Hip-Hop beats of 'More More More', to the dystopian Electro grooves of 'Don't Look Back' and 'Drive It Home' the whole record is totally heavyweight in every way. Original copies of this 1990 masterpiece are very very hard to come by with second hand copies changing hands for tidy sums when available.

This is the first in a long line of Big Shot reissues, all remastered from the original source materials and with the full involvement of the rights holders.
A collaboration between Above Board distribution and Big Shot records, Canada. Remastered by Optimum Mastering, Bristol UK. 2018.

Get ready for some electro elegance — Maceo Plex and Lone Romantic presents a new series of releases simply called 'Regenerator' - a title that imbues the values of what the two artists and curators will do; search and restore the glories of electro records that have been unheard for far too long. The inaugural release of the label begins with a strong three-tracker from DJ Emile, entitled 'Beast From The Middle East'. Originally released in 1997 on the now-defunct Arizona-based Swell Records imprint, this hefty A-side challenges perceptions of electro with its cinematic opening section and cathartic breakdown, supplanted by its rugged and rambunctious rhythmic tendencies.

The second track, known as 'The Bomb Shelter Speech' is an effective ode to the passionate, personal relationship that fans of freestyle, hip-hop and turntablism have come to carry with them in and out of the rave; the familial yet familiar bond that people share surrounded by supporters of the beats that lift them up — all with the wise words of Emile himself heralding the precious moment. Finally, the release closes out with a methodically paced and moody remix of 'Beast From The Middle East' courtesy of legends DJ Z-Trip and Tom Chasten (known previously for their collaborative moniker Space Invaders). Electro is alive and well — with no signs of stopping its fervent growth; and with Regenerate, it's only poised to become more prevalent to the dance in the times to come.

As the darkest month of the year draws upon the northern hemisphere, bbbbbb records introduces another Icelandic artist; the elusive electro producer Kuldaboli. With roots in hardcore-punk, metal-core and heavy-metal, Kuldaboli's electro bangers are as dark and grimy as they come. 'Ancient civilisations, 20th century history, the possibility of the existence of other dimensions along with the unbearable emptiness of human existence' are amongst the most prominent subjects of Kuldaboli's creations.
'Ég elska þig eilífa stríð' consists of five hypnotic tracks, some of which are overlaid with cryptic texts; ominous poetry recited in Icelandic. Icelandic is a dying language in many ways, only spoken by around 350.000 people and constantly giving in from outwards influences. Who knows, perhaps it will be wiped out all together in the near future. But then again, humanity might not persist for much longer either. Only time will tell.

Fresh from releases on his own Polymath Records, as well as Natura Sonoris and Sodai, that have seen support from the likes of Maceo Plex, Bicep, and ANNA; UK producer Third Son debuts on Dusky's 17 Steps imprint with the 'Machine Love' EP.

The synth laden 4 tracker utilises electro, acid, techno and breakbeat influences to provide a rugged and bold reflection of the current clubbing landscape; one that is set to melt underground dance-floors this autumn.

'Machine Love's squelchy synths and gritty percussion build towards a chopped and skewed finale, that has proved a ferocious piece of club artillery in Dusky's sets this summer.

Next up is 'Bloodsport', a dance floor primed roller that consists of dusty breaks, squealing atmospherics and a meandering baseline. 'I Hear Laurel' follows, a cosmic alliance of ghostly vocals and hard hitting distorted synths that feels like meditative ode to rave music of the past. Closing the EP is 'Ambiturner', stacked with syncopated drums and twisting synths that scatter across the stereo stacks.

Commander, welcome back from your deep sleep. We are sure your dreams were lucid and that you are ready for the next instalment. Mission RAM-X-04 - Chasm of Chills Delta Craft XX84 is now approaching Wasteland. Within four hours you will reach the entry point (Chasm of Chills). When entering the Chasm, you will discover a massive Black Endlessness. Don't be alarmed, but be assured: The guardians of the chasm will use their auditory powers to interfere with your emotional responses. Unfortunately, none of this will be visible on your radar. You will create your own images, only visible to you. To diminish disturbance and illuminate your surroundings, use the Pusher at the front of Delta Craft XX84. The next step: You will need to enter the coordinates for the Cave of Descendants into the PeskyDrone. The coordinates are available in encoded Exonet Maps only. The drone will not only guide you towards the cave, but will also dismantle its main defense shield. Additional information: According to the latest results, the drone can even kill a bunny from 620 miles distance! I expect it won't be long before I can deliver you information for the 3rd stage. Good luck, Commander!

The "Between Places" Saga continues..This time with non other than powerman Jensen Interceptor. 5 tracks of icy electro which defently burn down every dancefloor. Including a special collab with "Das Muster" from Germany.

Staring through the mirror. Transmitting the former self. Kurt Baggaley uncovered a theme. A theme of the ages. A theme with no clear beginning, nor end. The British producer has made a monumental effort of capturing, bending the sequence, making it's frequencies audible for everyone to hear, for the select few to understand. A 13 minute manifestation that seems to be able to go on forever. Drifting away, time seems detached, reality becomes palpable and minds become entranced. Esoteric, arcane, inscrutable. This is your former self.

Moving far between audible dimensions, Nuno dos Santos has made his next move, lifting the veil of the new release on his Something Happening Somewhere. Enlisting Kurt Baggaley for this EP, with Maeve's the Drifter delivering a staggering remix of the epic opening piece called 'Former Self'. Taking the original arrangement and making it club-ready, the Drifter does exactly what's needed, and more. Being able to keep the emotive payload intact while giving it the dancefloor treatment is more than impressive. It's a triumph.

Completing the circle on the flip side is Kurt Baggaley himself with 'Far Between'. A succumbed, deep jam, again taking it's time to unveil it's true payload: a hidden arpeggio that will only be appreciated by those who take time to listen.

It's time to forget time and drift off. To transmit. To receive. Open up, let the frequencies in.

It was just a question of time to reach the point when Wayne considers himself to be the one to create a musical statement in order to show what he thinks about all the current status of some parts of the electronic dancemusic circus. He still suffers from too much so called 'minimal' in his eyes and he wants back the energy he is missing on many occasions... 'You know, techno without bass is like f...... without screwing him in...' Some might say he`s too late with this song, but that`s simply Wayne! In his universe the meaning of time is different to what we all would expect. Anyway, he finally checked out Garage Band on the Mac he recently "lended" from somebody he does not even know, and here we go with his first very own song. Lyrics in german only and heavily inspired by one of the biggest hits from the 80ies from the german cult-formation "Trio", but to make a long story short: it`s Wayne`s message that the so called "minimal" sound is definitely over now: "Always klick and always klack, I can not tell how much it sucks..."

A third Foundation chapter has begun, lucky to have on board a special friend for his first ever appearance. Four cuts have been sequenced somewhere in France during the previous year, in transmission towards a placid-robotic horizon expressed through broken drums and non linear grooves. A dose of saturated arrangements will be clearly experienced in this piece of work. 

SUPPORT: Ben UFO (Hessle), Oli_N (Phonica), Ander B (Robsoul), Eltron John (Uncanny Valley), Simon Caldwell (FBI radio), Herzel (Hivern Disc), Nori (Posivision), Sascha Funke, Nathan G, Dmitry (Neo Violence) Acid influenced many of us. In fact, for a huge proportion of us, acid kicked off this sweaty, painful, yet incredibly fulfilling journey. The 2 originals by Dircsen utilize the 303 in different ways - the opener 'Beyond Collapsing Silence' sounds like an instant acid house classic with its energetic drums & dreamy atmosphere, whilst 'Depth Scan' slows it down, focusing more on hypnosis. Rounding off the 3-track EP is an idiosyncratic remix of 'Depth Scan' by L.I.E.S. legend, Florian Kupfer. A dubbed out original gets well and truly saturated.

With a meeting point of Old school electro Acid sound this EP dig for the real underground side electro acid famillies and connections... Labels notes about this production is 'The circle is an ancient geometric figure, used since prehistoric times, representing endless cyclicity.
The circle is in fact a continuous line, which could be traced to infinity in a circular sense that represents energy and
spirituality,
the sense of belonging to something, to a group, to a thought.'

Vienna Electro Elite! Beware!

Lost Futures is a new label that explores experimental and often radical approaches to dance music from the past. In a musical landscape that increasingly claims to seek and reward new forms and ideas, Lost Futures delves into the recent past to revisit forward-thinking, optimistic projects that, owing to the social, musical or outright political climate, perhaps struggled to find an audience. Allowing only time to re-contextualise these leftfield, sometimes misunderstood and ultimately human bodies of work, Lost Futures taps into the inherent idealism of rave.

LF001 trips back until the early nineties to revisit the alternative scene emerging from the Dutch city of Utrecht. Here, three young men - DJ Zero One (Sander Friedeman), TJ Tape TV (Arno Peeters) and DJ White Delight (Richard van der Giessen) - joined forces to form 'The Awax Foundation'. Inspired by the transcendent and revolutionary electronic music arriving on their shores imported from Chicago and Detroit, combining their knowledge, gear and ever-expanding vinyl collection allowed additional freedom in paying sincere tribute to these intoxicating sounds, while also developing their tastes in a more personal, eclectic direction.

The musical flavours of Awax initially leaned toward acid house and the roots of techno. However, with three different mindsets in the mix, their tastes were rarely fixed. One thing each shared in common was a devotion to collecting rare sounds, specifically more adventurous and international samples than those emanating from the increasingly-hard, masculine dance music emerging from the Netherlands during the period. Inspired by the cross-over global sound of bands like Suns of Arqa, or 'World Music', as it was perhaps patronisingly termed at the time, the trio became interested in the idea of making techno with 'ethnic instruments'.

Of course, this being 1992, none of The Awax Foundation had access to such instruments, instead, they had a vast, collective library of samples from all over the world. There were no collaborations and no clear plan. Instead, they set to work using a Yamaha TX16W sampler, the legendary Atari 1040ST computer, a cheap mixing desk and a couple of low-end synths and FX machines. When Richard mentioned the project to his friend, Akin Fernandez, the London DJ and owner of cult label Irdial Discs, Fernandez was intrigued enough to invite the trio to record a one-hour show for his 'Monster Music Radio' series on London's then-burgeoning Kiss FM.

Forced to come up with a name, 'CultureClash' seemed like the obvious choice, even if the members of Awax were only creatively sparring among themselves. Along with the term 'ethno-techno', slightly dubious to a hopefully more conscious Western audience in 2017, these were the only guiding principles to the quietly ambitious project that soon combined cutting-edge machine rhythms with samples sourced from everywhere from Bolivia to Togo, and inspired by everything from Ravi Shankar's epic soundtrack to the Oscar-winning movie Ghandi, to the technical limits of their own setup requiring a dazzling degree of cut-and-paste work. Some tracks even emerged out of academic studies within the ethnomusicology department at The University of Amsterdam.

The show aired on October 2nd, 1992, recorded in one blistering take and without any rehearsals, traversing a huge variety of tempos and styles. If the performance wasn't seamless, it was undeniably thrilling, fresh and ambitious. As such, several labels, including Fernandez's aforementioned Irdial Discs expressed an interesting in commercially releasing CultureClash, while another imprint proposed a series of twelve-inches and an album. But the sheer complexity of the project meant that it never saw the light of day, while the trio embarked on different journeys ahead, both creative and personal.

Twenty five years later, and the original CultureClash lineup and founding members of The Awax Foundation provide the sound of the first release from Lost Futures. An otherworldly, ambitious and optimistic compilation, accompanied by extensive sleeve notes from the trio, CultureClash is a timeless ode to experimentation in dance music's ever-overlapping culture.

21 vinyl records in high quality sleeves manufactured with italian cardboards from 100% recycled waste and silkscreen printed one by one using luminiscent ink.

18 vinyl records in 12" with full works by:
Carl Finlow - Microlith - Cignol - MetaComplex - Nullptr - Scape One - Nebenprodukt - Franck Kartell - Kan3da - Das Muster - Johan Inkinen - Luxus Varta - Obergman - Foreing Sequence - Mesak - Mental Note - Cygnus - Noise&Noise

2 vinyl records in 12" VV.AA.
Hieroglyphica - Heimelektronik - Darren J Horgan - Acidulant - Jensen Interceptor - Luke Eargoggle - Automatic Tasty - Mutex - Aquagonia - Noamm - Binary Digit - Martin Matiske

Extra record in 7" by ARPANET

High Quality T-Shirt silkscreen printed in luminescent ink that glows in the dark

Very Special Wooden Box, designed in exclusive for this project.

'String Figures Remixes' is a series of remixes released on December 14th 2018 following the previous-ly highly acclaimed LP String Figures by Zoe Mc Pherson. (Watch her Boiler Room live show)

Remixers for this EP include Ben Vince (Hessle Audio co release w/ Joy Orbison & Where To Now solo album where collaborators include Mica Levi & Rupert Clervaux), N1L (Opal Tapes & UIQ), Hester-1, Bartellow (ESP Institute, Public Possession) & Sukitoa o Namau (First Terrace Recordings).

The EP is pressed on transparent vinyl & comes along with transparent sleeve.

When asked why Zoe chose each artist for her remix album she writes:

Ben Vince is my mate since he opened for my release in London last April and he was really excited about making a remix. Which I think is even nicer is that he only remixed and did not play saxophone. He actually properly very much remixed all the elements, all recognisable, which is a delight to listen to when you know all the parts seperately. The only thing he did is making it a UK club banger track !!!! :)


N1L is a friend whom I admire totally for his capacities of producing incredibly wicked tracks in no time. He's got 10 000 collabs going on ( abit like Ben). I don't know how he does it, but damn his remix is also one of these that are a delight to listen to when the samples are re organised in a very cool way which is his own.


Hester -1 is also a friend, violinist and producer from Antwerp. She is a nerd, her style and projects are developing, we jammed together, and I wanted her to be on the original album, so now she is in the remixes and made a very dark piece and now I'm thinking she should meet N1L :)


Bartellow is also a friend, behind SVS, and he was the first one to make a remix in 1 hour on a flight I think actually even before the album came out!!!! He had already made a proper groovy banger, as he always does, with his style.


Sukitoa O Namau I've been chatting with since a while, she's an incredibly inspiring artist, releasing on First Terrace records, she used to be a dancer and is an explorer of sound and of many things. She basically fucked up my track, by changing the rythms into no rythms and purifying it very much which reveals other things. Only keeping rough elements of it and I think it's absolutely brilliant.

[A] A1 | Sabotage Story (Ben Vince's Perculator Mix) 2) The Gate

First Release of this new imprint by the owner himself. Kluentah is one half of Fallbeil. He recently released the Muskelbein EP on the french label Public System Recordings and the upcoming Taubens EP on Sister Recordings from England. Now he delievers four diverse Tracks that hailing on Side-A from electro ("The Return") to some kind of New Beatish Territory ("Higher Level") while the B-Side takes us on a tour of his own version of the EBM-Electroish Track "Enter Mars" and "Circle of Power".

Veteran French producer Maelstrom joins the CE crew with 3 tracks of high quality dance floor electro including a remix from CE head Sync 24.

Craigie Knowes' infamous fundraiser continues with a complete revamp. The double 12inch is replaced by two individual 12inch releases. Luke Vibert, DJ Overdose, Cygnus, TEXTASY, ASOK and London Modular Alliance join on CKNOW3-PT1 with a blend of Acid, Electro, Techno and Jungle sounds to help raise money for the charity War Child.

Moving towards faster bpms and with some fresh faces Cong Burn's fourth 12" is a step into new ground for the young collective. A1 sees St Petersburg's Flaty follow up his Gost Zvuk 2xLP with some twisted electro. At A2 Lack shifts gears to an early doors stomper. Chekov's B1 showcases the Leeds producer's hypnotic side. While the B2 is closed out by Martin Stromstedt aka Martinou with a lengthy trip floating on airy pads and a subtle groove.

The brand new Codex release by label boss Spartaque featuring two banger tracks Afterdark and FGC and great remixes by masters of modern techno Paride Saraceni and Wex 10.

Hot on the heels of 'Hyper Reality' and 'Vapour Waves' on Cultivated Electronics & Mechatronica respectively, Melas and Zacharias deliver another four tracks of deep hitting electro on CPU.

The California-born, London-based producer Rrose is well known for taking dancefloor techno into the uncharted depths of experimentalism and psychedelia while also paying homage to artists of the 20th century avant-garde such as Marcel Duchamp, James Tenney, and Eliane Radigue.

"Beware of Shells" (the first solo Rrose release of 2018) is a diverse five track EP that goes to extremes of both aggression and tranquility while remaining strangely cohesive. The EP opens with machine gun bass drums that slowly disintegrate into a swirl of undulating tones and ghostly resonances. Next comes "Incisors" - the most solidly dancefloor track of the EP - which establishes a primal, skeletal rhythmic base upon which snake-like analog synth lines interweave in unpredictable ways. "The Swelling" follows with a short, sparse study in feedback, bent into uneasy melodic patterns. Side B opens with a previously unreleased 2013 remix of the Los Angeles band Deathday, and is perhaps Rrose's most overtly "industrial" track to date, with buzzing, dissonant synth tones that sound somewhere between a foghorn and a distorted guitar. The EP finishes on a contemplative note with "Pecking Order," a microtonal, ritualistic affair conjuring the spirit of Wendy Carlos's little-known masterpiece "Beauty in the Beast."

Repress of their first 12'' single "The Stains". This extended edition includes a bonus track - 'Phantasmagoria'- and a friendly dancefloor cut of the title-track by Alessandro Adriani.

Conceived by vocalist Gerrie Brand, the band was starting out as performance art, and quickly became more as Gerrie surrounded himself with some of the best musicians from the club and art scene in South Florida, including our dear Mystic Bill, who was playing the guitar with the band in the early stages.

Originally self-released in 1991, the single "The Stains" became an underground club hit and charted on many college radio stations, in both the extended and the original version. The single was distributed as a hard to get promo only release. The repress contains also the title-track of the single 'Phantasmagoria" - another cult tune for early 90's goth djs - originally released in 1992. Mega tip!

International Deejay Gigolo proudly present the homecoming of the South-American Gigolo Queen Romina Cohn. After her 'I Want U' remix production from label boss Dj Hell last year, she presents now her 3 own 3 track EP called 'Let It Go". All three tracks combine an eclectic and powerful vibe with playful attitude and a homage to classic techno & rave sounds.

Reedale Rise here with a strong follow up to his much appreciated "Luminouse Air" album released earlier this year on Kondi Records. Forest Canopy EP has all the Reedale Rise trademarks of futuristic warm and souldful electro with a bit of a acidic twist. Highly recomended!

The Outer Limits sees ASC returning to further exploration, featuring four in-depth aural excursions to the deepest recesses of space and beyond. All four tracks feature the hallmarks of ASC productions, encompassing rich atmospherics, emotional key changes, multi-tempo percussive elements, and an overall grandiose feel to proceedings. If you've been waiting for more tracks that are cut from the same cloth that The Farthest Reaches were, then wait no more.

2019 Repress with alternate label-art.

Seattle's Chris Roman returns after his amazing release on little sister label Harbour City Sorrow. Again he drops his signature Miami rooted beats for an EP that will make any floor rock. Sculpting hi-tech electronica with loud pads, big strings and precise rhythm programming. The Submanouvers EP is no sissy copycat electro but a powerful record with his own unique signature style. Two Fourteen is no joke!!

German electronic originator Gudrun Gut's latest solo collection distills a lifetime of persuasions and obsessions into a compelling 14-track statement: "Moment." Stark, somber, sultry, and clever, the sides slide between ballad and lament, synth-pop and spoken word, anthemic and abstract.

Gut's background as a key figure in Berlin's first-wave industrial uprising still casts an aura in the music's mechanized rhythms and frozen emotional palette but decades of improvisation and collaboration have deepened her sense of composition and melody beyond any easy genre categorization.

If anything "Moment" finds Gut's muse at its most enigmatic, threading shades of motorik hypnosis, technoid laboratory, coldwave pop, glitchy gauze, and even a gender-bent Bowie cover ('Boys Keep Swinging') into its eclectic web. It also showcases the depth and detail of her voice, reserved but suggestive, intoning blunt truths and opaque poetry in both German and English.

This is music of history and heartache, modernity and desire, alienation and expression, by a singular creative committed to the complexities of sound. - Britt Brown

Gudrun Gut's story spans many years, scenes, and sounds, from the 'ingenious dilettantes' subculture of early 1980's Berlin as part of Mania D, Einstürzende Neubauten, and Malaria! to her twilit industrial pop trio Matador into an expansive solo catalog of later work scoring films, videos, and radio plays. Her talents extend beyond musician, however, to include founding record labels (the influential imprints Moabit Musik and Monika Enterprise), club nights (progressive electronic pop collective Oceanclub), and experimental feminist collaborations (Monika Werkstatt).

Gut also works extensively in the technical sector of the recording industry, as a producer. Recent projects have included collaborations with Antye Greie (AGF) and Hans-Joachim Irmler of Faust, participating on the advisory committee for Musicboard Berlin, and performing at The Royal Albert Hall with Âme as part of an Innervisions label night.

Grey Marbled Vinyl

New one on Antinote.. Broken glass, dogs barking & cats roaring: Succhiamo is back and gives us news from the scrapyarh with punkish synthpop traxx
Some words from the label:

Remember that straightforward mix of EBM and synth-punk that came out on Antinote last year, wrapped in a suggestive black and gold sleeve The lyrics were strictly not ambiguous and the music produced by Panoptique and Paula was joyfully aggressive.
Broken glass, dogs barking & cats roaring: Succhiamo is back and gives us news from the scrapyard.

The thing is, it seems that Succhiamo's scrapyard has been animated by Bill Plympton : in place of dogs and cats, it's a lew Pink Panther chasing a spaced-out Scooby-Doo on Dolore Dentro or Stai Male. Happily championing bad taste, the two musicians even venture into the illegitimate territories of italo-pop missed hits, shaped for lipsync performances on Rai Uno with the nagging Que Pena.

As we're getting close to the middle of the record, the music gets openly punkier, climaxing with the explicitly
named Desiderio Di Violenza, brushing past 200 BPM. While the inevitable silence following the last notes of Que
Pena temporarily puts an end to the pleasant nightmare that is Mani In Fuoco, the figures - somehow similar to
those inhabiting the world of Fritz the Cat - that Succhiamo insidiously inserts into the listener's head don't fade
away: they patiently wait for the duo's pulsing drum machines and the saturated synths to wake up again and set
them in motion for another ride.

CEM3340 is back on Lunar Orbiter Program withi his first LP. Mastered at Reel Mastering, London

Where We Met is proud to present its new sublabel Spaziotempo.

The first release is from the Minneapolis techno legend Freddy Fresh and it's a banging record with funky 808 rhythms and acid melancholic melodies, great for peak time action and for your listening pleasure.

Third Official Apparition For Matthias On His Superluminal Imprint.
Following The First Catalog And Lp "rituals" And The Secondary "xel Naga" 12" Release Here It Comes The Last Irrational And Not Figurative Commitment. It Was Not The Coldest, Worst Nor Longest Of Winters Nevertheless, Eternal Are The Mysterious Allusions To Life And Death And The General Inevitability Of Change Which Were Encapsulated Within The Passage Of The Seasons By The Ancient Mind Of Man.

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Sequenced And Recorded In Berlin Using Synths Like: Acidlab Miami, Roland Juno 106, Moog Minitaur, Moog Mother, Doepfer A-100 Modular System, Roland 505 And Many More...

After making his appearance on fifth Vakum back in 2016, Sagats returns to our label with a full EP release. Cleverly combining vocals, acid and dirty electro rhythms, Italian prodige manages to tell the story through three feet jumpers that share similar resources but each with a different twist. With A1 opener serving as a head-on tour de force of rhythmic games, Blue Screen Of Death is a spewing acid peak timer that wiggles until the last kick. Flip side B1 is the distance runner of the release with suitable name Venice Marathon. Again Sagats pulls out the best out of 303 on saw mode and although the stamina is constant, the track still delivers some quirky and unexpected pad & fx turns completing it by every stage. B2 takes a dark turn with Therapy, the track dominated by relentless 303 sequence with everchanging parameters. Atmosphere is raw, ominous and warmly analogue.

The release is being stamped in a very limited number of 200.