Techno Vinyl New Releases - News

DJ Bone is Differ-Ent.

But then again, he always has been. A pioneer DJ and producer hailing from Detroit, whose technical skills are perhaps only equalled by the upper echelons of the city's most advanced techno trailblazers, he's nonetheless forged a path only of his own. Eschewing commercial expectations, scene pressures and anything other than his own exquisite taste, Bone has earned a vital, dedicated audience while remaining comfortably and individually underground.

Despite his stellar reputation, Bone's recent studio activities have steered him towards a new, altogether more personal direction. In late 2015, Differ-Ent's arrival on Don't Be Afraid with the 'Differ-Ent(Hrall)' EP paved the way for its follow-up, 'M.O.M.:' both were forceful slabs of psychedelic outsider techno, with the latter taking on a tangible emotional resonance as it honoured the memory of Bone's late mother. 'M.O.M.' quickly became one of the label's best celebrated and widely played releases. Bone, typically self-sufficient and known to turn down remixes for huge clubbing brands, was impressed by the Bristol label's honesty and persistence. As he continued to rock parties internationally, Bone set to work on an LP embracing his deeper, darker and more cerebral side.

Not that 'It's Good To Be Differ-Ent has found Bone veering away from the dancefloor. "It's like, the natural vibe for me is always going to be funky", admits Bone. "It's going to swing, it's going to have that element of soul. But the Differ-Ent vibe is almost angrier. Determined, perhaps is a better word. I would typically just go to the studio when I had an idea. To the point where I say, 'OK, I'm going to do something, I'm going to make it happen.' But the process for Differ-Ent...it's kinda methodical. It's borderline predictable. But the thing that makes it Different is that it could go any which way at any given time. And it can be harder edged usually, or it can go in a soundtrack direction."

Film plays a significant influence on the landscape of Differ-Ent, with the record's more melodic flourishes sometimes designed to evoke the doubtlessly imaginative chase sequences swimming around Bone's mind. If Bone's usual movements are 'Do The Right Thing', his Spike Lee joint, then in his own words, 'It's Good To Be Differ-Ent' is his tribute to Paul Verhoven's 'RoboCop'.

"The only way I think the album evolved differently was the electro stuff", recalls Bone. "I was excited about that. Because that was a different type of electro as well. It wasn't a normal, 80s funk kinda electro. It completely separates you. It's still for the dancefloor, but it's almost as if it shakes you to dance, rather than coaxes you."

'It's Good To Be Differ-Ent' certainly feels powerful, mastering a mix of Drexicyan tones and drums that align more with a newer wave of house and techno experimentalists. Many of these, from Hodge to Ø/Phase, have been an influence on Differ-Ent, all sharing what Bone describes as a unique affinity with "creepy shit." It's his thunderous, occasionally paranoid but overwhelmingly positive contribution to a forward thinking European scene he has come to relate to on a par with his native Detroit.

Much of ''It's Good To Be Differ-Ent' has been inspired by Bone's frustration. Frustration with the modern political system as well as the creative conservatism of his own scene. In the studio, he has created a unique riposte. But the commercial pressure Bone has always avoided is only growing stronger. Is it harder than ever to be truly different

"It's harder for the majority of people", observes Bone. "For me, it's really easy. I've been preparing myself for this for years."

While the saying goes that writing about music is like dancing about architecture, this seems to be rather unfitting when it comes to artistic works like ELECTRIC INDIGO's release for the next installment on SCR-DARK SERIES, the techno-leaning sub-label of Berlin's SUICIDE CIRCUS club enterprise of over 20 years of existence.
Depending from which angle you look at it, her forthcoming record is either a legit piece of artistic expression well worthy of being written about, due to her incorporation of digital bits, pieces and sound bites, ranging from fragments of granular sound synthesis to chopped-up voice recordings or spectral processings - while at the same time, it's simply two beautiful pieces of reduced, smart and abstract club music to listen and dance to, each accompanied by a hefty remix from a couple of hand-picked fellows in the likes of Bill Youngman and Dadub. Berlin's notorious techno stalwart BILL YOUNGMAN contributes a distinct interpretation with his slightly broken peak-time banger of a take on 'Cinq', wilst DADUB, the duo made up of two of the core artists (and mastering wizards) of the well-renowned Stroboscopic Artefacts-imprint, reconstruct the original 'Zero' to a fiercely pumping, blacker-than-black monster.
Yes, we are indeed very excited about this release, obviously, and we're really looking forward to seeing it hit the stores soon, as it turned out to be a rare case of heartfelt cooperation between like-minded souls and, first and foremost, friends, who engaged in a DIY effort to then have it culminate in an adventurous record - a kind of approach that, as another saying goes, was once referred to as True Spirit.

Who Whom is a new label from Paul Rose. The artists are various, the sound particular.
The first 12' comprises tracks by Isaac Reuben, Bleak, Markus Suckut and Antonio Ruscito, and is titled 'Curse of Sherwood'.

a new label from austia is born !!! a great ep from hard techno with electro elements to tech house sound !! check all mixes !!! this is big !!!

Denver based GILA's background as a jazz drummer as well as his involvement as one-half of hip hop duo Gorgeous Children has helped him approach electronic music from a different angle. 'I'm stylistically indebted to hip hop and I think it's at the core of all my songs, but I'm equally interested in pulling inspiration from industrial sounds and nature' he explains. 'When I set out to make a song, I let the textures and rhythms dictate what it should become, rather than pursuing a specific genre or style.' Taking inspiration from such a diverse range of places then has helped shape GILA's music in to something denser, darker and otherworldly.

Last we heard of Australian three-piece PVT, they were exploring the outer reaches of electronic rock with their 2010 album Church With No Magic. The Australian trio have made a distinguished career out of making genrebending guitar music, carving themselves a reputation as sonic innovators, and in 2008 becoming the first band from their homeland to sign to iconic UK label Warp. All of which makes their new album Homosapien — their fourth studio album and Felte debut — a startling listening.

"Vertigo" is a standout track from said album. The initial synth line appears in slow-mo and is then smoothed out with a bassline which pulls you in from the beginning and never lets go. Techno producer Luke Abbott takes a hold of this synth sound and takes these ideas and stretches them out with great patience over several minutes without it ever losing its momentum or focus. Beat
constructionist Lukid creates a tumbling beat and pitches up the vocals while Hype Williams re-imagine the track entirely, casting it as the backdrop to a new set of vocals and movie sample snippets. Van Vizintin creates a moody, electronic recreation of the original.

Legendary techno rebel Alex Cortex joins TRUST for an EP that wears his nonconformist creed proudly on its sleeve. 'We Run Your Life' takes center stage here, a massive electro banger and electronic warfare anthem for a dystopian future, its programmatic vocals striking a fitting resemblance to UR's most political output. Bouncy beat experiment 'Foam Rubber Landscaping' and dizzily spiralling 'Memory Overload' complete this triptych of techno rebellion. First release in TRUST's new 'Covert Systems' series, limited quantity.

Allied Forces From the passion for techno grown up during years,overdraw want to exagerate,proposing hard,dark and acid sounds,coming back to past without no forgetting present and future.

Very limited vinyl pressing

Billy Nasty's Electrix Records launches its 2016 schedule by welcoming back the always impressive, Carl Finlow.

Carl is one of dance music's leading lights and a multi-talented producer across a range of genres, with releases stretching back to the early 90s. Well known for the 2020 Vision label he launched with Ralph Lawson, his solo work however has often taken an Electro route with releases under various guises like Random Factor, Black Labs, Voice Stealer, Silicon Scally and Scarletron (with Daz Quayle) on labels including Warp, Fuel, Playhouse, Paper, Trope, Sony, Klang, Arista, Soma, SCSI, Pagan, Minifunk, Seventh Sign and Satamile.

It's been almost 3 years since Carl appeared on Electrix. His 'Boot Loop EP' became the label's second release after its re-launch in 2013. But it's definitely been worth the wait. His 'Electricology 4 EP' once again shows why he's a master of the genre.

From the tough and funked-up 'Lateral Thoughts', speckled and melodic 'Hyperloop', squelching, bassy 'Suspect Reanimation' and sinister, beat-driven 'Latext', right through to the playful 'Atomic Level' (a bonus track for the digital release), the EP shines, with a stamp of high quality running though its core.

Fresh off of a pair of well-received EPs on his recently-launched Manhigh imprint, Berlin's highly respected techno auteur Henning Baer makes his first appearance on Nonplus with 4 excellently crafted, saturated machine techno tracks on The Idea of Instinct. Following on feelings suggested in the title, the EP opens with a pair of more contemplative pieces: the title track's spare arrangement puts mechanical rhythmic drive behind its exploration of dusky electronic atmospheres, while the feeling of 'DNA' is both brighter and slightly pacier, its hypnosis deriving from the pads and synthesizer sequences that circle the drums. 'CCC II' takes a darker approach to a similar idea, this time with the suggestion of polyrhythms in the distant and heavily-treated percussive elements circling in the background behind uneasy ambience. It builds to the closer 'Spiritual Quest', where overlaid rhythms in 3 and 4 are not easily reducible and create the tension at the track's centre driving it to its conclusion.

Berlin's infamous Ellen Allien proudly delivers her 7th solo LP, the superlative 'Nost'. Across nine seminal tracks, Ellen Allien demonstrates why she is widely regarded as one of the pioneers of Berlin's techno scene. A visionary who has cultivated a sound which continues to evolve and mutate into new areas, moving smoothly between the classic analogue squelches of acid to anarchic splendour and mesmerising, celestial soundscapes. 'Nost' is the work of an artist who has found herself, yet still pushes herself to go beyond her comfort zone, still creating, still learning and still yearning for more. This is Ellen Allien, this is Berlin and this is 'Nost'.

Braindance Records, Giving the Morning calm a Second Chance.
Having only appeared for a few live sets mainly dedicating himself to production, Go Dam, is a silent actor for the change in Seoul's music scene. With a diverse spectrum of influences and genuine love for alternative Electronic music, we are given a unique identity portrayed through his sound.The 'Alternate Dimensions E.P', first output of the label, opens the doors to another dimension comprising of Electro infused melodies. Reminiscent of the mid-late 90's UK intelligent techno-electro sounds it also combines heavy Detroit influences with a peculiar sonority that will invoke you into the story within the alternative soundscape.

Roberto Bosco has selected in recent months Kiny's music, to better prepare his first 12 ", consisting of four tracks, named 'Damaged

Memory'. The track Unknown (A1) leads off the dance of the release on Last Drop Records imprint. It's a proper exploration in an

unknown sonic territory to most of the people, and also a difficult element to make out for those who are novice to the visionary

component in the musical poetic of Kiny. The track starts with rounds of recurring sirens, almost deafening, framed by dark and

ghostly noises. Something not easily identifiable, ambiguous and unknown, as the title itself says, is perceptible in its sound. All this

helps to shape a bad presage that fades away into the mystery.



On the same side we find Pain Is Full (A2) that, according to the producer, was

born in a moment of pain which can be overcome only by fighting. In fact, the track is characterized by a more combative and insistent

tone, made up by the sound of snare and tom entering since the start and determining an atmosphere of contrast able to shake the

listener until the end. Shouts of encouragement suggest an initiation rite in which there is struggle for survival.



The titletrack, Damaged Memory (B1) has more quiet register with less ghostly vocals, perceived at times, unlike the previous tracks.

The sounds have a vanished effect, such as when you create a halo on a white sheet with the dust of a pencil just sharpened. You will

hear a sort of democracy among the sounds held together by the voice, a metaphor of a damaged memory, as the title itself recite, that

always makes the same process till the end: it commences by recalling but then forgets. Last, is the version of the producer Iori,

Damaged Memory (B2), on the same side. The Japanese remixer begins with a 4/4 architecture and well-articulated sounds, perfect for

warming up the dancefloor, a jolly track which contributes to the experimental tone, but invariably mystical of the entire release.

finally repressed

Betonkust and Palmbomen II are back with their second collaborative effort. This time on the Dutch Pinkman label. Six brand new tracks that seem a lot darker than their previous work. Somewhere between Belgian new beat from 1988 and the West Coast Sound Of Holland. A lo-fi nightmare that turns out to be reality. Pounding drums, paranoid acid patterns and angsty out of control synth choirs.

Bringing his hallmarked temperament to the 4/4 format with beguiling results, Weekend Circuit welcome Par Grindvik for his first full length EP on the label.
'Sole Survivor' performs an intense viewpoint of institutional rhythm. Pencil sharp, and strikingly imperfect tones delude the mind and mistreat the senses. A virtuoso of Par's distinctive sound, is eager and apparent as ever in WCR016.
'Breath' is rich in melancholic atmosphere, drones and feedback loops; a short yet multifaceted & hypnotic introduction leaving you no time to prepare for the incoming fervour of whats to come.
'Detached' is a perpetual motion of phenonmenal high energy - percussion avidly spliced together through a digital attention span. A strong, rumbling tower of unsettle that keeps coming back ever more bold and engaging.
Like a haunted soundtrack to A Space Odyssey, comes the simmering sound of 'Hail Fellow Well Met'. Conveying an otherworldliness, this 3 minute stance on electronic music moves with warped energy and glitch.
Wry fluidity grabs you by the feels and sustains an ominous tension over on the B side. 'Sever' is a maelstrom of consistent percussion, keeping a nervy uncertainty throughout, while 'Left Alone' wields an ever evolving siren of searching sound & noise.
Grindvik at his best, this cathartic and rich variation of sound fulfills Weekend Circuit's 16th release.

Suction Records presents the 2nd volume in a vinyl reissue/remix series by Toronto's Digital Poodle: 'Revision! Vol2 - Soul Crush' (suction037). Formed in 1986 by Heiki Sillaste, Digital Poodle began self-releasing experimental/EBM tapes in the late-80s, and by the early-'90s had several releases licensed to international labels like Hyperium, Cleopatra and Ninja Tune. 'Soul Crush' was an underground hit in EBM/alternative clubs around the world - particularly in Toronto, but also making an impact was Zoviet France's Virtual Mix... This hypnotic, 13-minute psychedelic techno trip, actually a live-in-studio jam between Digital Poodle and industrial music legends :zoviet*france:, became an unlikely rave staple, spun by DJs including Sven Väth. Both mixes are featured here, alongside a killer revision by none other than Adam X, one of this legendary techno producer's rare remix appearances. One of the few artists to credibly bridge the gap between EBM and techno, here Adam X delivers a pummelling dancefloor stormer, with Heiki's distorted vocals taking the Adam X sound even closer than usual to a pure, vintage-EBM sound.

For bonus EBM points, the 12' was (re-)mastered by industrial music legend Eric Van Wonterghem (Absolute Body Control, The Klinik, Monolith).

Vmax is back! 4 track ep with great techno electro tunes with beautiful detroit atmosphere.. The Detroit underground is still alive!! Highly recommended!!

Population One returns on Metroplex. More info soon...

Obscure four track ep from the Detroit Vmax crew. Minimal electro/tech. The BOMB!!

Matías Aguayo and Gary Pimiento's Cómeme label has been specifically formed to highlight artists making dance music in South America.

"I first got introduced to Cliff Lothar through a mutual friend of ours at the time, Lori Napoleon (Antennes). I was surprised by what I heard. He had this feel in his music that seemed to set him apart from just about everybody I had heard at the time. From the start of my time over at Submerge with Mike Banks, Mike had always given me demos to check out, because he just didn't have the time and a lot of the stuff that came in sounded very much the same. A lot of it was very well made but to be honest it was rare to find something that stood out. A few years later, me and Mad Mike were talking about some of the old UR records and one off labels, and I mentioned World Power Alliance. Mike had always wanted to fire the label back up, but there was just never enough time to scout artists outside of Detroit to fill the roster. I said I might have some stuff sitting aside from friends of mine over there that you may like. None of it really seemed to grab him till I popped in Cliff's stuff. The thing that always made me crazy is that I would have loved to snatch up some of the material and put it out, but we just couldnt find enough variety of artists around it to fill in more records. This record contains some of those tracks. This guy knows what he's doing and I'm sure you'll hear plenty more from him in the future. This was one of my favorite records years before it's been released, and I hope you all enjoy it too." -Cliff Thomas aka The Plan/Torque

After his successful 'I'm Made of Stars' LP last year, Michele Pinna brings his Time Traveler moniker back to his Chronicles Diary imprint with 'Chapter V: Chronicles from 1957'. Following the label's concept 'Chapter V' is dedicated to his mother Anna Maria and time is being stretched back to her birth, where past and future seem to collide through Time Traveler's dystopian vision of techno.
A1 opens the EP with an industrial killer groove and Time Traveler's distorted vocals prompting to follow him in an out of control journey.
A2 rushes in with a more mental and compulsive beat, where synths and percussions converge. On the flip side, we find B1 infused with hypnotic modular melodies and intense rolling analog grooves. B2 concludes Time Traveler's journey with its finally crafted, hammering beats, ecstatic bass synths and drum patters.

Nkisi Kill EP is the debut solo release from Melika on the new MW label, the Belgian/Congolese producer known best in the last few years for her prolific work on NON collective. The 12" encapsulates the variety of styles she has help champion through her work and DJ-sets, from afro centric rhythms to influences of Gabber and dark Belgian techno. 100 copies initial run only..
.
Lead track Kill is a full blooded rhythm attack, while the atmospheric journey of Can U See Me showcases the subtler side of Melika's talents. On the flip is the heavy hitting Mwana, while EP closer Parched Lips is a straight up 148bpm acid techno bomb. An incredibly strong first release, with exciting entry points for Nkisi's multi-faceted art and music career.

1x per customer !
Randomer is back at once again for L.I.E.S. and again delivers the goods. Taking the entire a-side is Smoking, and it does exactly that as it's a full on club fueled rugged electro cut that does the job straight up and down. Velvet opens the b-side on a different note building huge tension with its buried rave chords waiting just for the right moment for the drums to drop, a proper club beast if used at the right time. Rye closes it out taking it in the other direction with tribal drums and voices in tow driving it home. Massive!

This new EP on Code Is Law features a great talent who has his roots based in the Lithuania Jungle & Dubstep circles. This record contains heavy techno with concepts of modern times electronic beats and oldschool vibes. The whole sounddesign got a rough and raw aesthetic while all tracks are taking focus on the dancefloor with a massive bassdrum, evil vocals and rhythmic synthlines.

Lebanon Hanover's bassist William Maybelline is back with his solo project. After the debut album Sable from 2015, Qual strikes back with a three-track 12' maxi-single. Each one of these new songs explore a different dimension of Maybelline's approach to Body/Wave electronics.

The title-track Cupio Dissolvi is what we may already call classic Qual: gloomy and throbbing, synth-driven and labyrinthine. A Bloody Blob explores new martial slants, with war-like timpani and a marching robot gait. Rape Me in the Parthenon is a 8 minute long dancefloor mayhem anthem scanned by some pounding techno drumbeat and EBM snare and pads. The most alert of you already checked this in some Ancient Methods DJset. By far the most extreme track Qual recorded so far.

Buried in flowers with hands of gold / Buried together we'll never mold' shall be thy epitaph here, as well as your message engraved on virgin vinyl

DETOBEAT. are Linus Booth, Gene Kouzouka, Chris Macintyre and Todd Nickolas. Music written and produced by Linus Booth, Chris Macintyre and Todd Nickolas. Lyrics written and performed by Gene Kouzouka.

The name DETOBEAT. derives from the home cities of all parties involved in this project: DE/nver (Todd Nickolas), TO/ronto (Linus Booth and Chris Macintyre), BE/rlin (Gene Kouzouka) and AT/hens (Lurid Music).

Booth and Macintyre have enjoyed international success as Jokers Of The Scene and are currently focused on several new projects. Nickolas has been friends of the duo since their formative years and a music producer in his own right under the name ADSR, which will soon see an archival release on Rising High Records. Gene Kouzouka is an animated and live-action film designer, and an experimental vocalist who was introduced to the project by Lurid Music label head Alexander Hobson.

Their debut release features a reworked female vocal version of Ciffs by Marie Davidson, an assaulting techno rework from her Essaie Pas partner Pierre Guerineau, a psychedelic guitar excursion from Khidja, as well as the first ever remix commissioned from legendary greek electronic composer Lena Platonos.

Remix and additional production by Pierre Guerineau (A3). Vocals and effects by Marie Davidson (B1). Remix, additional vocals and production by Lena Platonos and Stergios T. (B2). Remix and additional production by Andrei Rusu and Florentin Tudor, guitars by Rob Tuner (B3). Mastering by Simon at the Exchange. Artwork and lettering by Panayiotis Terzis.

The next release on Zone is another mighty one, this time from electro and techno duo Mikron with a great remix from The Exaltics.

Mikron is a no nonsense duo who have already put out a full length this year in the form of Warning Score' on Central Processing Unit. As well as that cohesive opus, they have credits on this label dating back to 2012 and have the sort of high impact, toughened style that always makes a mark.

The brilliantly gurgling and steely Ulterior' kicks things off with sheet metal hits, slithering bass and buffed-up synth sounds that make you jerk your body. It's direct stuff for the dancefloor, and so is Vanguard'. Though less quick and in your face than the opening track, it still has the sort of crisp groove that has real impact. A distant cosmos of howling winds and thundering rumbles add weight to the whole thing and really finishes it in style.

'Foresight' is even more haunting and spooky. Chilly metal pads spiral in the background, lurching drums and hits bring the groove and the mood overall is truly unsettling. It's devastating stuff that gets completed with Clone and Shipwrec artist The Exaltics' take on Ulterior'. The German has fun layering in Drexcyia style, ripped-up synths and crisp hits. It's macho and post apocalyptic and is as inviting as it is austere.

All four cuts here are standout electro offerings from one of the best duos in the game.

Graphic Design by Zone Studio.


Picture by Daisuke Yokota.

A great remix package from Billy Nasty's Electrix label
Very limited vinyl pressing

One of the UK's longest running Electro acts, Transparent Sound feature on the next EP from Billy Nasty's Electrix label, with three other mainstays of the scene, Larry McCormick, Mr Velcro Fastener and Sync 24 all offering their remix skills.

Transparent Sound formed by Orson Bramley and Martin Bundock in 1994 have over 30 releases including 2 albums under their belt, many of which were self-released on their own label or Electrix, plus appearances on Solid Groove, Crayon, Colin Dale's Abstrakt Dance (their 'Freaks Frequency EP' for the label is exchanging hands for upwards of £150!) and Exceptional who released their 'Hair Cut Fantasy' album in 2005. Not ones to churn out releases relentlessly (quality over quantity comes to mind) they have nevertheless kept a steady flow to this day. Recently their 'Punk Mother Fucker' 12' was re-released by Germany's Pressure Traxx who have also been home to the likes of Einzelkind and Ricardo Villalobos. Currently they're working on a remix for Alpha 606 (Interdimensional Transmissions) as well as a brand new Transparent Sound live set, which they're looking forward to bringing to clubland.

'No Call From New York' opens with their Acid Mix, a unique track with a punchy start that gradually allows for a pause of experimentation before the heavy bass and tough beats kick back in, with twisted electronics aplenty.

Onto the remixes and Larry McCormick, best known for releases on Datapunk, Satamile, Psi49net and his own label Monotone, whether under his own name or Exzakt, delivers a dappled and jagged-edged remix that doesn't falter. Finnish duo Mr Velcro Fastener have been creating Electro since 1997 and released their first EP a year later on their own Tie Entertainment. Further releases have followed on the likes of i220 and Electrix. Here they lay the bassline heavy and add vocal flourishes to their emotive rendition. Finally the London-based Cultivated Electronics and Scand man, Sync 24's remix heads straight into deep, jackin' Electro territory with a precise blow.

a1. ShariVari (Aux 88 Digital Mix) 5:24
Straight proper remake of the original. Clean & prestine rhythms enriched with the depth of a more beefy-bassline. Well-crafted, quality sound of yesterday's classic to today's digital magic.

a2. ShariVari (Aux 88 Smooth Techno Mix) 6:01
Sticks to the original bassline until it burst into the sound of big Detroit stabs and eargasmic effects
'AUX88' has blessed its listeners in this banger.... Home-grown roots by electro/techno's finest.

b1. ShariVari (Aux 88 Mad Scientist Festival Dj Mix) 5:56
A manic, big stage interpretation of the classic. The festival Dj's dream track intended for the absolute party massive;
A must-play on the large system and crowd waiting on a peak-time pleaser.

b2. ShariVari (Blaktony's Deep Baked Rmx) 4:01
A complete flip on the classic taken to the pulse of deep house territory. Spicy percussion wrapped in groovy niceness, combined with 'Blaktony's voice (haunting in the background)....Deeply-chilled & dipped in cool.

30 releases strong, Northern Electronics calls to arms for an entire army-strong release. Scandinavian Swords II collects new players next to the regular stable into a 3x12" release, where the labels many facets gets showcased through the hands and minds of its artists. The label stems from Abdulla Rashim's urge to release artists and friends under the same banner. By letting its artists have a solid platform, Northern Electronics has taken them to areas far out of reach for many: from major festivals to heading deep into the wilderness of urban decay and open air parties in forests and castle grounds. Forming its sound as a unity through every release, the coherence of the label lies in influences such as new wave and ambient, tangled together with hypnosis. In this wonderful sonic mixture lies the trademark sound of Northern Electronics, buried deep into the minds of the forward-thinkers.

New Dekmantel release that features Danny Wolfers a.k.a. Legowelt's ambient project Occult Orientated Crime.
It's for the first time ever that this moniker of the prolific Dutchman will have a physical release. Wolfers: "The OOC sound is an accumulation of twenty years of musical training and research and what effect it has on the brain. Simply put it's electronic ambient music, which is more advanced compared to the music I'm creating with my Smackos alias. OOC is deeper and more melodic, less loose and vague but perhaps more intense. It can bring the listener into a completely different state of mind, you can almost call it ritualistic neuroscience music."

The six tracks are recorded around the same time, using coherent recording techniques. "Let's say I was in a flow, or something like that. But I rather think it's the music itself that gives it a distinctive sound: the way the music was composed, the notes and the sound palette. I haven't used any sharp sounds for example, but everything is very round so your brains will soak it up as something smooth."

Apart from the track 'Just a Clown On Crack', the release lacks kick drums. "Most or nearly all music from PC doesn't have a beat because it is often unnecessary, it distracts from the melody or what should be processed in the mind of the listener. The melodies, sounds and structure itself are enough to bring the listener into a certain mindset: a beat there would almost sound cheap, tacky. 'Just a Clown On Crack' has a trip-/hip-hop feel to it and was craving for a beat. It's also the last track of the album and, in a rather fluent way, brings the listener back to the misery and tragedy of the normal, everyday world. It's like returning from the OCC dimension with a soft landing."

The legendary Prescription Records defined the 1990s deep house sound. Now captured in this monumental 6LP anthology boxset! Holds numerous classics that have been out of press for years + previously unreleased tracks, huge tip!!
'Prescription: Word, Sound and Power' presents the groundbreaking Chicago based house label's anthology, holding milestone songs + four previously unreleased tracks.

Prescription Records defined the 1990s deep house sound. Chez Damier and Ron Trent started the label in 1993, released some two-dozen singles in a four-year span, many of which attained legendary status on the underground scene. 'Chez Damier and I started the label, because we had the idea to take a certain level of fidelity and bring that fidelity to what people call tracks. Tracks being drum orientated Chicago rhythm tracks with a minimalistic melody. We were playing with that idea, expounding a point of
that minimalistic aspect and making it more complex', Trent explains.

Ron Trent was born in Massachusetts but raised in Chicago, listening to jazz and learning percussion. He began DJing in 1982, playing at area high schools. His first EP, containing the epic instrumental'Altered States,' was released on Armando Gallop's Warehouse Records in 1990. Chez Damier (Anthony Pearson) grew up in Chicago, where he danced at the Warehouse as a youth. He left for Detroit in the 1980s, helping to open the Music Institute and working A&R for Kevin Saunderson's label, KMS. Damier and Trent met while Damier was visiting Chicago and immediately hit it off.

Today, Prescription is cited by countless producers as a major influence. 'It's a very dub experimental label... sound bites, samples, rhythms, and a lot of ethereal stuff, too,' Trent expounds—not to mention. Prescription's embrace of heavy sub-bass. Concludes Trent, 'It was ahead of its time, definitely.'

Woken from his infinite cryosleep sentence, Conforce operative Boris Bunnik is sent out to investigate an autopoietic conspiracy virus in the depths of the possibility matrix. 'Self-Replication' is Versalife's TRUST debut and the third entry in the label's Covert Systems Series, following up on recent releases by Lok44 and Alex Cortex.

Deadly double-header from the iDEAL ranks, pitting Dungeon Acid in a split face-off with the maelstrom hisself, Russell Haswell. Expect deep-raved techno and n0!se of the most potent order, delivered in 'floor-sized portions!After a run around the houses of Fit Sound, Börft, Stockholm LTD, Klasse Wreckes and Ufo Station
Recordings over the last six years, Jean-Louis Huhta nails his strongest Dungeon Acid sound in both parts here: going deep and long with the stealthy modulations and grittily fluid, almost proggy drive of Acid Moments In Time And Space, and then like some long lost Mike Dunn or KMS banger with the shivering rimshots and thunderous acid undertow of Youth Against Fascism ('cos everyone knows Nazi's can't dance).
Switch to 45rpm on the flip and you'll find R. 'aswell on filthy good form in both parts: stewing some proper acid n0!se reflux in the gut-kicking iDEAL tape try (take #2), before the gloves come off for the unmetered squabble of iDEAL n0!se for tape, where his fascination for high freq Japanese power noise really comes to the fore with excoriating effect.

R&S Records are proud to announce a new single from Tale Of Us, double A-side 'North Star / Silent Space'. The Berlin based duo of Carmine Conte and Matteo Milleri have had one of the most meteoric rises in recent times. In the space of five years, they've won plaudits across the board and developed a huge international audience for their singular, emotive techno
'We are very excited to start this new journey with R&S" Matteo explains. ' We really took a lot of inspiration from all these great records from the past, so to finally be releasing with them is a great achievement"
Known for their extremely high standards that have seen them discard hundreds of tracks in the search for the perfect beat, this exacting precision is highly evident - from the cut glass synth arpeggios, swelling cinematic pad sounds of 'North Star' to the pulsating groove, dark bass and squalling white noise of 'Silent Space' (featuring additional production by cohorts Joy O and Boddika) this release is surely some of their finest music to date, and once again cements Tale Of Us's reputation for delivering dramatic wide-screen club music.

1605 MUSIC THERAPY - EP FROM 1605 FEAT CUTS FROM HERTZ & SUBWAY BABY / MANUEL DE LA MARE / SPEKTRE / DA FRESH