Techno Vinyl New Releases - News

Jackin beat tracks and psychedelic discofied mixers from Robert Crash. Beatin', jackin' and rockin' the house! Coming to a dancefloor to you soon.

Scuba's musical biography has been a story of constant change. Over the past eleven years, his music has zigzagged through bass, techno and house, at times dark and contemplative, at others bright and anthemic. A look at his discography bears out this creative restlessness: from the shadowy rhythms of A Mutual Antipathy and Triangulation, through the soaring melodies of Personality and the cardinal "Adrenalin" EP.

Claustrophobia is more than just the next phase in this development—it's a culmination of everything that's come so far. As its name implies, the record is tense and inward-looking, but it's also rich and dynamic, nimbly moving through a panorama of moods and styles. Rhythms expand and contract from one song to the next, textural passages give way to shimmering strands of melody, found sounds and field recordings breathe life into ambient sketches. The album is modern and understated throughout, but also touched with something unrestrained: the exhilarating energy of classic rave.

The album comes at a pivotal moment for Scuba. In the past few years, he's gigged heavily, playing countless festivals and clubs around the world. The hugely influential Hotflush Recordings, the label Scuba runs, has expanded rapidly, with upwards of a dozen releases each year, including widely loved titles from the likes of Joy Orbison, Mount Kimbie and Paul Woolford. But Claustrophobia was written in a period of relative calm. Scuba began the album last summer as he prepared for his set at Labyrinth, the intimate techno festival in the mountains of Japan.

On that autumnal afternoon, given four hours on the world's best Funktion One, he traced the full arc of his current sound, from sonorous Rhythm & Sound-style dub to full-on warpath techno.

Claustrophobia, which he finished in the months following Labyrinth, has the same bold and comprehensive quality as that performance. We only occasionally get a 4/4 thud—most tracks are built on lurching, angular rhythms, sometimes subtle ("Drift," "All I Think About Is Death") sometimes monolithic ("Television," "Needle Phobia"). A few tracks, like "Levitation" and "Transience," are essentially beat-free, but are not mere interludes—with vivid tones and striking depth of field, they have as much gravitas as their thumping companions ("PCP," "Why You Feel So Low" or "Black On Black"). Sleek, versatile and aurally lush, Claustrophobia is Scuba at his most immersive.

Following on from last year's 'Your Charizmatic Self' EP, Night Slugs executive producer Bok Bok teams up with composer and keyboardist Sweyn Jupiter on a romantic new double A-side single.

'Papaya Lipgloss' is a song about young love, presented in two distinct but equally weighty versions. Both mixes share a common melodic motif, skeletal yet sincere.

The 'Club Mix' draws on tribal House energy: a sweltering rhythm built of Latin percussion, Linndrum funk and pumping subs, over which melody gradually unravels in bursts of stark, juicy colour. Synths form a sensual narrative, remaining ever poised even as their pulpy goo engulfs all surfaces. This is intimate club music that brings a new kind of intensity to dance floors.

Meanwhile, the 'Sour Mix' is saturated and dripping with bitter-sweet nectar. This version sees 'Papaya' transformed into an opulent bedroom jam, complete with quaking kickdrums and purring Moog bassline. A halftime drum kit of dumpster-drive 808s keeps things gritty while melodic goo leaks from between all the cracks.

Ace, eagerly-awaited, five-track EP, after drops for Trilogy and Berceuse.Ramped-up, banging and decayed, computer-age and apocalyptic, in fine signature style.
180g vinyl, handsomely sleeved; short run.

This is the 4th episode of the IUEKE saga, and as with his previous releases on Antinote these new/old cuts are sourced directly from the personal IUEKE tape archive. Recorded one lost night between 1991 and 1992.

Madegg, the 22 year old wonder kid who supported Arca, Clark, Mount Kimbie, TOKiMONSTA, Ryoji Ikeda, Anthony Naples, FaltyDL, The Field, School Of Seven Bells, Teebs, Anton Zap in Japan, The production resonates with some of the experimental hip hop and avant-beats, but with a uniquely melancholic quality in its world view, Madegg's music has been carving out its own niche, steadily garnering attention on the internet. he finally starts a new project: M/D/G.

The EP's concept is "sport in 2100" - M/D/G's unique sound evokes the feelings of a mechanical body check, some strange procession, the embodiment of our future body. High quality lo-fi sounds coming from a techno/house/bass music orientation and just as perfect on dance floor or in your living room. The ep mastered by Miles Whittaker (Demdike Stare), mastercut by Andreras (Lupo) Lubich. M/D/G's track is featured on forthcoming compilation of Ryan Hemsworth's Secret Songs. RIYL: Huerco S., Actress, Kassem Mosse, Logos, Karen Gwyer, Basic House, Anthony Naples, L.I.E.S., MisterSaturdayNight, The Trilogy Tapes

Part one of two 12"s with extended mixes from the debut Pearson Sound album. Cut at 45rpm by Matt Colton

Daniel Savio - the Swede who coined the term 'Skwee' back in 2006 when the first odd-sounding electro-funked and tempo-twirling 7inches came about from Finland and Sweden. His 6-track record for Laton consists of true-to-the-game Skwee sounds and rhythms incl. oriental-like melodies that has been penetrating the genre for years. Harmonic in melody, diverse in tempo from the originator.

Laton presents some of the proprietors of Skwee & the phenomenon of this Fennoscandian sound with three different 12inches and a LP compilation. 'Holtiton' was originally released in 2012, limited and is back on demand.

Another lost warehouse find from the archives of the formerly Cologne-based imprint Hotel Lotte. Originally released in 1999 this fourteen track compilation album serves the dopest, grooviest and most trippy beats to be found in genres like Downbeat / TripHop, BigBeat, Electro and beyond, produced by the labels allstars like Cosmopolis, Frank Heiss, The Dank or Dr. W alongside well-known guest appearances by Hagedorn of Computerjockeys-fame, the NYC-based underground HipHop outfit Bedroom Productions with their killer anthem - Socialism NYC and many more.

If you love super dope grooves, this album's for you!

Henrik Bengtsson from Swedish Helsingborg is the man behind this alias. Other outfit is GOZ MONGO ALLIANCE whith a sound from the UK era 79-81. With this soloproject there is only old drummmachines and crappy synth involved and some small lyrics too.. And.. This is Brain-Disco, Mekano style!!!! Can you handle it

A genuinely unique project; Fundamental's Alex Stark created this highly limited and beautifully presented project via his love for Cygnus. This led to Biosoft Records which led to the discovery of Patronen, a man who made two album's worth of material (and probably more) on analogue machines in the early 90s and refuses to move from shadows. Twin Paradox celebrates this prolific, formative work across two albums. With the classic electro angularities and epic synthetic cosmicity are very much of their time, there's an overwhelming sense of timelessness and relevance to the project too. We reckon if you listen to cuts such as the poignant, reflective "Abstand" or the distorted, shuffling phrases and positive harmonics of "Karlsruhe Nach Basel" in 20 years time, they'll still sound just as icy and futuristic. We also reckon you need to jump on this investment now! With only 100 printed, this will sell out very quickly.

I woke up from a dream, I dreamt of my Mother. I haven't seen her for a while. The dream is the only place I could see her, since she left this world. I always believed that she went to another universe, and often she came to see me. We would do something fun together. This time, we were picking coconuts from a big tree. The coconuts rather looked like pine tree cones. But they were big and green and there was fresh, juicy coconut flesh inside. We were using a lengthy stick, knocking on the fruits. And then they fall, one by one, like a dance... This is the story, the falling coconuts dance from another universe. 

Continuing his ear-tingling strike of releases, Nuno dos Santos is putting Sigward on the stage for the fourth instalment of Something Happening Somewhere. With remixes from Simon Garcia and Scott Fraser based on two originals, the dark has been encapsulated on a record. Melancholic, subdued, tranquillised but packed with energy, there's something for every dancefloor out there, even if you happen to be a six-fingered DJ. 

Yep! Airhead's writing big ones now. Inspired by afterhours sessions in some of the world's best and worst nightclubs, HEK024 bangs with the best of them and enforces a new weight behind the producer's delicate production style.

The roughness debuted on this summer's 'Believe' EP for 1-800 Dinosaur (a label Rob co-runs with James Blake and friends) on which he soaked up plenty of influences from US and UK club tracks/trax and effortlessly intertwined them with his measured songwriting and arrangement skills.

HEK024 Mastered at Metropolis by Stuart Hawkes

A. October

Ring the alarm! Catastrophic fanfares, snare rolls, those big 808's and a few words of warning quickly combine into a one-two punch odds on to floor your dancefloor

B, Macondo

Seconds away round two, Macondo shuffles around the ring in snake style formation, dazing the competition with voodoo flutes, heavy kicks and percussion.

Tokyo Wax is a Peckham based coterie of creative individuals who draw their influence from varied cross-section of Electronic music's heritage. Tokyo Wax intend to outlet music that both reflects and expands upon their influences spanning across spacious, loose-limbed headphone pieces and tough, floor-focused club tracks.
In to inaugurate the project are label heads Presence and Persona backed up by L.I.E.S and Russian Torrent Versions affiliate NGLY who collectively turn in a package bearing flecks of Dub, percussion-lead House and tenebrous, left-of-centre Electronica.
TW001 was funded by a Kickstarter campaign with all proceeds from record sales going towards the U.K based Addison's Disease Self Help Group.

Collecting Orders For A Repress!
'Square' is the follow up to Redshape's album debut 'The Dance Paradox' (Delsin, 2009) - that is if you don't want to count the double impact 12-inch - Red Pack' as a long player. And indeed, it is a long player in the truest sense of the term. Pamphlets, theories and opinions about the dubious role of 'the album' in techno are dime a dozen, i.e. squaring the circle, but the man with the mask makes an effort to prove all of them wrong. 'Square' doesn't care for styles, genres or expectations, it can hold its own. Spread across twelve tracks you are as likely to meet vintage Redshape on tracks like 'It's In The Rain' or 'The Playground (Square Version)' as you will encounter new facets of him with the Hyperdub affiliated Space Ape featuring 'Until We Burn' and 'Moods And Mice' or with a cluster of ambience pieces ('Orange Clouds', 'Landing', Departing'). Working its way through all these states and moments on and off the dance floor, through melancholy and industrial romanticism alike, 'Square' leaves you with the feeling of having experienced an electronic music album with identity that trusts in itself and wants you to trust in it. No matter if your perspective comes from a classic album like Kenny Larkin's 'Metaphor' (R&S, 1995) or is informed by the recent retro futuristic developments in the United Kingdom, if techno means more than a desperately compressed kick drum to you, Redshape with all his idiosyncrasy finds his way into your heart. Too hip to be square I don't think so.

Kowton's reimagining of Paul Woolford's classic cut sees the light of day on wax. Swivelling outside and in, popping upside and around - the coveted Bristol producer behind Livity Sound leaves an indellible mark on a notorious tune. Includes both beatdown and beatless versions.

Radio support from Benji B & B Traits (BBC Radio 1), Nemone (BBC 6 Music), . DJ support from Ben UFO, Joy Orbison, Caribou, Tessela, Mosca, Kowton, Ron Morelli, Bok Bok

Print features confirmed in Groove, Beat Mag, Faze (DE), Tsugi (FR), DJ Mag (IT), Volkskrant (NL), The Gap (Austria)

Print reviews confirmed in Mixmag, The Wire, Crack, DJ Mag, Uncut (UK), Blow Up, Rumore, Rockerilla (IT), Irish Times (IE), Musikexpress, Doppelpunkt, Westzeit (DE), Exclaim (CA)

Online features / premieres: The Fader, NPR, XLR8r (USA), The Quietus, Dummy (UK), Wasabeat (JP),

Hessle Audio are excited to announce the release of the self-titled debut album by Pearson Sound, aka label co-head David Kennedy. Characteristically minimalist in approach, its nine tracks use a handful of elements to craft mesmerising, self-contained worlds, alive with motion and near-subliminal detail: from vast and inky landscapes, to electrifying rhythm tracks, where layers of percussion and bass tumble over one another like rocks in a landslide. Recorded between 2013-4, Pearson Sound documents a distinct phase of Kennedy's studio explorations. "I had a signal chain set up that I was really happy with, and I started sending my machines through the same processes" he says. Expanding upon the techniques underpinning his recent REM and Starburst 12"s, its tracks emerged swiftly through improvised jam sessions, some were captured in a minimum of takes, while others later took shape through extensive sculpting and post-processing. "A lot of it was made by feeding the the same sounds between two different pieces of equipment and they'd end up feeding back between each other and snowballing. On some tracks it's about harnessing that and taking it to the brink before it disintegrates, and some of them are about just letting it go full-blown out of control." The result is a record of striking contrasts: bold, stark and visceral, yet also subtle, harmonically complex and deceptively playful. While Pearson Sound's livewire percussive energy remains inextricably rooted in the club, this exploratory studio process has created Kennedy's most wide-ranging yet coherent body of work to date: a suite of thrillingly impulsive, expressive and open-ended music, untethered from restrictions of form.

Refreshingly original 6 track 12 from Italian producer Herva. Mini LP..TIP!
If you peeked his recent Instant Broadcast LP on Delsin you'll know that he runs the whole gamut from the sample based broken beat leanings of How to Mind your Own, to the frenetic techno sound of Pressure Bumps via the melodic Aphex style vibes of She Is. And thats just the A side. All in all, a rewarding listen, a dense layered EP - a collage of a whole spectrum of influences that fits nicely into the All City no style canon.

Gathered from the French electronic pioneer's cassette-only releases from 1980 to 1985.

Minimal Wave: "Laurent's music can be described as spacey synthpop, containing much depth and range. It is edgy, political and pushes the limits, transforming his sound beyond one specific genre. Hints of classical influence as well as electro influences can be heard." Laurent's music can be described as spacey synthpop, containing much depth and range. It is edgy, political and pushes the limits, transforming his sound beyond one specific genre. Hints of classical influence as well as electro influences can be heard.Laurent's music can be described as spacey synthpop, containing much depth and range. It is edgy, political and pushes the limits, transforming his sound beyond one specific genre. Hints of classical influence as well as electro influences can be heard.Laurent's music can be described as spacey synthpop, containing much depth and range. It is edgy, political and pushes the limits, transforming his sound beyond one specific genre. Hints of classical influence as well as electro influences can be heard.Laurent's music can be described as spacey synthpop, containing much depth and range. It is edgy, political and pushes the limits, transforming his sound beyond one specific genre. Hints of classical influence as well as electro influences can be heard.

Third and final chapter for the Sentient City serie by Plant43.

Hodge is one of those rare producers keeping the quality on point while unleashing a near constant stream of music. Releasing no less than nine singles and EP's in two years (in parallel to his work as half of the duo Outboxx) the Young Bristolian has rapidly claimed a sonic territory of his own. Anthemic melodies, militant drums, cavernous sub bass have combined on future classics released on Berceuse Heroique, Punch Drunk and Tempa. 2015 will no doubt see Hodge increasingly dominate the ever-mutating UK underground.



His debut release on Hemlock lays four heavyweight tracks spread over two pieces of vinyl cut loud and proud by Sam at Precise. The EP spans all aspects of the Hodge signature sound: Tribal steppers, Sound system wreckers, twisted drum edits and haunting melodies.

With her single 'A Matter Of Time' Dillon sent out a wonderfully fragile prelude to her second album 'The Unknown' on BPitch Control. For the remix EP Dillon has allowed four genuine masters of their trade to lay hands on the original: Marcel Dettmann, Anstam, Planningtorock and Monokle.
Janine Rostron, aka Planningtorock, manipulates Dillon's voice in a similar way to her own productions, giving it an almost genderless breadth. The interplay with retro-sounding percussion and accentuated bass sounds gives rise to an extremely versatile anthem. While Berghain resident Marcel Dettmann initially extends Dillon's vocals, the industrial slipstream provides a space for a loop monster à la Dettmann - raw, primal and dirty. Although his positively ghostly sounds dominate his 'A Matter Of Time' remix, the piano chords in the epilogue bring the original to mind again. Anstam, from Modeselektor's 50 Weapons family, applies his trademark sound design to his interpretation, lending Dillon's voice an almost reverent glow among the hectic light of IDM abstractions, organ pathos and experimental leftfield verve. The Russian producer Monokle begins his remix as an ambient piece, before the fat breakbeats transform the original into a pumping track where dreamlike synths and a deeper bassline concuct a glittering hybrid.

Egyptian Lover's first record since 1994..... Solid electro dancefloor tracks like no other. Still rocking and still making the ladies shake their hot pants! BIG TIP!!...

After his first ep for L.I.E.S. last year, Tzusing is back with his impeccably produced style of industrial and EBM influenced machine grinding cuts. Tip!
The tracks on this ep represent the climate of clubbing yesteryear when it was normal for djs to play such things as Ministry, Front 242, or Nitzer Ebb next to a disco track next to a breakbeat track and so forth and to say these tracks could be heard somewhere like Medusa's would not be off base. Driving, engaging and downright gnarly we can only hope these sounds foreshadow things opening back up on the floor as time pushs forward.

Lux Rec enters its fifth year of existence. A time of adventures in electronic sounds, exploring the margins and the darkest corners.
To celebrate all victories and failures Cosmo & Faber compiled this release, the number 23, collecting material from old acquaintances and musicians that are new to the label.

The Dying Lights is a collection of tracks that reflects the path Lux Rec followed these past years, acid, low-fi, analog rudimental techno, melodies of pain and sorrow. Six tracks on two vinyls, from light to dark, to accompany you, soothe and haunt you, to the only known end. Dust.

2 Track 12 inch from Paleman on new Swamp 81 sublabel, 81

Dial Records present the second part of Efdemin's Decay Versions.
With a pure Detroit Electro version of 'Decay' e.r.p. aka Convextion starts the second episode of Efdemin remixes followed by a rough bouncer by Mojuba boss Don Williams. Johannes Volk's remix of 'Parallaxis' lets the Efdemin starship discover the sound of foreign planets. Back on earth Traumprinz deliver a true 90ies style rave hit - goosebumps all around!

Asss is back on Haunted Air.... one for the dark techno/ modular synth heads!

MNLTH aka Dave Monolith, Photodemetia, etc - Hot off the heels of his Time EP on WeMè Records. Dave is giving his fans a real treat in 2015. Flektro EP March 2015 on CPU Records.

Charles Cohen replaying "Di Kala Sudah" by Senyawa while having his own "Conundrums" beaten and edited by Robert Turman... oh yes...TIP!
Indonesian hardcore band Senyawa board the Morphine Records mothership in early 2015, with a stunning upcoming album "Menjadi" (doser025LP). A preview appears here in the shape of a an extraordinary album track replayed by Charles Cohen's on his Buchla Music Easel. While enjoying a few months residence in Germany, Mr Cohen conducted a ritual-esq and tonal re-adaptation - flushing the song through layers of spaced out orchestrated grooves. Meanwhile in the US, explorer of the deepest depths, Robert Turman, smashed Charles' Conundrums into small bits and recrafted it in his own masterful manner. He seems to channel a similar ability of melting down the metal in a sound, and forging it into new and expanding shapes.

KANGAROO SKULL is the solo project of Rohan Rebeiro - drummer of renowned Australian trio MY DISCO. Heavily percussive and rhythmically complex, KANGAROO SKULL meticulously pieces together soundscapes within Max MSP, with an end result that conceals in its raw simplicity the intensity of the process. With multiple tours outside Australia already behind him, Australian dancefloors have been keenly awaiting a first release. PALACE OF NOTHING is his much-anticipated debut - four tracks that convey a sophistication far beyond what could be expected from such a new producer.

The man from Moodhut drops his debut album... "six tracks of that sweet spot dance, in the tradition of Virgo 4, Stickman Records or the classic Italian acronym house labels like MBG and DFC".Future Times 2LP ... you know it's going to be nice! TIP!

Juan Atkins returns with a new Model 500 album... big news, more info very soon....!

Ritualistic & trippy tribal tracks, each side with a different collaboration. 5 tracks of shamanistic percussions, spaced & dubbed out tribal and a flute-based ambient beauty all segued together as a proper long player on the A. Full side on the B provides a long heavy and very deep machine run tribal piece with echoed sounds in-and-out of the ample spaceous mix