Techno News

SCNTST returns to BNR with a heavy hitting Remix EP of his Original "Thru Infinity". After his latest Album "Puffer" (2015) and his latest EP "4FRIENDZ" (2015) the young bavarian strikes again. With his new EP "Thru Infinity" SCNTST once again proves his variety of different productions styles and continues to grow in stature. With vibrating synths creating a thrilling rhythm full of emotions, the sound of 'Thru Infinity' displays an excursion into danceable beats. A new sound produced with perceptible blood, sweat and tears.

The EP includes remixes by none other than the Bavarian brother duo "Zenker Brother" (Ilian Tape) as well as Chicago born "Hieroglyphic Being" (Mathematic Recorings). Get ready to get caught up in the maelstrom of another world.

Four slabs of distortion-laced acid, electro, and techno from LSE founder R Gamble. Featuring an excellent remix by Diagonal / Spectrum Spools affiliate Prostitutes. Cover .
artwork by Jenna Westra. Mastered by Dietrich Schoenemann. 12" vinyl available in May 2016. Limited to 300 copies

KILLEKILL MEGAHITS II is a jubilee release. But it's not only that. It's also milestone and turning point in the Killekill history, because with this release Killekill closes one chapter, and opens up another. We will start several new labels over the next months, so this is a hello and a goodbye release - looking back and forward at the same time.
The full compilation got a lot of coverage and the tour was very successful, and so we will release the records as single releases as well.

Part 1 features some of the future key artists and crosses over from electro to acid and back.

KILLEKILL MEGAHITS II is a jubilee release. But it's not only that. It's also milestone and turning point in the Killekill history, because with this release Killekill closes one chapter, and opens up another. We will start several new labels over the next months, so this is a hello and a goodbye release - looking back and forward at the same time.
The full compilation got a lot of coverage and the tour was very successful, and so we will release the records as single releases as well.

Part 3 features the straightest tracks of the compilation. Detroit-ish techno from Alex Cortex, stomping acid from Blake Baxter, the prince of techno and modern techno by KSP and Cassegrain & Tin Man - 4 bomb tracks for the dancefloors.

27. Nina Kraviz - You Are Wrong (Unreleased)
28. Torul V - Denwer (Tissju)
29. Nina Kraviz - Pochuvstvui (Unreleased)
30. Mike Henk - Dox-003 Untitled B1 (Pulsar)
31. Woody McBride - The Power Hour
32. Christian Bloch - Refuse (Simple Muzik)
33. DJ Tuttle - Universe of Love (Subsounds)
34. Woody McBride - Prolonged
35. Drax LTD II - Amphetamine (Air Liquide remix) (Trope)
36. Claude Young- Locked (Djax)
37. Negative Return - First light (Global Ambition)
38. Air Liquide - Revelation (Blue)
39. Automatic Sound Unlimited - Approaching (Hot Trax)
40. The Detroit Escalator Co. - Fate (As A Chasm) (Peacefrog)
41. AFX - fork rave (Warp)

Berlin based Adam Marshall and Christian Andersen collaborate as Graze. In the latest installment of our UFO series, the Dekmantel Records offshoot dedicated to experimental and futuristic electronic music, the Canadian veteran producers serve up a 50/50 lethal/dreamy drum trax package. Many have applauded the versatility of Graze, and their Xup EP is yet more proof of their original minds.Xup' is an abstract 4/4 jugular, beating out devious percussive patterns and rattling hi-hats over a grizzled and arpeggiated synth mortar-fire. 'Vast' on the other hand is an esoteric slow-burner, a hallucinatory trip to the depths of analog synth paradise and a perfect intro, outro or home listening gem. On the flip, the hyper-lean gearshift of 'Tryptch' pumps energy through off-kilter and plunderphonic basslines, while 'Shadow Play' is a classic piece of breakbeat bliss including a celestial synth arrangement that makes a perfect soundtrack for slow-speed sci-fi rides.

After the boundary breaking, experimental excursions of recent album 'In The Wild,' Brooklyn- based FaltyDL was hungry to return to the dancefloor music that made his name. That hunger shines through on his 'Rich Prick Poor Dick' single - a sleek, stripped back duo of dancefloor stalkers.- Recommended for fans of Floating Points, Four Tet, Machinedrum, Martyn.
- Heavyweight 180g 12' vinyl in a 3mm spined sleeve.

Seriously strong Jamal Moss LP under his Hieroglyphic Being moniker... essential.. TIP!
In HB's own words:
'Describing The Disco's Of Imhotep he says:
'The Disco's Of Imhotep is about creating Frequencies and Vibrations for the Listener that are conducive for him or her to Heal The Mind and Body and Enrich the Soul by creating Hemi-Synced Harmonies and music that contains embedded Binaural Beats.We have been made to believe that electronic sounds are just for Movement, Enlightenment, Primal Afflictions and Entertainment purposes, but it's much more... It's Sound Healing, but the ancestors would call it Frequency Medicine. Medicine is Healing and this project is dedicated to one of Earth's first Healers: High Priest Imhotep.The One who comes in Peace, is with Peace."Ninja Tune set up Technicolour as a singles label. The Disco's Of Imhotep is only the second Technicolour album release in the wake of 12's by Legowelt, Florian Kupfer, Nathan Melja, NY*AK, Kutmah, BNJMN, U, and the first longplayer on the label by Levantis.'l

Cocytus, meaning "the river of wailing , is a river in the underworld in Greek mythology. It flows into the river Acheron, across which is the underworld, the mythological abode of the dead. Dante describes Cocytus in Inferno as being the home of traitors and those who committed acts of complex fraud. The river of wailing is divided into four arms:

Antenora, after Antenor from the Iliad, traitors to country.
Judecca, after Judas Iscariot, traitors to masters and benefactors.
Caina, after the Biblical Cain, traitors to blood relatives.
Ptolomea, after Ptolemy, governor of Jericho, who murdered his guests (1 Maccabees), traitors to guests.

Based on these assumptions COT labelhead HOURS crafted three pensive tracks, one of which was reinterpreted by Brian Sanhaji.

As one half of Simian Mobile Disco, Jas Shaw has been co-creator of a remarkable string of varied albums, from their debut, Attack Decay Sustain Release, through their vocal lead more pop leanings on Temporary Pleasure, uncompromising techno on Delicacies, and prog synth wig outs on Whorl.

Now, given a bit of free time while his musical other half, James Ford, has been off producing for other bands, Jas has been busy crafting a whole slew of new material, the first fruits of which see the light of day on this brand new release on the duo's own Delicacies label.

Stylistically closest to SMD's Unpattern's era, the EP kicks of with the title track 'Love Doubled'. Full of skittering percussion clamped to propulsive backbone of a kick, the shimmering and clanking melodies and booming bass has nods to likes of Pantha Du Prince and Roman Fluegel.

On the B side, 'It's Not The Clock That Tells The Time' nervous little patterns of stabs ease their way into the listeners consciousness before being joined at the halfway point by another low end bass riff. 'To Mock A Killing Bird' takes a slightly more sedate route, more suited to early morning comedowns than dancefloors, with a shimmering ambient opening, reminiscent of the deeper Whorl cuts, before crunchy drum loops emerge to build structure.

Creme Organization turn to the mysterious IVVVO and Lisbon producer Lake Haze for a new single that comes backed with a remix from label regular Legowelt. The single '#1' is a hard hitting but fuzzy, misty and hugely spacious house track with deep jacking drums, haunting synths spiralling all around and freaky voices buried deep within. Hugely atmospheric and lovably imperfect, it then gets remixed by Legowelt. His version of the track flips it on its head, strips back some of the white noise fuzz and reimagines it as a driving techno cut with impish chords, retro arps and high pressure stabs. It's a peak time bomb and ensures that this release is a high impact one indeed.

1x each customer !
Q3A is a new alias of Route 8, a producer who has credits on labels like Lobster Theremin and Nous as well as Black Venison. Now the producer serves up a sumptuous four track EP, Space Chamber, on the Delsin label and it touches on many different styles with equally great results. 'Lost Souls' is first and is an expansive bit of well driven deep house with rich synths and cavernous innards that really suck you in. Next up is another serenely crafted bit of atmospheric house with dusty drums and lose hits all backed with heavenly pads and retro bass. The first of the b-side tracks is a chunky acid kicker with angelic vocals drifting up top as a controlled 303 line rips up the foreground. Spaced out and deep, driving yet emotive, it is a moving bit of club music before the B2 trips you out on a silvery electro tip with its icy lines and slap-funk snares. Overall, this is an expansive and perfectly formed EP and comes with a sleeve by Boris Tellegen.

UK wave funk veteran DMX Krew returns to Abstract Forms with his latest double album project. Escape-MCP features 13 tracks of synth drenched electro and elastic techno grooves drawing inspiration from a 1983 computer game where the player is trapped inside a computer by a rogue processor. Fortunately DMX Krew isn't trapped inside a computer and is still with us making killer grooves. Don't sleep!

A very special release for Wicked Bass this time, coming from a personal favourite: Antonio Marini aka Healing Force Project. Kicking things off, 'Kinetic Drawing' takes you on an anxiety-inducing journey via smokey jazz ambiences and elastic dub pools whilst Swedish producer Porn Sword Tobacco takes care of the flip with a dazzling edit of latin-house infused rhythms and tropical scapes. An ode to Summer's warmth and love. 100% pleasure!

A 50 MIN MIX OF OG HARDWARE JAMS AND EDITS COMPILED IN TWO HALVESPROFESIONALLY DUBBED 50-MINUTE CHROME PLUS CASSETTE

Limited release 10 track 12" on collectable Japanese label "Snaker" The GNOCCHI a.k.a. GNOC-THE-CHI a.k.a. DJ N- ZK is the label owner of oriental 10"oriented label as "I- I- P"and he is also known as a real hard digger soft drinker.
Leaving signature FM synthesis work Arcade Game, blends with soft reggae feelings, his programming make more minimalismic, polyrhythmic and even funky approach through eerie,vertiginous,glistering and ominous without long dramatic notes. This primary sound make us mad, it has something common to lo-fi feeling or raw house groove.

Keith Tuckers Optic nerve persona returns with the Timelapse ep. Side a1 Minimal Detroit mix is a dark minimal Mood beat pumped excursion into techno floor stumper. A2 Time Displacement mix is a completely different Take with alternative beats creating a sort of shift in time. The tracks show Tuckers growth and influence on Electro and techno with his work in Aux 88.
Side two One moment in time is a Detroit sort of metroplex gem . Tucker once again shows his melodic Melodies and baselines that shows his love for Detroit music and grooves. A highly thought out sequence of great sounds and string chords as only Optic nerve does it. Tucker has hinted many times that he has a lot of Unreleased music from his metroplex days!
B2. Transient Force records label owner AS1 gives us a true electro mix which keeps alot of the original mix of One Moment in Time. The tone is A more Electro clash techno mesh of urban beat programming for the electro heads.

BBC Radio support from Benji B, Huw Stephens, B Traits, Mary Anne Hobbs.

Initial DJ support from: Ben UFO, Pearson Sound, Joy Orbison, Blawan, Pariah, Objekt, Call Super, Midland, Kowton, Peverelist, Tessela, Martyn, Luke Slater, Hodge, Anthony Parasole, Mosca, A Made Up Sound, etc.

At time of writing reviews confirmed with: Crack, FACT, XLR8R, DJ Mag, The Wire, Electronic Sound, Future Music, Electronic Beats...

Features/premiers - Boiler Room, Mixmag, Red Bull, The Quietus.

Hessle Audio present the debut full-length album from label co-founder Kevin McAuley, aka Pangaea. In Drum Play's ten tracks cut deep into stripped-back techno structures, yet remain infused with the ravey intensity and rogue experimentalism that has placed his work among both the strangest and most banging dance music to emerge from the UK in the last decade.

Since his debut 12" in 2007, Pangaea's music has existed in a continual state of metamorphosis. From the ghostly flex of his early singles into the rhythmic vortices of his self-released Hadal EPs, and now the mesmerising dance of In Drum Play, it's evolved into a freewheeling strain of ruffneck techno - one ear jacked into sound system culture, the other in the stomping nocturnal psychedelia of UK pioneers such as Surgeon. His DJ sets have developed in parallel, becoming fast-paced acrobatic voyages at the interface of loopy techno and more exploratory UK styles, an aesthetic captured on his 2014 mix for the Fabriclive CD series.

As its title suggests, In Drum Play is a product of that feedback loop between the studio and the club. The devilishly funky intensity of tracks like 'Rotor Soap', 'More Is More To Burn' and 'DNS' emerged froma desire to write music that mirrored the late night dancefloor environments that McAuley has been DJing within. Crafted around sharpened motifs that burrow simultaneously into mind and body, they rank among his headiest and most forceful music to date.

Yet these tracks remain alive with the subtle diversions and shifts in mood that have always made his music so distinctive. The snakelocked metal drums and glowing melodies of 'Skips Desk', 'Bulb In Zinc' and 'One By One' are pure volatile energy, their bubbling percussive momentum building on killer earlier Pangaea cuts like 'Hex' and 'Viaduct'. Elsewhere, the record drifts off into increasingly dream-like zones, 'Lofty Can' and the pirouetting flute melodies of highlight 'Send It In' slow the tempo to a simmering steppers' groove, creating beautifully tangled musical puzzle boxes that, as with the blissed-out ambience of 'Scaled Wing', equally recall the roaming sensibilities of Amber-era Autechre and contemporaries like Lee Gamble. Just as intrinsic to Pangaea's aesthetic as his body-shock dancefloor tracks, these form the vital connective tissue of a record that's focused and immediate, yet just as compositionally subtle as ever: a fitting debut album from a producer and DJ who has now been releasing unpredictable and exploratory dance music for almost a decade.

From the sweating walls of a warehouse rave to the intimate chambers of a rogue heart, RAAR's third release resonates boldly in sonic overtures from French techno supergroup, W.LV.S, and Bristol's prolific JoeFarr. Electric Rescue (Möd3rn, Skryptön, Cocoon, F Communications) and The Driver (aka Manu Le Malin, undisputed godfather of French Hardcore) go head to head as W.LV.S. 'With L' is a no-holds-barred future classic in two flavors: 'Aubervilliers' seething and ragged while 'Chaumont' exchanges rave synth for a demonic horn section to become entirely unhinged. JoeFarr (BLOC, Turbo, Leisure System) is swiftly becoming one of the most exciting names in modern techno. 'For the Essence' is at once feral and emotive, raw percussion stomping headlong into distorted chords. 'No Secret' continues this trend as melancholy melodies sweep throughout; bottom heavy broken beats buckle the knees.
We are thrilled to present what is perhaps our most 'club friendly' warrior music yet. It is our greatest hope that this work inspires and liberates its listeners. RAAR003 will be available on 180 gram heavyweight vinyl via The Vinyl Factory. As always, free digital download + bonus materials at RAAR.FR.

- See fee What's that - Just the chemical symbols for the elements carbon and iron, Elijah.Carbon is the basis of human life and iron of robot life. It becomes easy
to speak of C/Fe when you wish to express a culture that combines the best of the two on an equal but parallel basis.
- See fee. Do you write it with a hyphen Or how
- No, Elijah. A diagonal line between the two is the accepted way. It symbolizes neither one nor the other, but a mixture of the two,
without priority. (The Caves of Steel, Isaac Asimov)

Valere Aude, the debut album from Romans, a collaborative project between New York techno producer Gunnar Haslam and Vienna-based acid evangelist Johannes Auvinen (aka Tin Man). Featuring 12 tracks of hallucinogenic, psychedelic techno, Valere Aude is an acid-etched trip to the outer reaches of the mind.I just really like listening to albums. I think the popular notion of techno not lending itself to the album format is just a myth," says Haslam, a statement we can't help but agree with. Both Haslam and Auvinen are no strangers to the album format — Haslam has released three under his own name, and Tin Man has released no fewer than six. "The album format allows for more cohesive artistic statements than other formats — it feels like more of an achievement and delivers a filled-out narrative," explains Auvinen. That's a perfect summation of Valere Aude. Building on the blueprint they sketched with Ambulare Aude, their first 12" for The Bunker New York, Valere Aude presents a fleshed-out vision of another world where acid techno falls like rain upon a forgotten civilization. "The album connects to a fantastic fictional history in which we are imagining attitudes lost to the waters of time," Auvinen says. The track titles, in fact, allude to geographic designations in the greater Roman empire, adds Haslam.

Although both Haslam and Auvinen are fully established artists in their own right, Romans is more than a mere meeting of the minds. "We are discovering a third entity as Romans, within Romans, which is neither he (Haslam) nor I," explains Auvinen, cryptically. "Our decisions as producers become simpler as we get closer to discovering Romans' sound." Haslam concurs: "Our production process is pretty quick — our compositional style is similar. We give each jam all that we have, then, later, sort 'em out and let Providence decide whether it's any good."

The finished product is a steamy, moody record, experimenting with atmospheres, tempos, and sounds, designed for blistering hot days and cold, rainy nights. We couldn't be more excited to share it with you.

Oh you reckon do you solid as two tracker from this unfathomable geezer.. TIP!

Deep techno that reminds to mid 90s Detroit techno, Carl Craig's More Songs About Food And Revolutionary Art, Kenny Larkin's Dark Comedy, Reese...

2016 remastered re-release of this essential dutch westcoast electro-techno classic, aka Interr-Fered Communications HM1202.

Going back to classics could fall so easily, luckily for Skudge Presents, the persistent and class-act of Mark Broom leaves the mediocre in its rubble.
The kicking A-side, Moments1, with the high paced energy and flirtations with the Dutch classic style of Techno-House crossover brings a smile upon dj's and dancers alike - without going too much into nostalgia, this track is sure to find its way through the peak times.
Moments2 on the flip submerges deeper into this record's vibe, with a progression that throbs more than kicks, with a saw tooth lead that keeps the moody atmosphere intact.

A sure-shot 2 tracker is what we need and what we get!

'Galaxies Compared' is the debut album from Belgium's Dany Rodriguez. Having released a series of EPs for labels such as Kombination Research, MBR, Bush, MB Elektronics, Bulletdodge and Phobiq he now runs his own RMR label, where his techno and electronic sound has developed and flourished into this, his biggest project to date.

Recording for over a decade, Dany wanted to drop his debut album in the right place and at the right time. 'Galaxies Compared' therefore is the culmination of his many years craft learning via the perfect artist platform of his own label. It's a preview of Dany Rodriguez's musical path over the years through 10 magnificent tracks, showcasing his diverse electronic talent. From melodic heavenly delights to killer, speaker-shredding monsters, Dany takes us from mortal earth to the furthest galaxies and back.

Launching with the slowly building 'D'story', the track gradually mutates along bubbling synth lines and ethereal strings but constantly teases by holding back from the precipice. Instantly we find a producer in full control of his sound and brimming with confidence. 'Voyager' at last introduces a beat with swirling keyboard motifs creating a stringent, cosmic feel. Then we are taken back to the dark recesses of the universe as 'November' rolls around taut delicate strings and subtle pads before the shimmering stardust of 'Galaxies Compared' scatters light and warmth across our musical journey.

'Landscapes' carves a deeper furrow, bringing the beat gently back and forth over alien frequencies for ten minutes of spaced-out grooves whilst 'Elium' ups the tempo, albeit with a clipped beat and once again, restrained and subtle use of pads and hats. 'Labyrinth' is perhaps one of Dany's most perfectly realized tracks, sitting somewhere in the space-funk universe between early Axis era Hood and Mills whilst 'Pluton' rattles its sabre on the dancefloor with shaking percussion and a twisting acid-bassline that never overstays its welcome. The album wraps up with the tough minimal beats of 'Inside' before 'System R' guides us back through the cosmic drum pad vortex.

Agraphobia by LA Synthesis is considered by many as one of the most beautifully crafted string-driven techno tracks of all time. Originally released in 1994 it has received somewhat of a legendary cult status. 21 years later it is now time to breathe new life into this essential track and make it available again for a new generation of electronic music enthusiasts.

Together with De:tuned, LA Synthesis handpicked some of their favourite producers to rework the original and the results are mind-boggling to say the least. First up is Plaid who step in and deliver a skittering remix that soaks up the original melodies and continually morphs as it progresses. Ian O'brien turns out a stunning Detroit flavoured remix with rich, warm synth sounds and sublime melodies that really enhance the ethereal feeling of the original version.

Terrace breaks down the track into a stomping 4/4 Detroit techno affair with extra synth layers and bleeps to create a more urgent feel. ADJ adds a subtle ambient intro before releasing the original framework with a solid underlying electro beat, only to switch it up again halfway. Carl Finlow transmogrifies the original into a moody darkroom electro piece with menacing textures. Think robots, lasers and acid bleeps. Serious electro for the dance floor.

Last but not least the original version of Agraphobia remastered by Matt Colton is also included in this package, and it's sounding better than ever. Agraphobia Relapse will be available as a 2x12inch 180 gr vinyl release as well as a digital release. The vinyl version comes with beautiful sleeve and label artwork by Abdul Haqq (Third Earth) making this a most-wanted collector's item.

Mark Fell writes: "This series of works on this cassette began in 2011 when I attended a workshop/residency programme led by the British sound artist, composer and performer Jan Hendrickse. During a workshop session I played a pattern generating system via headphones to a drummer, Patrik Jarlestam who played a single snare drum. The basic premise of the work was that the performer should follow the pattern as accurately as possible, and to see what happened at the moments when the pattern changed - i.e. to foreground the performers attempts to follow the pattern and their ability to cope with the subtle yet unusual changes.

The pattern itself consists of a single percussive sound. The timing of the sound is determined by a list of five values ranging from one to 11 that represent timing intervals. These values are stepped through one at a time and multiplied by a base value, typically 80 milliseconds, to give the following possible timing intervals: 80, 160, 240, 320, 400, 480, 560, 640, 720, 800 and 880 milliseconds. A typical pattern might consist of something like 240, 240, 480, 320 and 320 which makes a total loop length of 1.6 seconds. If a single value is changed, for example element one becomes 560, the overall loop length extends to 1.92 seconds.

Although the patterns are relatively simple, and as a listener one can assimilate their form quite easily, it can be quite difficult to play along to them especially at those moments of change. So the piece can be thought of as a kind of intervention into the musical training and embedded musical vocabularies that the performer brings to the work. The point of the piece is not a perfect recital, but the difficulties that the performer encounters and the musical moments that these difficulties produce.

Unfortunately I believe there is no recording of Jarlestam's first performance of this piece - "Focal Music #1". The piece was performed a second time by Okkyung Lee during her residency at Cafe Oto, London 2015. "Focal Music #3" was performed with Laura Cannell at Baltic 39 (Newcastle, 2015) for Broken Telephone, an event which formed part of Peter J. Evans' exhibition Across Islands, Divides. "Focal Music #4" was performed with Aby Vulliamy at The Leeds Library (Leeds, 2015) at Peter Gidal/Mark Fell: Film/Sound organised by Pavilion and curated by Will Rose. "Focal Music #5a" and "Focal Music #5b" were recorded with Sandro Mussida at Zentrum für Kunst und Medientechnologie (Karlsruhe, 2016) in the Kubus studio. The piece, performed on piano, takes two forms: the first based upon a six note pitch set of which any two notes are played at the same time, the second is formed of 5 discreet layers each with a single note. These were played in isolation following the same guide pattern and then later overlaid to form a single pseudo chord." - Mark Fell, South Yorkshire, 4th May 2016

Recording Information: Focal Music #3 and #4 were recorded with DPA 4060 microphone string mount, DPA 4060 microphone boundary mount and Zoom H4N portable recorder. Focal Music #5a was recorded with Schoeps MSTC 6 ORTF microphone, Millennia pre-amplifier and RME digital to analogue conversion. Focal Music #5b was recorded with 2 Neumann KM184 microphones in bass/mid configuration, Millennia pre-amplifier and RME digital to analogue conversion. ZKM recording engineer Anton Kossjanenko. Tracks mastered for this release by Phil Julian.

Jimmy Edgar's blossoming Ultramajic imprint gets off to a typically brazen start in 2014 with an EP of fiercely visceral club music from US born, Berlin-based producer Danny Daze.
A self-confessed lover of classic electro, the 3 tracks present contain the mechanical aesthetics and skewed sonics of the labels he holds close to heart, whilst packing an undeniable punch that will see these drawn for time and time again.
Released on 12' vinyl and digital, Daze is the first in a whole slew of acts to be welcomed onto the roster over the course of the year, and marks another exciting chapter for the burgeoning label.

Hazel following the newcoming Blaník tradition with this piece of various ambient/experimental adventures.

The first release from Naissance Musik (NM) is a 12' vinyl from the super-group Dream Scoring (HEAR and Hakim Murphy) entitled Images of a Myth. It is comprised of 4 tracks. A myth is a legendary story that a community validates to explain part of its reality. However any member or group within the community can have his or her own version of the myth, and the myth can also evolve through time. We may all listen to the same track but this track still calls up intimate images for each and every one of us. A myth is full of adventure and mystery, it is epic and full of emotions. It can be anything from the Lost Ark to Greek Gods fighting. The aim is to fill our bodies and minds with emotions. The main idea is to tell stories like books or movies, but through musical notes & rhythm. The music makers provide the musical image, the listeners create the myth. And vice-versa.

The second release on TB Arthur's (312) label finds the mysterious artist revealing a collaborative project with Magda as Blotter Trax. The pair first encountered each other at the famous Motor City record store Record Time, when Detroit artist BMG introduced his then co-workers Magda and Derek Plaslaiko to Arthur, who was visiting the shop from Chicago. Sometime after that meeting, Magda and Arthur went into the studio and jammed together for a week, the session was recorded live on analog 1/4" tape and then three tracks were selected for release. 1A is six and a half minutes of modulated synth sounds that are psyched out and sci-fi, spooky and truly atmospheric. Full of cerebral cinematism, acid lines and ghoulish textures all add up to a truly standout track. 2A then marries dark wave pops and clicks, unsettling alien lifeforms and menacing, slo motion industrial drums into a physical and imposing groover riddled with paranoid sirens and drones. Last of all, 2B snakes and slithers its way through undulating drums, cosmic freakiness and gloopy synth sounds that are all seductive and subversive in equal measure. This, then, is a truly fascinating pairing.

Composite Profuse, aka Valerio Lombardozzi aka Heinrich Dressel, breaks radio silence after seven years in the shadows. Cold winds curl and otherworldly atmospheres abound for Unalaska Ice Files. Arctic tundra and ice are the inspiration, frozen vistas dappled with warming light, subtle shifts and sinister shades. Teslasonic take on the title track, injecting electrical pulses and an underhanded edge. Shipwrec stalwart, Rob Witsch aka The Exaltics, gives his own icicle encrusted interpretation, one of stark percussion and expansive horizons. A welcome return to Composite Profuse. First run on coloured viny!

From the fantastical pop opera of Constellations to Acrylic's delicate euphoria, the album plunges us into a thrilling whirlpool of unexpected sonics, arrangements and themes, effortlessly picking up the vocabularies of jazz, world music, modern classical drum & bass, and colliding them together to produce symphonies of influence that are both familiar and yet totally unheard.

The journey is made complete by Lily Juniper, whose charming vocals gracefully pull Frederic's labyrinthine ideas into focus, unifying emotions like an astronomer making sense of the night sky.

Frederic Robinson's debut album 'Mixed Signals' exploded beyond the usual boundaries of the dnb scene, receiving universal praise from fans and artists in almost every other electronic music genre, from BBC6 music's Tom Middleton to Hospital Records' London Elektricity. In 2013 Frederic Robinson turned drum and bass on its head with the incredibly inventive and adventurous album, 'Mixed Signals', released on Blu Mar Ten Music.

In the three years following 'Mixed Signals', Frederic has been developing his spectacular live show, experimenting with new instruments and technologies, and, naturally, working on his stunning follow up LP, Flea Waltz.

'Flea Waltz' expands and improves on Mixed Signals, bringing a new sense of clarity, sophistication and playfulness and is unquestionably one of the finest electronic albums of 2016.

Deadly Population One album from Terrance Dixon on Rush Hour. More info soon..

Skudge walking tall on two legs..more info soon. TIP!

As days go by and the wait for the new full length Pan-Pot album 'The Other' grows shorter and shorter, it's time to temper the restlessness again with two more meticulously selected tracks from the forth coming long player.

The cleverly titled 'Fist Bump From Destiny' is a story of patience with huge payoffs. At nearly 10 minutes, it's a long ride that builds slowly as persistent and hypnotizing tones circle and stalk, continually growing into the semblance of a cosmic clock. As the concept of time seems to disappear, the reward reveals itself: a fist bump from destiny.

'Operator' parallels the story of a tenacious vessel navigating a course through an impenetrable fog during the darkest shade of night. Low menacing rumbles and short sonic blasts serve as bold displays of position while a perpetually rising synth provides the momentum it employs to advance into the dark.

Sarathy Korwar veröffentlicht eine 12" mit ausgewählten Remixen seines im Juli erschienenen Debütalbums "Day To Day" auf Ninja Tune x Steve Reid Foundation! Hochgelobt von Größen der Szene wie Four Tet, Giles Peterson, J. Swinscoe (Cinematic Orchestra) und Kamasi Washington, veröffentlichte Sarathy Korwar sein außergewöhnliches Debütalbum "Day To Day" im Juli 2016. Nun erscheint eine Remix 12" auf Ninja Tune x Steve Reid Foundation inklusive herausragenden Remixen von Tenderlonious (22a / Yoruba Records / Sounds Of The Universe), Photay (Astronautico) und Emanative (Brownswood).

Nicola Ratti holds a rich history in the world of experimental and minimalist composition, having released music under his own name on labels such as Kning Disk, Anticipate, Preservation, Holidays, and Senufo Editions and in recent times concentrating his energy into his collaborative project 'Bellows', work which has seen the light thanks to Entr'acte Records and most recently Boomkat Editions. His latest solo work 'Pressure Loss' finds Ratti at a potential turning point in his musical career, exploring rhythm and tonality with a new vigour, in a way which embraces the fluid and consistently evolving modern world of electronic music, yet still references a history of electronics, limiting his sound palette to work only using the Serge and ARP Modular Synthesizer.

Bass, rhythm and melody, those basic ingredients of musical composition, are always present throughout the 8 compositions Ratti presents here, although it is almost like this balance was only briefly explained to someone who had never heard a conventional music piece before and was then left alone to improvise with the recipe with deep curiosity. A devastating pulse runs throughout, acting as a basin for a world of strange syncopated rhythms caught amid sonar blips, ghostly serrated hi-hats and dripping stalactites. The fluttering melodies that creep around the compositions' edges sound like a tentative and childlike version of grime's simple but visceral paranoid hooks.

There is in fact very little that is conventional about Ratti's music. There is pace and pulse but only the most oblivious or bloody minded dancer could keep moving to it. While Nicola's sonic vision occasionally encroaches on territory reminiscent of Pierre Schaeffer jamming over a old Hype Williams cd-r, there is a trove of isolatory emotion, brooding tension and even playful intent to be gleaned from the enveloping tones of 'Pressure Loss'. Ratti has here created an absorbing world of rhythmic idiosyncrasies, otherworldly tonal experiments, minimalist moments of beauty, and understated environments of menace and suspense.


Ratti says of the record - 'Pressure Loss was recorded at Worm's studio in Rotterdam during October 2014, where the creative and compositional process took place via a very limited palette of sounds and elements. The aim was to achieve a complex rhythmic ensemble whilst limiting myself to 8 low frequency oscillators through 8 modular filters patched together with few variations. This album freezes a moment within Ratti's musical research of the rhythmic possibilities achievable by using the fundamental and not complex elements of modular synthesizer systems'.

We are proud to announce the double LP edition of echospace's phase90 project, lovingly remastered by Bazza (Abbey Road Studios/Thom Yorke) @ Alchemy Mastering, London. Features unreleased new material and beautiful silk screened metallic sleeves and art direction from the very talented Lindsay Todd of Firecracker Recordings & House Of Traps. The entire album was bounced down to 1/4" analog tape prior to remastering to preserve the integrity of the masters. This project was deeply inspired by the possessive quality of supernatural textures, field recordings and found sounds conducted at the Calvary Cemetery. There's something quite haunting in the underlying tone of these recordings, an ominous feeling not for the fainthearted. "Illuminati" celebrates the progression of the soul, a concept which stems from metempsychosis. The material on this album can be interpreted as sinistral--dark,, heavy due to the hardware and its currencies emitted by its source--the phase 90. An acidic dream of transliminality, this is the first Phase90 project to materialize in its essence, until now.

The latest signing to Flumo is Bessiekat. Brewed in districts and clubs of Moscow, with a label of his own, Isaiah Tapes, he delivers a strong rhythm with harmonic dispositions, all painted with industrially laced colours of the hardware he uses to create the following pieces.
The two originals Hearp and Pearls share a commonality in developing vivid landscapes of overlapping analogue sonic expositions.
However, they differ in the way that the former warms you up and brings you more attentively to the speaker, while the latter throws you back on the deep, dark, early morning dancefloor.
The B-side of the record presents three different experimentations using the same colours to paint a different picture. J Albert provides a progressively monotonic remix, one that successfully develops a swinging analogue feel with lots of detail where you begin to hear the interplay of the highs and the lows. The overlapping patches of sound make the melody an emotional part of the track.
Willis Anne turns the tables around an exposing the intricacies of the rhythm, he focuses on fusing the melodies and harmonies for a wider scope of sound.....
Nicson and An Gelo's remix is disintegrated further, creating a sense of space that is eventually filled with new sounds, suggesting a thematic return to the sound of original mixes...

Phantasy are proud to present their 50th release. With two years having passed since 2013's hugely acclaimed Drone Logic, Daniel Avery returns to Phantasy to offer a much anticipated taste of his restless studio experimentation. Sensation projects Avery's distinctive feedback and engrossing modulations onto his widest canvas yet. Surges of noise link the track to artists such as Cortini and Basinski in its ability to echo purposefully across vast halls, yet proving to be just as absorbing in more intimate circumstances. Still, tough drums amid the shifting atmospherics nonetheless hint at Avery's continuing stride towards techno's more relentless facets. While Sensation floats freely, Clear continues Avery's occasional forays into unapologetically trippy realms. Revisiting an evolved but no less addictive form of the acidic psychedelia touched on throughout the duration of Drone Logic, Clear spirals seamlessly into both paranoia and euphoria.
This year Avery launched Divided Love, a 'semi-regular gathering for like-minded sonic souls' at London's fabric which has also travelled to Paris, Lisbon, LA, New York and Lyon's Nuits Sonores festival. Guests have included Rødhåd, KiNK, Factory Floor and Roman Flügel, acts who all contributed to Avery's New Energy remix collection released last winter which also featured reworks by Silent Servant, Powell, Ø (Phase) and Beyond The Wizard's Sleeve.

Komarken Electronics makes his debut on brokntoys with Expanded Consciousness. With previous releases under his belt on Solar One & Stilleben, for brokntoys he serves up shimmering neo electro with Early Mornings following up with the fidgety Bubble Theory. On the flip, the title track runs deep into ether before Delta Funktionen steps up with a heavy remix of Early Mornings to close proceedings.

Dark late night groovers by the Odopt bad boys, straight out the kitchen of Bar Simachev. "Horrungruang" is simply a killer track.

Delroy Edwards has come a long way. 2012 marked his Introduction into the world of Dance Music via Ron Morelli's Imprint LIES. After offering up essential dance floor singles like '4 Club Use Only' and 'Heart and Soul' Edwards' established himself as a producer with a unique touch and style. With a growing desire to control his own output and make a more significant statement, Delroy set off to start his own imprint, L.A. CLUB RESOURCE.
.
Creatively directing his own imprint became a platform for him and over the course of two years L.A.C.R. created one of the most palpable musical experiences in the field. The label released music in a range of styles from a span of generations, the only constant was the high output and stellar art direction. Many releases produced by the label head himself, Delroy's production were lauded for their piercing simplicity, grace and attitude.

In his first LP for the label, Edwards' has arranged a sincerely personal moment. The 30-track effort marks a special moment in his growth blending current interests in punk and electronics into an outsider narrative like no other. From Devo to J Dilla the influences across the record are subtle but respectful. Regardless of influence, Hanging at the Beach feels unequivocally new. Experiencing the LP for the first time speaks to the Californian
experience in its full range. Certain moments call to the beaches of Monterey while others speak to the sleeze that lines Hollywood Blvd. Edwards doesn't distance himself from the production style that has defined him and the label, but this effort is a long
playing collection, a directed, new moment for the
prolific producer.

After a short hiatus following their modular-only, desert recorded last album 'Whorl', during which SMD's James Ford found himself on production duties for everyone and their dog, SMD are back with bunch of techno cuts on their own Delicacies label.
Over a couple of months in Jas Shaw's newly re-located synth-dense studio in leafy Kent, which saw SMD once again experiment with live jams as the basis for their production, they've pulled together a selection of eight tracks for release as a series of four singles over the coming months.
First up is the double header of 'Staring at all this handle' and 'Sky on the floor' - a hefty statement of intent, harking back to their more austere earlier Delicacies work. In the same vein, remix duties come from ear-battering mainstays Perc and Volte-Face, both delivering uncompromising 'take no prisoners' approaches to the originals. SMD have thrown in their own dub mix of 'Sky on the floor' for good measure.
SMD fans will note that the earlier naming convention of Delicacies has fallen by the wayside - for the simple reason that we've pretty much run out of weird and wonderful food stuffs to steal names from. Instead, a semi-random automated process has been used to create the track names.

Special edition 12' with remixes of The Knife's 'Stay Out Here' and 'Ready To Lose'. The Knife have called upon inimitable selector and producer Tama Sumo, who has remixed 'Ready To Lose' under the guise of Tarantism. R&S Records' Paula Temple has provided two versions of 'Stay Out Here', with the track also being remixed by French techno producer Kane Roth.

Kreidler's Detlef Weinrich digs back into his solo archives and furnishes the excellent Antinote Records with a series worth of unreleased jams. BIG TIP! You can trail away with it. It is easy to enter, but hard to drop out. Tolouse Low Trax just needs an MPC, a small Synthesizer set up and some effects to create subliminal hypnotic music trips, driven by dark synthlines and drunken shuffled patterns. The primitiveness in my music is linked to something simple, and that don't have to be obligatory minimal. For me it is enough to dance rough around the core. Music you don't shape till the end contains of a moment of beauty. A veil of secrecy. I work very simply. I rather reduce my possibilities in ompass. Limitations offer lots of liberties.' He reveals about his work ethic. Even if his music sounds darker then any ever experienced night, he mostly produces it in the morning in his highly inspirational studio home. During the dark times of the day Tolouse Low Trax mostly performs live around the globe. Or hangs out in his second home: the Salon Des Amateurs club bar in Dusseldorf, which he once founded and where he held until today two weekly DJ residencies. The moments and atmospheres he inhales during these lightless moments are mirrored in his shadowy music, about which he also confesses: My art is more a cinematic, literally idea of a large to explore Megacity. This is one of the pictures I would link to my music.' On ' part one he now offers five sounding visions about that Megacity'. They listen to mysterious names like Hidden Flat' or Studies in Drama'. They are nervous. They have ephemeral pieces of dub, Industrial, wave or Italian library music. And at times strangealienated voice samples dance within his highly addictive arrangements. Words can't express their magic. But one thing is fore sure: his hypnotic dance-not-dance tracks do not only illuminate so-called freaks!

Cute Heels is the solo project of Bogota´ born, experimental producer Victor Lenis. Since the early 2000's Lenis has been working on a myriad of electronic projects, including the management of the labels Black Leather Records and Romance Moderne, in his current home of Brussels. Drawing on the influences of the radical punk scene that surrounded him growing up in Columbia while nurturing his passion for synthesizers and drum machines, Lenis developed the broody, gloomy brand of electro-techno that is Cute Heels. Deemed by Juan Atkins as ''the new blood and spirit for the next step in techno music'' Cute Heels has released various digital only releases over the years, as well as his first vinyl release, an EP on Gooiland Elektro. His debut album Spiritual, rides the line between cold electro-techno and left field electronic body music. Inspired by equal parts Liaisons Dangereuses and Drexciya, Spiritual takes the listener on a journey over 8 tracks and 40 minutes of music. Listening to "Spiritual" you can see why. The songs on this full length reveal a sublime influence from Detroit techno, early Chicago house and new wave; advanced electronics for the dance floor, pumping and sophisticated. The album was recorded and mixed by Victor at Sensorium Studio in Zagreb, Croatia in November 2013. Each song has been mastered for vinyl at Fantasy Studios in Berkeley by George Horn. Each LP is packaged in a custom-made jacket by our in-house designer Eloise Leigh and incorporates the geometry of analog synthesizers and celestial rose patterns. 

Livity Sound present the long awaited return of Asusu.

* Since his last outing for the label he has launched his own imprint, Impasse, so far releasing two extended 12's. His new ambient live set debuted live on the Boiler Room in May.

*This new 12' features two unique and finely tuned mesmeric club tracks upholding Asusu's reputation as a unique voice in British dance music.

Moderat embarked on a world tour that saw the group play to sell-out crowds - playing venues to as many as 10,000 fans.
Troughout their performance they re-work their own music. Shaping, stretching, contouring and weaving special live versions of songs taken from I, II, and III. Paired with the spectacular staging and visual design, the result is a multi-sensory experience displaying the raw emotion and personal experiences that inspired the songs.

Finally repressed

Next up on Shipwrec is Umwelt, an accomplished electronic musician who used to release on New York electro label Satamile as well as the likes of Kommando 6, and his own labels New Flesh and Fundata. Hailing from Lyon in France, the artwork with this release comes from fellow Lyon artist Timoth

Finally repressed

Shipwrec rolls out its new remix series with a serious slab of electro red meat. The main course is served by a machine music master, Umwelt. And what else would the serving be but the rawest of electro, coarsened by surging acid and slicing snares. Accompanying the original are a triumvirate of talent. Ekman is first, ratcheting up those sticky 303 lines whilst adding his own mischief and menace for a mind-bending mix.

FlexiWave returns with the follow up to the acclaimed 2012 cassette 290.625'. This new 60C cassette boasts 14 freshly vetted tracks of finest obscure electronica. From the shimmering, pearlesque sounds of Lisa & Kroffes' "Rönnbär" to the dark and pensive Colouroids banger "Shove" and a new moniker from Silent Em & Portable Morla, Alta Dosis, 3375.1969' gathers a new clutch of artists set to earn FlexiWave another round of praise for their stellar compilations. Also on offer are Scottish/Icelandic duo Revigorators' Joy Division-inspired Post-Punk/New-Wave excursion "Black Out City", Black People's one-of-a-kind textures and caterwauling rhythms on "White Man Is The Devil", and nine other handpicked, finely crafted sonic gems.


Limited to 150 copies and all comes with a hand made inlay including download code for digital version of the release.

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Constant Variables is the new techno offshoot of the enigmatic electro label Expansion Unit. CV's inaugural release comes courtesy of Berlin's Pascal Hetzel, who is one of the driving forces behind the label. The EP features two expertly layered exercises in techno hypnosis as well as a slamming white-knuckle remix by Luis Flores and a murky excursion into drone-y ambient territory. Watch this space!

knarzig rockig gut!!!

Dyad carry the flame for the dancefloor-centric sound of warehouses and big rooms worldwide. In their first outing for DBA they offer two options for the discerning techno selector, one uplifting and rip-roaring, the other dark and brooding.

Dyad is a collaborative music project and label by Ben Gibson and Fundamental Interaction, launched in 2014. Their first trilogy of EPs showcased a muscular and melodic sound, with tracks like From Another Place, Enclosed and Zou receiving strong support from a host of highly regarded DJs.

MYSTERIOUS VOGELSPEED IS BACK - NEW CRAZY BIRDS DELIVER FRESH MUSIC A BIT OUT OF THE NORM

Shut up!
But look at yourself - you look pathetic! Who do you think are you trying to impress
You of course! All the time you have to bicker and put the finger in it. I'm sick of it. Pss off!
But i only want you to be more than you are. I only want the best for you, you know that!
And I just want to be me sometimes!
Tough luck - I am you! hahaha!
You're not real! I am not having this Nonversation anymore. I'ma Boy-Cott you!

New 12 by highly regarded DJ Nervoso. From Principe -

"We can't stress enough the importance of finally releasing an EP by scene originator DJ Nervoso. This release features newer tracks alongside unreleased older (we should really say Classic) ones, demonstrating the level of perfection he attained early on. Nervoso is the main reason why DJ Marfox, DJ Firmeza and many others started deejaying and producing, hooked on his fiery DJ sets since they were barely in their teens, around 2001-2002.

He is well known for a bare bones approach to rhythm, working the basic hypnotic feel of pounding drums to mesmerizing effect, in his permanent quest to make people move. His sound is meant to unite, not divide, the dance floor. Even before he started producing, Nervoso was quick to perceive that some people were alienated in parties where Angolan kuduro got played, for the simple reason they didn't command the specific moves associated with the style or its variations. So his production focused on adapting the beats of this much-loved dance music, changing the codes for a more inclusive experience. Some call it techno"

Gentlemen, this is a leap year, therefore it is a year and a day since our last annual meeting.' - The Hell Club, Glasgow.

Helena Hauff - Lovely stuff! Really like the first song, beautiful!

Given the underground acclaim heaped on Marie Davidson's previous albums - ultra-stylish affairs that blend elements of minimal wave, dark Italo-disco, off-kilter electro and moody ambient - it's little surprise to see her popping up on Minimal Wave offshoot Cititrax. The album's nine tracks are largely sharp, rough and fuzzy, with sparse-but-dense drum machines rhythms underpinning bouncy, delay-laden synth lines, thrusting electronics and Davidson's sleazy, spoken word vocals. It's an attractive combination that guarantees thrills throughout, from the almost claustrophobic throb of "Denial", to the mutant electrofunk bounce of "Good Vibes".

Ovatow drops 3 extremely deep journeys into the fog of endless re-verb and delay applications. 'Flame' and 'A Thought' are 2 electro-techno tracks that are both build on randomly step-sequenced square bass lines, raiser sharp snares and dubbed out melodies drowned in layers of breathing dusty tape delays. 'Visitation Dub III' is a different version of an Ovatow track, earlier released as part of the 'Viewpoints Chapter One' compilation, but this time stripped down to the core bass line, reminiscing BC's 'Presence'. The release is dedicated to the loss of South Rotterdam based DJ Juvenile Jay who played an important roll in the early DJ career of Frustrated Funk's head honcho Klen, the man behind the Ovatow moniker. Very much recommended!

When the duo Skudge started out in late 2009 with their first release on Alphahouse, followed by a string of underground hits on their own label Skudge Records, little did they know that they would be in the forefront of the Stockholm sound of the dawning 2010's. First Edition Limited to 500 Copies
The complex rhythm textures combined by a echoing audial lightness that still runs unparalleled, paired with sub intense quick basslines and swirling percussion has been the trademark. This updated take on the techno and house crossover of today got appreciated and caught the attention of a full spectrum of artists.

With a tight release schedule, 2010 alone saw 6 releases from the Skudge hub. Culminating in 2011 with the release of 'Phantom', the full length album release on the home imprint, followed by the sub labels that releases other artists as well.
Five years from that era, Skudge has reshaped into the solo work from one of the original artists. This change of production and artistry launches into the crates with the release of the limited full length 'Balancing Point' LP.

During this time, the sound has shifted into new territory, where the entire A-side acts as the beginning of this grooving whirlpool of a record: quick and immense.
The UK influences that was formed in the 90's, gets picked up and infused through the B-side, ending off in a almost orchestral piece.

The delicate subtleness of the second 12' showcases a familiar coming-of-light type of style that we so much appreciate, firmly ending the long player and leave us sure of the future.

Following a superb contribution to DVS1's Mistress imprint in 2015, Minneapolis' DJ, producer and promoter Mike Gervais drops the four track 'Precision Process' EP for Ben Sims' Symbolism imprint.

An integral part of Minneapolis' small but vocal techno scene via his System parties and label, Gervais is steadily breaking out and 'Precision Process' will certainly
aid his cause.

From the tunnelling, rave tinged machine funk of 'Precision Process' and 'Power and Pressure' through to the fever-dream hypnotics of 'Deep Breath' and 'Motion',
the latest EP makes for a memorable take on classic techno elements.

Meet Renart, genius, young and mysterious french techno producers, largely noticed over the last few years for his carefully crafted releases on French labels such as Cracki Records, Dawn Records and the Acid Arab Compilation. For his 4th EP, Renart produced four house tinted techno tracks for the launch of the Hong Kong based house + techno label "Fragrant Harbour".

REPRESSED !!
Contort Yourself has once again gathered the best and boldest from past and present for its fourth EP. To begin with we have the grimacing visage of Volition Immanent, an intense live act made up of Parrish Smith and Mark Van de Maat (Knekelhuis). Behind rawkish distortion, splintered beats and acrid bars screams a boiled anger; a track spitting on the divides of punk and electronics. Nastiness is taken up a notch as noise ne'er-do-wells Zombies Under Stress take over. Static is bent and doubled across thick chords and collapsed clap in the 1986 "Maan Zal Zijn" before the raw and raging battery of "In Onze Tijd." L.I.E.S. regular Svengalisghost grapples with "Maan Zal Zijn, channelling the original's rage into a mechanical monster. The 12" is bookended with bite as Mark Forshaw (Tabernacle/Berceuse Heroique) closes with the tortured and torrential thump of "Submission." A callous, caustic and fervently cruel EP.

Mysterious, super-advanced, future classic white label that has been causing a bit of stir amongst the heads.... very limited, get it while you can !

collecting orders for repress

This is the second vinyl for the Spanish label that is connected to Discos Paradiso Record Shop. Agony Forces (Lycaon) express their experience better than ever. They are growing more and more. Very high quality of modern techno. One of the two remixes is signed by an artist who doesn't need any introduction: Ness. His style is unmistakable. The surprise is the other remix signed by Dark Vektor, pure electro that we don't hear much of these days.

The second offering on HCS from the mighty Rotterdam based duo. Again Duplex drop bombs with their signature state of the art inner city techno. Clearly playing with their love for the motorcity but always pushing the boundaries of what we like to call harbour city soul. 3 tracks ranging from beautiful deep electro to floor killing techno tracks

Memento welcomes Orbe for his 31st release: a 3 tracks ep, Hubble Space Telescope'.
The title track is a a dancefloor banger with some crazy arpeggios, modular stuff!!
The second track Nu Deep' is a perfect dubby warm up tune, and the last one The Afrofuturist Detroit's Myth' is definitely the tunnel u need!

To coincide with the full remix album's unveiling on CD, the exquisite reworkings of 'All I Think About Is Death' and 'Why You Feel So Low', by techno heavyweights Radio Slave and Function respectively, have been singled out for release on vinyl.

The former bears all the hypnotic hallmarks of a Radio Slave classic: incrementally menacing percussive lines woven with the heart- wrenching vocal chants of the original over an epic 12 minutes. At once understated and emphatic, the tenor is deepened in the extreme on an ambient 'Atmos' version.

Berghain resident, Function, on the other hand treats Claustrophobia's flagship 'Why You Feel So Low' with a delicate touch: he retains the buoyant hook of the original, underlying it with a thunderous, reverberating bassline, handclaps for days, and a beat tailor-made for only the biggest and brightest sound systems.

One of two very limited samplers of the Datafunk 2.0 project. Due to the project being considerably delayed a couple of artists pulled their tracks so Abstract Forms has decided to split the remainder of the project into two 12" samplers instead. 150 copies of each.

J Tijn makes a welcome return to the Cassette Library for his second EP on WNCL Recordings. Once again, the boy wonder explores musical worlds outside of his perceived comfort zone ("HEHF"), gets his bleep on ("Fat Controller") whilst ensuring the die-hard raving crew are kept happy ("Malaria"). To round things off, we're also treated to the next installment in the beat-heavy Decimated series ("Decimated #8').

Killer deep space electro techno on Solar One Music!!! Feeling inspired by the journey into space, SolarOneMusic has been working hard to create their own Hubble Telescope Series, which captures the feeling of space exploration through different experimental dance-floor tracks. As a homage to the Hubble Telescope and all the great scientists and engineers at the NASA and ESA and each part of the series comes with a cover print picture taken by the Hubble Telescope. The series consists of 3 releases featuring E.R.P., Heinrich Mueller, Rudolph Klorzeiger, The Exaltics, Robert Heise, Crotaphytus and Luxus Varta. Featured for the first part of the series, is the talented artist Emeric Di Paolo aka Luxus Varta including a stellar collab with Paris the Black FU!!! A superb spacey, atmospheric sound bed with a incomparable, hypnotic voice from Paris The Black FU. "Kuft" the first track of this release sounds like a space trip to another galaxy with his pulsating bassline and drexciyan soundscapes. "Ieloh" has a super warm melody with contrasting futuristic cracking sounds. Breigs is a twinkling sound bombardment with a mysterious voice inside. The last track called "Voxpol" completes the release with an agile, jolting texture, an alien-like conversation. Don't miss this journey into the deep space.

Interstate 87 presents an experimental trilogy of swirling textures, crunchy glitches, and mysterious synth lines. From the introspective, wandering melodies of the title track, to the cold, expansive chords in Islay, and finally, the uplifting drone of Truckers, Interstate 87 is a meditative journey through a dynamic and nuanced sonic palette.

BBC Radio support from Benji B, Huw Stephens, B Traits, Mary Anne Hobbs.

Initial DJ support from: Ben UFO, Pearson Sound, Joy Orbison, Blawan, Pariah, Objekt, Call Super, Midland, Kowton, Peverelist, Tessela, Martyn, Luke Slater, Hodge, Anthony Parasole, Mosca, A Made Up Sound, etc.

At time of writing reviews confirmed with: Crack, FACT, XLR8R, DJ Mag, The Wire, Electronic Sound, Future Music, Electronic Beats...

Features/premiers - Boiler Room, Mixmag, Red Bull, The Quietus.

Hessle Audio present the debut full-length album from label co-founder Kevin McAuley, aka Pangaea. In Drum Play's ten tracks cut deep into stripped-back techno structures, yet remain infused with the ravey intensity and rogue experimentalism that has placed his work among both the strangest and most banging dance music to emerge from the UK in the last decade.

Since his debut 12" in 2007, Pangaea's music has existed in a continual state of metamorphosis. From the ghostly flex of his early singles into the rhythmic vortices of his self-released Hadal EPs, and now the mesmerising dance of In Drum Play, it's evolved into a freewheeling strain of ruffneck techno - one ear jacked into sound system culture, the other in the stomping nocturnal psychedelia of UK pioneers such as Surgeon. His DJ sets have developed in parallel, becoming fast-paced acrobatic voyages at the interface of loopy techno and more exploratory UK styles, an aesthetic captured on his 2014 mix for the Fabriclive CD series.

As its title suggests, In Drum Play is a product of that feedback loop between the studio and the club. The devilishly funky intensity of tracks like 'Rotor Soap', 'More Is More To Burn' and 'DNS' emerged froma desire to write music that mirrored the late night dancefloor environments that McAuley has been DJing within. Crafted around sharpened motifs that burrow simultaneously into mind and body, they rank among his headiest and most forceful music to date.

Yet these tracks remain alive with the subtle diversions and shifts in mood that have always made his music so distinctive. The snakelocked metal drums and glowing melodies of 'Skips Desk', 'Bulb In Zinc' and 'One By One' are pure volatile energy, their bubbling percussive momentum building on killer earlier Pangaea cuts like 'Hex' and 'Viaduct'. Elsewhere, the record drifts off into increasingly dream-like zones, 'Lofty Can' and the pirouetting flute melodies of highlight 'Send It In' slow the tempo to a simmering steppers' groove, creating beautifully tangled musical puzzle boxes that, as with the blissed-out ambience of 'Scaled Wing', equally recall the roaming sensibilities of Amber-era Autechre and contemporaries like Lee Gamble. Just as intrinsic to Pangaea's aesthetic as his body-shock dancefloor tracks, these form the vital connective tissue of a record that's focused and immediate, yet just as compositionally subtle as ever: a fitting debut album from a producer and DJ who has now been releasing unpredictable and exploratory dance music for almost a decade.

"To turn people's heads you have to make a bit of an effort to do something different. But maybe there's another part of me that just
wishes I could make club bangers and just put it out there..." Spatial, 2013

By now we know the Exaltics stand for high quality advanced deep space electro techno after their great trilogy on Clone records and most recently their great retrospective album "The Truth 2008 - 2013"on their own Solar One Music. As a follow up on that album they invited an impressive line up of remixers to work on some of their album tracks! E.R.P. , Gosub, Dopplereffekt, Objekt, and Ultradyne: these heavyweights and legendary artists have written some of the most important pages of the electro / techno History. A dream come true for the Exaltics and a heavy weight and highly desirable collection of electro techno on Solar One Music! Highly Recommended!

Ear Rot proudly presents 'Royal Beluga' by Mister Woo.
An electric psychedelic rollercoaster ride that tickles the corners of your mind that other noises just don't reach.
Three high-energy head spinners from Mister Woo and a tough, unapologetic rework of 'Tea Moth' from Susst - four tracks straight from the gut.

Oscar Mulero is a one-man techno institution. After his first release on Token in 2008, Mulero teamed up with Christian Wünsch for two ep's as Spherical Coordinates.Now he's back with a new solo 4-track contribution.

Operating out of Madrid since the late 1980s, his productions reflect his deep understanding of techno through his tireless and disciplined work behind the decks. After his first release on Token in 2008, the ferocious Take Seven EP, Mulero teamed up with the comparably-accomplished Christian Wünsch for two more Token releases as Spherical Coordinates, sophisticated offerings of refined big room and bleep tracks.

Now he's back with another solo 4-track contribution that feels like classic Mulero. Hyperbolic Paths is simultaneously deep and bleepy, accented by hi-hats in syncopation. The tom-heavy Suborbital Trajectories carries a serious groove, layered with lively melodic elements and an occasional unexpected statement cymbal crash. A haunting and hypnotic number, Inclination swells and increases in intensity, rolling on after its breakdown with a playful kick-clap interaction. Eccentricity is a spacious, dubby closing track with reverb-soaked ornamental splashes.

5th release on TH Tar Hallow by Rhyw, the new solo project of Alex Tsiridis (one half of Cassegrain) in minimum control mode here.

Acid and wave influenced techno on Minimal Wave sublabel Cititrax. Played by Ron Morelli & Traxx (destroyed and mangled not just played more like) amongst others. TIP!
An-i is the latest musical moniker for Berlin based former New Yorker Doug Lee. Doug has been DJing and producing records for the last decade under various aliases and collaborations. The Cititrax EP Kino-i will be the debut release and home for An-i, a showcase of his love affair with machines. It fronts a hard hitting sound beyond category, moving from techno to jack to punk and to noise. It suggests an anything goes attitude perhaps dictated
more by the will of machines themselves then any author.

Best known for providing spoken word for CARLOS NILMMNS, on "HYPERTHERION", Chicago's GALACTICRON aka KETER DARKER provides almost 2 hours of warped beats and hardware-based dystopian sound paintings. Limited edition of 100 cassettes on VOID PULSE SYSTEMS for Cassette Store Day 2016.

finally repressed

Illektrolab has been missing in action for seven years. An electro machine, this Satamile alumni went rogue; ducking under the radar in 2007. Now found he's ready to return to the front line. Four weapons make up Illahertz. Clipped beats break and reform, basslines bubble and bulge as computer funk is lanced by pared steel. Drums race in eerie future wastelands, fizzing static and samples circling before acid rains down. Future and past influences sharpened into dangerous electro blades by a prodigal son.

Dan Davies aka Ossia is a mainstay of the Bristol scene. He runs labels like Fuck Punk, No Corner and Peng Sound, and he's a member of Young Echo. His Blackest Ever Black debut triumphantly grafted the industrial experimentalism of Richard H Kirk onto West Country bass culture. This, his second Berceuse Heroique, goes deepest yet; pithier but more widescreen, with fresh touches of jungle and bashment to its dread spirituality. The dubs in particular are a bleak treat.
Spiffily presented 180g vinyl, with a natty poster designed by Alex Digard, from the Tape Echo crew.

Classic 80s Miami Bass Vocoder Electro party jam in the style of the World Class Crew or Egyptian Lover. Taken from the Turbo movie soundtrack.

Berlin resident Anastasia Vtorova aka Machine Woman follows up her 'For Sweden' 12' on Peder Mannerfelt with two new cuts for Where To Now Records, accompanied by an expansive and sprawling remix from Kassem Mosse.

Machine Woman is beginning to cement herself as a rather unique figure in the world of Techno. Her music is undoubtedly brutalist, functional, industrial, and stripped back for the most basic of heads down body movement, but there's a persistent seductive, soulful, and human element to her work which is in a state of constant interplay with this idea of the 'Machine Woman' - an approach which is undoubtedly inspired by the pioneers of man vs. machine music - Kraftwerk.

'Genau House' opens with the 11 minute 'I can mend your broken heart'. Shuffling percussion struts alongside a myriad of synthesized melodies and the sound of data processing. For Anastasia the track is inspired by unsuccessful Tinder dates, and the yearning lyrical content of the tracks certainly laments the implications of this perhaps often mechanical and rigid love seeking world against an honest and seeking heart - A Machine Music space to explore the increasingly common impact of disposable Computer Love colliding head on with a legitimate longing and want for lasting human connection.

'Friday Night' encompasses a similar vocal mantra but here the focus is not so much on the intricacies of the human heart, but rather the seduction, enthrallment, and sometimes unfortunate exclusivity inherent in sectors of the Berlin nightlife. Undoubtedly a track aimed towards the pitch-black nightclub 'Friday Night' is stricter in its intention, with less space for romanticism. An unrelenting Techno thud grinds with the mechanical shifting of gears and movement to create the desired hypnotic state whilst Anastasia's heavily treated vocals plume the melody into even darker recesses of the dancefloor.

Kassem Mosse makes an appearance to close the record with his own incredible interpretation of 'I can mend your broken heart'. To call this a remix is a discredit to Kassem's ability to completely transform a work into his own whilst staying respectful to the original artists intention. Much like his interpretation of Simone White's 'Flowers in May' (Honest Jons, 2015) Kassem takes the vocal line of the original and sets it against a deep, sprawling, immersive soundscape of his own. Over it's 10+ minutes a Deepchord style dubwise basin of echo and melody lingers behind the deepest Trip-Hop style palette of slow, churning, and intricately evolving percussion.


Machine Woman draws upon her foundations in '90s Leningrad and the hardest edge of her new home city's industrial scene to forge a raw, buzzing, and brutalist style working on the cusp of dance functionality and avant-garde, tonal exploration. - Boomkat.'

Salty swirling posse jams.

Jack Murphy's debut 12" on new label Knowing Something. Having previously released records on Frozen Border sublabel Reference and Don't Be Afraid's Special Editions series, Murphy now ventures out on his own with this first Knowing Something record.

The record across its four tracks takes cues from a variety of places including mid-90s breaky techno, late 90s electro, and early 2000s Ifach records.

The next Alien Jams 12" is from rkss, entitled Cutoff EP. These four tracks were recorded in 2014 within a period of two weeks, using a Juno-60 and Vermona Retroverb Lancet. Perhaps their most dance-able release to date, Cutoff interweaves aquarian dream-like electronics throughout soggy percussion and glistening chimes. Propelling the listener forward, rkss churns through water-logged signals, while synths cut through in gusts of euphoria.

Michele Pinna presents a new LP under a fresh moniker and alter ego, Time Traveler, representing a direct confrontation of the artist's own fear of time as an unrelenting force. The LP, titled 'I'm Made Of Stars / Journal', takes inspiration from conversations between Pinna and his father on the topics of galaxies, space and of course, time. These converstions were the starting point for the abstract, futuristic and dark work presented on the new LP. The release also draws on Pinna's artistic interests outside of music, presenting a work not just of sound, but one with a coherent visual aesthetic spanning the physical releases of the LP. This visual aesthetic has taken shape through multiple collaborations with the photograpers, stylists and designers Nicolas Mazzei, Danila Tkachenko, Khourianbeer and Cinzia Araia.

The resulting album is a twisting sci-fi journey invoking images of a dystopian galactic future. Pinna takes techno and filters it through his own imagination, dismantling it and rebuilding it with an unheard palette of textures, timbres and rhythms. At times disorientating and chaotic and at others, restrained and delicate, the LP has one foot in dance music and the other in emotional and visionary experimentation. The album will arrive on Pinna's new label, Chronicles Diary, set up specififically for this release which can be considered much like a diary or journal of Pinna's emotions and imaginings of the future. A limited edition vinyl release will come with a fitting physical package much like a real black diary. Inside the sleeve can be found prints that are the product of Pinna's several collaborations, and serve to provide a visual reference point to the futuristic vision of Time Traveler. The standard vinyl release, aimed more at DJs, will come in paper moleskine packaging. Alongside these, there will be a cassette published followed by a digital release in the next months.

WC & Abono deliver the third instalment for ALLISANDNOT. Four tracks that span experimental techno and tough house, all sourced from deserts and forgotten lands.

Louis Haiman returns to Indigo Aera with The Cosmic Memory EP, which features two originals as well as a remix by Berghain heavyweight Marcel Dettmann.

Haiman, who is also known for his output on Transmat and Abstract Forms, last released on Indigo Aera in 2012 with the highly acclaimed techno 2LP called Soul Purpose. In the past years Louis established himself as a producer with the ability to create avantgarde futuristic techno in classical Detroit roots.

His first single here is 'How Free Am I', and is eight delicate minutes of floating ambience and subtle, stripped back rhythm. It's all in the bassline at first, after pixel thin synths float in like fireflies before static crackle and soft percussions flesh out the heavenly sound world. Soothing and absorbing throughout, it becomes a forceful and high pressure bit of techno in the hands of Marcel Detmann who layers in solid kicks and clacking hits to drive things along. 'Hidden Knowledge' is then a slithering bit of atmospheric electro with rumbling synths and pads suspending you in deep space. It rounds out a captivating EP.

finally repressed!
Luke Eargoggle on the Creme sublabel Creme Eclipse with classic Dopplereffekt icecold robotic electro tracks.

With Human Energy, Travis Stewart (aka Machinedrum) has made a career-defining album, one which will take him from best-keptsecret of the electronic music cognoscenti to breakout star of the US music scene. Written between January and April 2016, the record "reflects a period of great change in my life. I moved across the country to a new city, I proposed to the girl of my dreams, I moved into a new house, bought a brand new computer and set off to write a new album."

From opener "Lapis," Machinedrum sets out his stall - an arpeggio ascending to heaven which, apparently building towards the mother of all drops, instead fades up and off into the ether. The music throughout is scintillating, from the mind-candy riffs of "White Crown" (featuring some crazy guitar work from Tosin Abasi of progresive metal band Animals As Leaders), the ecstatic d&b finale of "Do It 4 U" (an absolute stand-out with showstopper vox from singer-of-the-moment DAWN), the smile-inducing, melodic brilliance of "Color Communicator," or the precision and build of first single "Dos Puertas," featuring Rihanna collaborator Kevin Hussein. Hussein, DAWN and Abasi aren't the only collaborators to have bought into this new take on the Machinedrum universe. Fresh off the back of two prominent collabs on Beyonce's Lemonade, MeLo-X offers understated, classy assistance on the wonderful "Angel Speak," sitting his voice in amongst heavenly vocal chops. Jesse Boykins III offers a moment of astral r&b goodness on "Celestial Levels." Rochelle Jordan provides the lift off as Machinedrum works the rhythm flips on "Tell U." There are telling contributions, too, from Ruckazoid, Roses Gabore and SK Simeon.

On its sophomore release, RAAR's bold mission of unbridled techno with a punk-rock ethos is continued in tracks from label co-founder Maelstrom and newest family member, Specialivery.
'Opium Wars' sets a seething tone, deftly holding a line of tension as machines moan and shriek. Focused yet dissonant, the discomfort continues to build without resolution, playing the edge but never grasping hold . 'Diameter of Recess' starts under the skin in Maelstrom's typified controlled chaos. As it grows, the track becomes both an aching roar and a needle-sharp, frenzied insistence; a feral yearning and a frustrated surrender.
Swiss Italian Carlo Bernasconi is a man of many aliases, the most ferocious of which is Specialivery. Having eagerly taken up the challenge to 'push further' than the original demos sent, 'Dust Detector Subsystem' is a demonstration of this, cumulating in "an extremely rare, compulsive mental movement" presented in both teeth-bared, club-optimized and more pensive beatless versions.
It is with great pride and pleasure that we present the evolution of RAAR. It is our greatest hope that this work inspires and liberates its listeners.
Released on 12" via The Vinyl Factory and free digital download + bonus materials via RAAR.fr