Novità e Uscite Vinili Techno - News

Iondustrial cold broken techno sounds... 2 long tunes at max cut level. Good sound.

Originally released in 1998 through Kog Transmissions via a very limited CD run, LOOP is proud to present for the first time digitally and on vinyl one of New Zealandâs most acclaimed electronic albums. 'inside a quiet mind' has been lovingly remastered by Chris Chetland, one of the founders of Kog Transmissions, and who handled the original mastering. âSomehow or another, Chris managed to make it releasable 20 years ago, and now he has given new life to the album by a further smoothing of the edges, and polishing it to a level of shininess where it even sounds good in my uteâ. - denver mccarthy 'inside a quiet mind' is a modern classic of the electronic genre, and one which can finally be experienced to a standard befitting itâs quality. A forgotten gem no more, it is an album that holds an important place in NZ electronic music history. Stepping through deep house, glitch and techno, and originally made across bedrooms in Auckland and Brisbane, inside a quiet mind isnât a collection of songs, it is a complete album, and one which was created as such. Across 11 songs and over one hour, it is a journey across an electronic spectrum, and one which is best enjoyed in full. Originally created inside the thriving electronic scene of the late 90âs, 'inside a quiet mind' is an album which wears itâs influences proudly â the electro/synth heavy Detroit sound, and the minimal-techno of Basic Channel and Maurizio from Berlin. As Denver McCarthy himself matured and grew from his late teens to early twenties, so did his sound. âYou will be tinkering away with a sound, a chord, a rhythm, and then something will catch your attention, something that sounds good to you. From there, itâs just a matter of adding more elements until you get what occurs to you as a finished piece. You can feel the anxiety build as the song unfolds, and you wonder whether or not you will be able to resolve the piece and bring out what needs to come out for it to be something worthy and memorable. I have recorded so many songs, but only a small percentage I actually like and stand the test of time.❠- Denver McCarthy

Space techno stuff... Insane ambience very eighties influenced.

Arcing Seas is back with ARCS-03; a unique EP of selected tracks from the first two releases, remixed by The Mover, Peder Mannerfelt and Shifted. First up, rave and techno legend The Mover presents his first new material since 2009. After using the slogan "See you in 2017" for years before, this marks the start his return. He turns Trappist into a hard hitting electro workout using original parts that explode and punish the senses. Peder Mannerfelt introduces the B-side with his take on Skull Gun. Broken beats and exciting percus-sion sit atop deep kicks, disorientating quick fire samples and rapid snares, showing how versatile and on-point he is. Finally, Shifted is called into action with a signature deep-sonic soundscape. Rumbling kicks and high frequency textures occupy the sound field, alongside reverberating samples from Vultures, making it his own. Label info: Arcing Seas is an anagram of Cassegrain. It started out as a secret alias, releasing a couple EPs on Our Circula Sound. The secret was less well kept after the duo appeared at Berghain under this name. A year later, after deciding to start a label, it finally made sense to bring the two together.

Hyboid ist zurück mit spacigem Electro-Pop der dritten Art: "UFOs over Berlin" erzählt die Geschichte von einer UFO-Invasion in unserer Hauptstadt. Das Mini-Album knüpft mit seinen 6 Stücken an Hyboid-Werke aus der Frühzeit des Astro Chicken Labels an. Analoge Klänge und sphärische Melodien und Pads lassen keinen Zweifel: Space is the place!

Jac Berrocal, David Fenech and Vincent Epplay return to Blackest Ever Black with their first record since 2015's Antigravity LP. Why brings three singular but complementary pieces together on one 7. The title track is a louche but volatile art-rock panther-stalk...a cracked jazz ode on street hassle pitched somewhere between Vince Taylor-in-exile and PiL's Metal Box...Berrocal on vocals, a rakish, slurring stream-of-consciousness that becomes a yowl of despair; drums loose and dub-delayed; Fenech's jagged guitar phrasing set to stun, and Epplay's electronics set to flay. 'Ice Exposure' situates Bef's mournful, muted trumpet in the sort of eerie deep-freeze ambience that characterised Antigravity, and 'Alienor en Aout' coaxes a gloomy poetry from affectless cold war radio broadcasts. Why are we so strange tonight Limited pressing with artwork by Vincent Epplay.

Makam returns to Dekmantel Records with his first full-length album for the Amsterdam based label. Blanken's ongoing search for fresh sounds, textures and rhythms has lead him to Than Sadet, a gorgeous piece of work that takes his sound into new directions.
That Sadet displays a refinement of Makam's sound. The music is highly tactile, with an emphasis on the surroundings of the environment in which it was created. Blanken: ''Than Sadet is a secluded beach on an island in Thailand. A mysterious atmosphere haunts it. It's windy and the weather is always a bit worse compared to the rest of the isle. There are many cliffs and you can't swim because the waves are too high. Four years ago I visited Than Sadet for the first time and I've been coming back ever since. At one point I decided to bring my studio equipment. For a week, I dedicated my days to making music. Those sketches formed the basis of the album.''

The inspiration on Than Sadet is obvious. From billowing percussion thru windswept strings to passages of strange bird calls, and across desolate tracts of calving synthesizers to a climax with a finale of petrifying thunder drums. The levels of dramatic suspense are ski-high, and mostly downbeat and mid-tempo grooves operate beyond the dancefloor.

''Each track is based on a particular Than Sadet aesthetic. For example, 'Mr. Singh' is a masseur on the beach who uses fire while doing his shiatsus. 'Buddha's Bridge' is a wooden bridge that leads to an impressive Buddha monument; Seven Kings' is an ode to a local waterfall. Tracks like 'Mai Pen Rai' and 'When Light Gives You Hope' are representative for Than Sadet. I tried to create an introspective album that does what the island did to me: it puts life into perspective.''

In April Booka Shade will return with their new album GALVANY STREET. A new beginning in many ways. "We're very proud to have reached a lot with instrumental music. With MOVEMENTS 10 we closed a chapter last year. 2017 is the perfect time for a new start and to mix things up." (Walter Merziger) GALVANY STREET marks the return to their pop roots in collaboration with former Archive singer Craig Walker and a few additional guests like Urdur (GusGus), Australian Yates and Daniel Spencer from London. I was aware of the band before we started working together and really liked everything I had heard. I was introduced to the guys by Martin Eyerer one of the Riverside owners. Martin was really enthusiastic about us meeting as he felt we would have a lot in common musically and he was right. We met up in Riverside and we discussed music we liked past and present and we had very similar tastes. I listened to their back catalogue and was really impressed with how great everything was produced and I loved howmelodically driven everything they did was. (Craig Walker)
The second single from the album is - Numb The Pain , a disco inspired feel good pop song. For the single format Booka Shade created 2 special versions of the song. A much shorter, more instant Single Version and a longer, club friendly Extended Mix, inspired by classic 80s 12inch releases.
Every single from the album will also feature an unreleased exclusive song, again inspired by the traditional idea of a B-Side. In this case it´s the instrumental tech house tune - Fade Away , a hint at Booka Shade´s past. Booka Shade will embark on a European Tour in April to support the release of the new album. For the first time in their career, Booka Shade will be joined on stage by singer Craig Walker. GALVANY STREET is the album we wanted to write for a long time. The collaboration with Craig Walker brings in the perfect kind of vocals to complete the music." (Arno Kammermeier).

The fourth Hotflush release of 2017 comes from Minneapolis-based DJ and producer, TML. He made his debut in 2014 with One Inch of Water, an album in cassette form via Always Human Tapes. His style takes cues from the bass and jungle halcyon days of yore, yet in his hands these influences are pestled into anything but nostalgia.
No Memory looks forward to a place where pigeonholes don't exist; where past, present and future boil an amalgamated stew; where 'experimental' and 'clubby' aren't effective antonyms. It's an album in miniature - six tracks spanning a broad range. The unmistakable taste of jungle pervades side A, becoming increasingly less abstract as it goes: from the fractured opening of 'Face Pads', through the dub of 'Cold Sleep', to the sunrise head bang that is 'Crying'. Side two moves inside. It's darker there. The tunes - 'Strainer', 'RHU' and 'Code Library' - share a paredbackness. Their beats look askance as they shuffle big and bold.

In varnished 350g premium quality paper sleeve with obi strip printed on vellum paper.

Nathan Fake's fourth album, Providence, crafted in the wake of a crippling two year spell of writer's block. Is his most personal and profoundly emotional work to date.
.
Providence sees the British producer collaborate with vocalists for the first time, joining forces with Prurient (aka Vatican Shadow / founder of Hospital Productions) and Raphaelle Standell-Preston from Braids. Both arose from chance meetings in Geneva and Osaka as their tour schedules crossed. Prurient contributed the heavily distorted vocal to 'DEGREELESSNESS' - I was a huge fan of Dominic's (Prurient) music before we met and I love the way he situates his vocals in his productions. I really like how you can't make out what he's saying at all...' - whilst Raphaelle, who lends her voice to 'RVK', was introduced to Nathan by their mutual friend Jon Hopkins. I deliberately kept the first half of the track instrumental and I love the way her vocal lands,' he says. It's quite unexpected when she starts singing.'

It's the quickest album I've written and because of that it's got a close thread running throughout,' says Nathan of his creative process. It also has a distinct sonic signature as a result of the producer refreshing his set-up. I was feeling nostalgic and bought a cheap Korg Prophecy on a whim and it ended up being the backbone of the album,' he explains. I remember reading an article in Sound On Sound back in 1995-96 and I didn't really know much about music production then, but I remember thinking that it must be AMAZING. As it turns out, it's actually quite crap really... It's very hard to program, looks unimpressive, doesn't sound great (laughs), but I recorded it through loads of different pre-amps and tape and mixers and roughed it up. I'm always intrigued by low-end gear, I like the challenge and the limitations it poses.'

Norfolk born and bred, Nathan's first encounters with electronic music came via the radio (hearing the likes of Aphex Twin and Orbital) and reading about the equipment that they used in magazines. This was the stimulus for him to buy some gear and begin his own sonic experiments and, linking with James Holden in 2003, Nathan's early output came via his fledgling Border Community label. His debut album Drowning In A Sea Of Love' (2006) was a triumphant record, drawing a rapturous reception from the likes of Pitchfork, The Guardian and Mixmag (who hailed it among the best of the year). Recording two further albums for Border Community, Hard Islands' (2009) and Steam Days' (2012), Nathan found himself in frantic touring mode for two years and, in this nomadic state, found it impossible to write any new music. On his return, events in his personal life intertwined with, and exacerbated, this creative block. I didn't write any music at all for about two years,' Nathan explains. Overall there was roughly a three year break from writing.'

Emerging from this extended period of inactivity with renewed vigour and lust for life, Providence was recorded during the first six months of 2016 in Nathan's home studio / living room. The meaning behind the title is two-pronged: on the one hand it's a nod to the aforementioned Korg Prophecy synth that features so heavily on the record. But on a deeper level it means guidance or divine guidance' - not necessarily in a religious sense but more to be guided by a higher power - or more specifically to Nathan, music as therapy and a path out of a dark period in his life.

Nathan Fake's fourth album, Providence, crafted in the wake of a crippling two year spell of writer's block. Is his most personal and profoundly emotional work to date.
.
Providence sees the British producer collaborate with vocalists for the first time, joining forces with Prurient (aka Vatican Shadow / founder of Hospital Productions) and Raphaelle Standell-Preston from Braids. Both arose from chance meetings in Geneva and Osaka as their tour schedules crossed. Prurient contributed the heavily distorted vocal to 'DEGREELESSNESS' - I was a huge fan of Dominic's (Prurient) music before we met and I love the way he situates his vocals in his productions. I really like how you can't make out what he's saying at all...' - whilst Raphaelle, who lends her voice to 'RVK', was introduced to Nathan by their mutual friend Jon Hopkins. I deliberately kept the first half of the track instrumental and I love the way her vocal lands,' he says. It's quite unexpected when she starts singing.'

It's the quickest album I've written and because of that it's got a close thread running throughout,' says Nathan of his creative process. It also has a distinct sonic signature as a result of the producer refreshing his set-up. I was feeling nostalgic and bought a cheap Korg Prophecy on a whim and it ended up being the backbone of the album,' he explains. I remember reading an article in Sound On Sound back in 1995-96 and I didn't really know much about music production then, but I remember thinking that it must be AMAZING. As it turns out, it's actually quite crap really... It's very hard to program, looks unimpressive, doesn't sound great (laughs), but I recorded it through loads of different pre-amps and tape and mixers and roughed it up. I'm always intrigued by low-end gear, I like the challenge and the limitations it poses.'

Norfolk born and bred, Nathan's first encounters with electronic music came via the radio (hearing the likes of Aphex Twin and Orbital) and reading about the equipment that they used in magazines. This was the stimulus for him to buy some gear and begin his own sonic experiments and, linking with James Holden in 2003, Nathan's early output came via his fledgling Border Community label. His debut album Drowning In A Sea Of Love' (2006) was a triumphant record, drawing a rapturous reception from the likes of Pitchfork, The Guardian and Mixmag (who hailed it among the best of the year). Recording two further albums for Border Community, Hard Islands' (2009) and Steam Days' (2012), Nathan found himself in frantic touring mode for two years and, in this nomadic state, found it impossible to write any new music. On his return, events in his personal life intertwined with, and exacerbated, this creative block. I didn't write any music at all for about two years,' Nathan explains. Overall there was roughly a three year break from writing.'

Emerging from this extended period of inactivity with renewed vigour and lust for life, Providence was recorded during the first six months of 2016 in Nathan's home studio / living room. The meaning behind the title is two-pronged: on the one hand it's a nod to the aforementioned Korg Prophecy synth that features so heavily on the record. But on a deeper level it means guidance or divine guidance' - not necessarily in a religious sense but more to be guided by a higher power - or more specifically to Nathan, music as therapy and a path out of a dark period in his life.

Dreamy sound scapes and 909 claps dubbed out in cosmic space. From Dublin to Rotterdam taking in the spirit of Detroit and beyond this four tracker VA has the summer techno sound. Duplex have their own unique Detroit on techno on the A side where Costelloe gives us his own synth laden sound. The B side Mark du Mosch and DeFeKT give a more dubbed out approach. This vinyl only release will damage across dancefloors this summer.

SUR keeps the same concept and delivers, once again, an essential VA. Formas, Manuk and Bruno Di Paolo are the ones responsible for this new release.

John Heckle's second album on Tabernacle

Terminal Operations is an independent record label based in Berlin.

TRP enters the unknown armed with blistering freaked out acid tekno & bloodklart-electro kutz 4 club use only.

Limited edition (350 copies) album sampler from Pessimist. The Bristol-based producer made an indelible mark on 2016 with his 'Balaklava' 12' for BEB's A14 series, its title track a single-minded masterclass in brooding, minimalist, dubwise drum 'n bass. EPs on UVB-76 and Osiris Music and a remix of Schiari on Ilian Tape followed, underlining the Ruffhouse associate's status as one of the most gifted and progressive artists working underground today - with an unmistakeable signature sound that effortlessly bridges dnb, techno and abyssal/industrial sound design. His debut album will be out on Blackest Ever Black later this year. To prepare the ground, we've cut two of its heaviest weapons to white label for advance release: 'Through The Fog', a slab of neo-junglist soundsystem pressure chopping bitcrushed breaks, clipped vocal licks and darkside bass drones into something like a 21st century update of Source Direct's 'Call and Response'; and 'Peter Hitchens, a 'tribute' in broken techno to the 'notorious' Mail on Sunday columnist, driven by BMB-style dropforge drums and a tripped-out ARP synth line that P.H. would possibly identify as symptomatic of 'the British establishment's surrender to drugs'.

Minimal Wave present a 7' single of two early demos (Kindheitsmuster and Raid) by Dutch electronic music pioneer Das Ding. The final versions of these tracks were released on H.S.T.A. and the Missing Tapes, respectively. The versions here are the most raw and electric recordings we have heard by Das Ding yet.0 numbered copies

Ital & Halal return to Lovers Rock with 'Tower B,' an EP of enigmatic techno explorations. 'Shenzhen River' opens: an ominous, questing acid line stretches its tendrils around nocturnal atmospheres. 'From the Brink' counters with glints of warm melody. On side B, the title track unfurls with slithering percussion and a menacing drone. Ambient closer 'Where Exactly I Am' picks up the pieces, lost voices traveling across the stereo field, searching for answers through an endless pale haze

For almost two decades Dave Paton has been dredging the recesses of his mind for electronic inspiration. The findings have been fantastical, freakish and formidable; all ways of describing his latest outing. "The Great Pretender" straddles electro and techno, staggers between ambient and IDM and swaggers to its own bawdy beat. Rasping rhythm patterns are rinsed in ragged roars, charcoal chords are conjured before being crunched as The Wee Djs has his fun across five tracks.

Swedish born Christian Smith is sitting firmly at the top of the electronic dance music industry. His outstanding productions over the years have set the bench mark high, releasing on a collection of the industry's most respected labels such as Drumcode, Cocoon, Bedrock, Minus and his very own Tronic.
2016 has been a busy year so far for Christian, his Tronic label party series has been holding events worldwide, including the BPM Festival and Sonar OFF week, and an ever growing catalogue of releases not forgetting his most recent EP Force Majeure released in July on Drumcode which immediately entered Beatports Techno Top 10, straight in at No.8.
This September, Christian will release his third solo album titled Input-Output on his own Tronic imprint. Consisting of 11 original tracks, each one embodies Christians message of creating real techno, with powerful percussions and melodic basslines throughout. As the first album teaser, he released the first track Blast Off on the 25th July. This track is the definition of a techno builder, steadily rolling and pulsating its way through a rising synth blast that takes you high before dropping you back into the crispy percussive beat. You can expect the second set of exclusive tracks to be released on the 22nd August, with both Subzero (Club Mix) and Explanation.
Input/Output is an outstanding production offering some of the best driving techno you can expect from an artist like Christian, with his trademark style incorporated in every track.
It takes you on a journey, through a variation of sounds and textures, which still manage to cater to everyone's musical palate. Synthesizers work their way throughout, alongside dark atmospheric harmonies and haunting vocals or that pounding kick drum in some of the heavier tracks. It never disappoints!

Das Ding, the dutch wave savant, arrives on Pinkman with four works of full bodied synth sorrow. Freezing rain pelts rusting machinery, a barren land of decay stretches out onto dancefloors. Rasping rhythms and lumbering bass buttress bitter chords and grinding notes that compel bodies to move. And within the dereliction, behind the dilapidation and rot, burns a purity of expression that is emblematic of Danny Bosten's consistent quality.

Colouroïd serves up a double dose of their signature up-tempo compositions. Each track features the clever fills, crystalline, catchy leads and gritty, singable baselines that have defined their sound since 2009. The lyrics take inspiration from terrifying obsessions and love-hate relationships.

M_Step's roots go back to the heyday of Vienna's Cheap Records, and the echoes of that label's seminal style can still be heard on his TRUST debut: Stone-cold electro funk meets the kind of low-slung basslines and laid-back jazz chords that the Viennese producer, DJ, and (double) bassist contributed to classic releases of 550 Rondy, Pulsinger & Tunakan, Sluts 'n' Strings & 909, and even Kruder & Dorfmeister remixing Madonna. Fourth release in the 'Covert Systems' series

Debut release by Shredder on own label Tropical Goth. Limited to 200 copies.

REPRESSED !
Ultra bleak, minimal, ritual electronics. Debut releases from this new duo.

From the fertile fauna of the Swedish scene comes Vargdöd, the official pairing of Jonas Rönnberg and Anders Karlsson, better known´as Varg and Celldöd. Across six long form tracks the duo exercise their keen instinct for expansive, gloomy atmospherics and techno subtleties with a spirit that naturally aligns with the overcast outlook of Opal Tapes.

This outing is not the first time the two have been seen together. The ever-prolific Rönnberg adopted his Black Leather Harness alias to appear alongside Celldöd on Krig, the first cassette release on Karlsson's own Brutal Disciplin label. From those early manoeuvres in 2014 Karlsson has quickly established himself as a proponent of uncompromising, unconventional techno on labels such as Suction
Records and Kess Kill. Rönnberg meanwhile has continued to be a potent force both with his solo and collaborative work and at the helm of Northern Electronics, most recently releasing the third installment in his Nordic Flora series. On Brutal Discipline, the tones and textures shift but the mood remains consistently foreboding. The mechanical rhythms strain through distortion and the clouds of noise billow across vast space on opening track Kennel Murder Case', while the lingering minor pad on Starved To Death' spells out a more melodious foreboding behind the gently bludgeoning drum cycle. Bitten' takes a more tentative approach, letting its fuzzy backdrop slowly purr around the delicate, snaking patter of the percussion. Sharp, rasping beats take the lead in the barren landscape of Elite Dogs Of War', and yet still the opening scuff of K9 Warrior' will jerk your head around in a most uncomfortable of fashions. Here the noise is cloying, attaching itself to any sonic matter trying to peak through the muck, yet there's time and space for a militaristic narrative to unfold towards the climax of the track. That leaves it to No Dogs Go To Heaven' to round the release off in a suitably bleak fashion, placing the emphasis on low-end industrial pulse and swirling static firing out into an uncertain stereo field.

Vinyl reissue of 2012 "Psyops For Dummies" with two unreleased tracks: "Hypoalgesia" and "Cognitive Load Theory"Sherard Ingram - DJ STINGRAY - has been an active member in Detroit's electronic music community for nearly 25 years now. Never shy of a collaboration, Ingram spent much of the '90s teaming up with Carl Craig, Anthony 'Shake' Shakir and Kenny Dixon Jr. to create a rich downtempo sound as Urban Tribe, with culminated in the release of 1998's much-lauded The Collapse of Modern Culture album. He was then recruited to be the tour DJ for Drexciya in their final days, taking to the decks as DJ Stingray and masking his face from the audience, something he continues to do for all of his DJ appearances.

Jack Patterns signature sound on Lustpoderosa is getting darker like this world. 180g black vinyl, silk screen printed cover, with vocals from the legendary UnknownMix singer Magda Vogel on
Very Limited - Vinyl Only.

It is a point of honour that Uncanny Valley contributes a release to the Record Store Day to support the record store-concept in general. After all Dresden's Fat Fenders was one of the spots in which the UV-posse was formed. The record is strictly limited (444 copies) and only available on and after the Record Store Day (5th of November).

R&S welcomes ALSO to the family, AKA the pairing of Appleblim (Laurie Osbourne ) and Second Storey (Alec Storey) for their killer EP01. Ever since they first met and bonded over a shared love of Detroit machine rhythms and sleek electronic grooves, the pair have been hard at work on pushing their creative boundaries to the limit, never content to take the easy route - as Laurie explains "if that means broken rhythms, and untraditional melodies then so be it.. There's so many people making sonically 'correct' or refined 4x4 music, we just wanted to explore everything other than that, whilst still keeping the dance floor moving." These heavy studio / live loose jams sessions have borne truly verdant musical fruit in the form of this debut release - opener 'Sid's Conudrum' sets the pulse racing with it's uptempo cyborg funk - juddering bass and bleeping synth squiggles, while 'Ashford Swaithes ' close things out with a heavyweight bass led rhythm - sizzling emotive pads and tripped out hi-freq arpeggios. 'Dive Prophets' close things out with a heavyweight bass led rhythm - sizzling emotive pads and tripped out hi-freq arpeggios. ALSO is pan genre, pan generational, emotive electronic music at its best... truly something special and a fine addition to R&S rich heritage of forward thinking dancefloor sonic artistry.

Traffic009 by Bodin&Jacob. Always on point.

The latest transmission from the world of Gunnar Haslam, Kalaatsakia wildly sprawls across the intersections of techno and more abstract sounds to take us on a wideranging journey from the subterranean to the coastal, from blown-out dub tones through fractured rhythms. An incredible work that is not easy to pigeonhole, Kalaatsakia is a full length album that navigates and sketches landscapes where new languages are created from old, dead ones to emerge as the lingua franca of interconnected immersive zones.
.
Haslam is an avid home listener of dub, dancehall and calypso, and that influence is quickly felt as Kalaatsakia launches with a tight electro snap and dubwise crash. Kalaatsakia advances and retreats seasonally, tightening up for the floor with the chrome-plated 'Broadcast' and 'Kjolle' while splintering apart on 'Kalapuyan' and 'nxbound'. Its constituent parts are often left to collapse in on themselves, smearing themes into residual trails. As the narrative of the album disintegrates and unfolds into more deconstructed territory, it stretches out even further with a striking skittering mental tease, settling into burbling sub-audible vocals and resonant spaces that all form a part of Haslam's self-created subconscious language.

The Omnibus Band was founded by Jarda Zajpt and Petr Dikan in 1979 in Czechoslovakia. Having met at the Electronic High School, electronics was their field of expertise. Over time, Petr Dikan constructed several sound devices such as the Šílený Fridrich (Å F, Crazy Frederick) Keyboard and the VSD (vÅ¡ude samý dráty/wires everywhere) Generator which he operated during the recordings and also at concerts. At that time, heavily influenced by Brian Eno and Robert Fripp from the King Crimson band, Jarda Zajpt played the guitars, using all kinds of effects, pre-recorded tapes, and one or more interconnected tape recorders. The first record, âIsraels,â was produced between 1980 and 1982. In 1985, Jarda Zajpt swapped a guitar for a keyboard and a new member arrived â Pavel Zvolenský - who programmed and played the automatic percussions. Martin Bauer, playing the bass guitar, completed the trio. They have produced a second album, ''Rhythmus,'' in this assembly. Remastered from unreleased tape recordings.

This is the first volume in a series of release showcasing the analog hardware experiments of Michigan-raised,
New Jersey raised Michael Alan Rogers aka Personator.


Running the gamut from raw, springy machine rhythms propelling the snarls of modular synths to softly pulsating
white noise adorned with lullaby-like melodies, two of the tracks were recordded straight to DAT in the artists studio,
while a third was recorded live at a late night loft party in Chinatown.


Perfect for fans of Hieroglyphic Being, Jahiliyya Fields, Nation, Trilogy Tapes, etc

finally repressed

The 05 Poly 800 Loop EP was born in the name of the Dutch-Hungarian friendship when DJ Overdose collaborated with the Budapest based record label Dalmata Daniel, and Hungarian acts, S Olbricht & 12z. A wide range of styles release from dark and mid-tempo to hard-hitting electro. Just how we like it from mister Model Man. The EP also features two remixes both of which are complete reworks of the originals. S Olbricht (Farbwechsel, Opal Tapes, Lobster Theremin) transformed 'Path To Wrath' into a dark abstract techno wave that manages to end up light and romantic. Meanwhile 12z, the newest mascot of Nicolas Jaar's 'Other People' label have made an experimental symphony from 'Be(h)anger' and this pathos covers the whole essence of this EP. A promising start for the Dalmata Daniel label!