Techno News

actually it's rather tidy... info etc SOON!

Top-Compilation mit allen neun 50 Weapons Remix-Maxis, die fast komplett alle erstmals auf CD erscheinen, in chronologischer Reihenfolge. Das Tracklisting enthält einige der besten Produzenten elektronischer Musik: von Moderat über Robert Hood bis Marcel Dettmann, von Chris Liebing über Legowelt bis Modeselektor. Als weiterer Bonus erscheinen 4 bislang unveröffentlichte, exklusive Top-Remixes auf beiden Formaten.

was für ein sampler

new stunning motor release !!!

FF is punky Robert Hood; Blowout like Mad Professor meets Carl Craig. Proper MGUN.

Rhythm Converted is a new label from Belgian techno guru, Tom Hades. Having created (with Marco Bailey) the Rhythm Convert label in 2004, Rhythm Converted represents a new chapter in the history of the innovative and forward-thinking approach the label has always pushed.

* Kapvt Mvndi Records releases a first Various Artist compilation. Svprasensible Destination is a Post Techno sound from Abstract to Acid and experimental tones. A very full music experience from artist productions reflecting the forthcoming and past vinyl.

* Compilation opens with an intense piece from Astronomy Domine, a New Wave Techno production to declare war on stars. Pioneering artists such as Emanuele Rizzuto and Stefano Rocchi well represent the efforts of the label in releasing analogue music as well as all the other great producers tracks released into this. Compilation closes with master piece from Schwartz, a movie sound track for an epic end or beginning... A new music as discord, and as a discordant accord,the source of time.

Originally recorded by Marc Moulin, Vincent Kenis and Marc Hollander in 1977 Brussels. Leapfrogging over style and genre boundaries, the LP shuffles between improvised jazz, minimalism, imaginary ethnic music, classical and even proto-techno ('Saure Gurke' foreshadows characteristic Detroit techno riffs by a good ten years).
It became a cult album in its own right and a few decades later Parisian dj / producer Krikor spontaneously decided to rework two tracks for his dj-sets. ensemble brings his remixes with the kind permission of Crammed, Marc Hollander / Aksak Maboul and Krikor.

Part 2 of the Twin Paradox series.

Special Occasion are David C. Gray and Enchanting. Together they make music for the early lonely mornings between the sheets. On the b-side you find the tear drenched versions of MaxxxBass of KWC 92.

"Following on from Haroon Mirza's locked grooves, Tessela returns to Poly Kicks with a two track single of weighty, rhythmically satisfying techno, in his own trademark style."

ENDLICH! Wir lassen die Nummer 40 aus dem Sack und geben einen kleinen Ausblick auf das Grand Finale von 50WEAPONS. Ihr könnt euch sicher sein, es wird dick und deswegen geben wir euch 19.94 als Ouvertüre. "Narr Day" ist der erste (sic!) Track eines der wichtigsten Berliner Elektronik Acts und gehört damit schon in den Schrank für die very, very special editions. Musikalisch vereint er gekonnt minimal die wichtigsten Zutaten von Rave: eine Bassdrone und eine Kickdrum. Das klingt nach early Ambient Techno und kitzelt ganz frühe Jugenderinnerungen wach. Der Rave kommt endgültig zurück mit Cosmin TRG's Version "Narr Day Remodulated" auf der Rückseite. Hier entfacht die Bass Drone des Originals gepaart mit den unwiderstehbar dringlichen Sounds eines modularen Synths eine gewaltige Gravitationsmacht. Das ist Techno pur mit einer Sogkraft, die es schwer macht jemals den Club zu verlassen. REWIND!

Addison Groove releases another rattling body shaker with his new EP on 50WEAPONS.
Following up his recent album - James Grieve', Tony Williams aka the UK's footwork-jungle ambassador drops a fresh four tracker. This one is pure fiyah.
- Dat Ass', the records fierce opening track sounds like electro undergone a radical undercut. Maximal subbass meets a sceletized breakbeat, military percussions, euphoric vocal shouts and some actual whistle blowing to add that extra dancefloor discipline.
A2 features the late Dj Rashad and with its stunning title - U been gone' sounds like a hommage to one of footworks´ greatest. Syncopated kicks shuffle around a motown sample which adds a certain melancholy to the cleverly twisted jungle breaks structuring this track.
- Push it' brings some hi nrg flavour to the record and - Masamune', the closing track, brings the whistle back on a minimal Dn'B cut playing with samples that seem to come directly from the soundbanks of Source Direct and Roni Size.
A very fresh sounding dancefloor record deemed to be torn of the shelves by Djs, and praised by pirate radio and music magazines.
RIP DJ RASHAD - Never forgotten - Teklife shall prevail

Livity Sound founder Kowton jacks the rapid fire drums and disquieting samples of Cowboy Rhythmbox's 'Fantasma', turning in a sub-heavy club roller that applies his peerless rave sensibility to the original's ghost train atmosphere. A burbling slice of Bristol meets Blackpool Pier, only on Phantasy white label, limited to 200 press. Don't hang around.

For this year's Record Store Day, the Monkeys offer you a set of tunes released on Monkeytown Records in 2014, however freshly remixed by other Monkeytown artists in 2015:
Alex Banks remixes the brand new Robot Koch track "Let Me", off his Monkeytown debut EP "TSUKI".
On the flip, you'll find an Anstam edit of a Dark Sky track taken from their debut full length "imagin". And last but surely not least Gajek remixes a collaborative effort from Mouse On Mars & Tyondai Braxton - "Off Sea" was released as part of MoM's 21st anniversary compilation featuring collaborations with their
friends, heroes and musical partners in crime.

Lanthan Audio is back after their debut EP that featured Edit-Select now with their sophomore release from Deepbass, Scottish DJ, producer and label owner of Informa Records.

For this EP Deepbass delivers one original cut, 'Alto' which has been remixed by Aegis, Reggy van Oers and Ness. Uniform to the Deepbass style, 'Alto' is an ethereal atmospheric track with a punchy, rolling bass, which takes you on a voyage through the cosmos. Aegis, on the other hand, takes the tracks potent bassline and adds the aura of breakbeat to the elegant atmospheres.

On the flip side RVO adds a hypnotic energy to the track as the elements continue to build to the crowning point letting you down nice and smooth. For the final take Ness adds his own style as the punchy bass lingers he is still able to keep the mood serene and delicate. All in all a captivating way for each artist to express their own style on one EP.

Shapeshifting French producer Lee Van Dowski drops his first album in 10 years with 'Cerca Trova', a career triumph work spanning ambient techno, breaks and beyond.

The LP's title, translates to 'Search / Find' and like the name, sees the Geneva-based artist digging deep into his musical repertoire. The 14-track work harks back to his diverse musical roots, when an initial passion for techno soon led the artist into more experimental territory with the likes of Autechre, Boards of Canada, Aphex Twin, Richard Devine and Otto Van Schirac, fuelling his musical obsession.

The artist - a father of two twin boys - says he wanted to leave something for his sons to remember him by. Likewise, since his last artist album 'As Told On The Eve Of...' with Quenum released on Soma in 2006, he wanted to surprise people, while challenging himself to create a narrative beyond the dancefloor. And anyone who has paid even cursory notice of his productions over the years will notice the expansive palette of sounds the Frenchman has explored through the work, which although diverse, flows smoothly from one multilayered moment to the next.

From the glitchy stylings of opening track 'Creating Me', to the ''I.L.A.N.E.N.O', a dreamy ambient collaboration with old friend Caroline Hervé (aka Miss Kittin), that was created after they spent a weekend in the mountains with Lee's kids, the producer sets about building a creative and cohesive trip across 70 minutes.

There's '1+1', a grand, orchestral breakbeat-driven cut awash with strings and vocal harmonies and the evocative 'Repli Tactique', an intoxicating wall of sound, driven by rich Flamenco-style guitar licks, before Lee shifts the momentum up a gear for the stunning electro breaks of 'The One'. The grininducing 'Dans Tes Yeux' is five minutes of pure, driving breakbeat euphoria, before the tempo is taken into gritty acid techno territory with 'Toran'. To close, he then brings us down again with the beautiful title track, followed by the
delicate piano-laden concluder 'Sinon Toi'.

An artist reborn since joining Anja Schneider's Mobilee Records in 2013, the album follows on from Lee's outstanding past 12 months that saw him drop releases on Cocoon, Bedrock, Suara, Rebellion (sub-label of Crosstown Rebels), This and That and of course Mobilee, home to '050504', one of the year's biggest techno tracks.

Part 3 in the Modern Warfare series. Limited to 750 copies.

The second E.P. on Tabernacle Records from Dutchman Jeremiah R. 8 atmospheric electro tracks.

Sarrass returns with his debut album, titled Dirty Gear, on Third Ear Recordings. Dirty Gear is, we believe, one of the deepest and most sublime pieces Techno. From the crunch and fizz of Your Stink to the stratospheric winds of Ciel de Finistere, the album is an astounding piece of work. 9 tracks over 6 sides, 3 of which are given a whole side. Dirty Gear follows up on Sarrass' debut ep for Third Ear, Lust (3eep110) and the single A New Day (3eep201208), The title of the album is a reference to the instruments and machines used. These are; Doepfer Waldorf q synthesizer, Kurzweil kr2000 synthesizer, Korg Electribe mx synthesizer/sequencer, Control Synthesis Deep Bass Nine synthesizer, Deltalab Effectron jr digital delay, Dynacord Super 76 tape delay, Drehbank midicontroller, Allen&Heath xone:62, Mercedes Benz 240TD 1980 model.

5 October 2015 will see the launch of self-distributed Munich based record label Àlden, with 001 - Satellite EP - coming from label bosses Cocolores and Maurice Paloni. Àlden Records itself aims to be a wider picture of interesting music, out of which every release will be a close-up into a different style. With an artist roster that will move from techno to experimental-pop, piano improvisations to old-school hip hop, the label will look to define it's very own genre from within.
The artwork for Àlden #001 is part of a larger chalk drawing by Berlin's highly regarded painter Carsten Fock. Different close-ups of the abstract pastel-coloured painting will be used to cover the artwork of each release illustrating the music of the record label Àlden as a never ending musical experience led by the passion of creating something unforeseen.

Rugged new LP on L.A. Club Resource. More info to follow soon...

It's always been tricky predicting what Firecracker Recordings will release next, though few would have expected an EP of freestyle, darkside drum machine jazz and percussive drone from Berceuse Heroique, Nous and Bedouin regular Healing Force Project. Sounding like early 23 Skidoo replayed on drum machines and samplers, there's much to admire about the hectic rhythms, foreboding textures and dusty samples at the heart of Gravitational Lensing. It's unclassifiable and completely out there, paranoid, dense and intense, with the fizzing drums, mangled horns and metallic percussion hits of "Random Walks" just edging out the experimental jungle-jazz madness of "Apophenia" in the "top tracks" stakes.

Following in the footsteps of Sawlin and Yan Cook last year, Ann Aimee has readied its next release. This one comes from UK tastemaker and Radio 1 presenter Mosca, and is his first release of the year after previous releases on labels like Martyn's 3024 and Hypercolour.
First up is 'It's Not What It Looks Like' - a hunched over, industrial tinged house groove with rattling percussion and a heavy kick drum. Fully of grainy textures and clanging machines, the whole thing is backlit with serene pads and smeared with deft synth patterns. 'Kneecap' is even more direct, with tiny little off kilter chords bringing a sense of paranoia to the barrelling beats and bristling percussion. It's muscular and heavy yet inviting, whilst final offering 'Press Up' is a beautifully swung bit of deep and atmospheric house - all the edges are nicely frayed and the whole thing is smoothed over with misty textures as the barrelled-up sense of funk grows more and more lively as things progress. It's been a while since we heard from Mosca, but this one sure was worth the wait.
As always with this lovingly crafted label, the EP comes with full cover artwork by Boris Tellegen.

After a few years silence we are happy to announce a brand new release by Visitors Records, The Hague. ''Walking Machine'' is a new production by Italian new wave band State Of Art (Fred Ventura, Stefano Mazzola, Stefano Tirone), active in the early eighties and reborn in 2009 after the release of

Wilde Calm Records is honoured to present the final project with the late Elodie Lauten, a new version of the spiritual club classic 'In the Light of the Miracle.' The original version was co-written by fellow downtown luminary Arthur Russell in the early 1980s and appeared on his posthumous 1994 album Another Thought. Numerous club-friendly remixes of 'In the Light...' were released as promotional white labels in the 1990s and helped bring this amazing proto-house song to the dance floor.

This new version for Wilde Calm picks up where the white label remixes left off, as Lauten had always intended to record her own dancefloor version of 'In the Light...' and found a kindred spirit in collaborating with Brooklyn producer Pocketknife. The track features Lauten on vocals and keys, Nirosta Steel (Steven Hall) on additional vocals, Peter Zummo on trombone, and production/arranging by Pocketknife. Reworks were done by two long-time fans of Lauten, L.A.'s Gifted & Blessed (Technoindigenous Studies, Wild Oats, Eglo) and Brooklyn's Bryce Hackford (PRAH, DFA). Gifted & Blessed references Lauten's classic post-minimalist compositions with his remix and takes the dance floor of 'Miracle 2' out into the cosmos. Hackford focuses on the instrumental track, extending it way out and roughing it up with heavy Bushwick Body Actualized vibes.

Forma's combustible mixture of lush synth explorations and frenetic rhythm has captivated the margins of the international synth scene since their acclaimed 2011 debut on John Elliott's Spectrum Spools label.
Following 2012's dark and penetrating OFF/ON, the trio set a direct course toward the shadowy perimeter of the dance floor, with John Also Bennett replacing original member Sophie Lam. FORMA's celebrated live performances -- extended improvisational journeys veering from the ecstatic to the foreboding -- draw techno, noise, and synth disciples into their realm. We first heard Forma at a live show at their headquarters--Bushwick's monumental live-work space and performance venue The Schoolhouse. After one of their shows this winter, members of the group revealed that they had been working on music that didn't really fit into an album format, but would work as a 12' aimed more at dancefloor audiences--and that's what you have here: two epic 15 minute tracks of blissed out kosmische techno.

Golden Teacher and the Rough Trade shops join forces to offer new ears the opportunity to hear the Teacher's first three recording efforts on one handy compilation. Recorded between 2012 and 2013 at Glasgow's Green Door Studio through a state-funded scheme for unemployed young musicians, this release documents the six-piece's interest in the willful naïveté of late 20th century "post-" tendencies, leading France's MidiLibre to later describe Golden Teacher as "an idiot-savant prototype of dance music in the 3rd millennium." What that basically means is Golden Teacher kicks ass! They know what makes people dance and they know how to do it. From the acid go-go of lead off track 'Rashomon' you're in for a total treat that takes in the synth funk of 'Love Rocket!', the percussive rumble of 'Double Bump', the voodoo drum machine drenched 'Like A Hawk' and the atmospheric 'Dringhouse' to name but four killer tracks on this amazing set. If you need comparisons think LCD Soundsystem, ESG, Talking Heads, Brian Eno, Pigbag, Trouble Funk, Moroder, DAF and Liquid Liquid. This is the perfect chance to get on point with one of the greatest bands around at the moment and this won't hang around for long.
LP - The LP presents a selection of the band's favorite tracks from these sessions. 7 Tracks but with the full CD Version included.
CD - The CD gathers all material from the three EPs, first released as OM18, OM20 and OM23 on Glasgow's Optimo Music. 12 Tracks and 60+ minutes of music.

Onnset's second release is delivered by UK artist Patrick Bolton. 'Exoteric EP' consists of four diverse techno tracks including a remix of the title track by Sunil Sharpe.

We are excited to finally announce and share 'Presentiment', the second Long Player from The Connection Machine.
This release is particularly special for us as it will be the first time in over 20 years that Jeroen and Natasja have put an album out on vinyl. Despite having a string of aliased releases in the '90s on the mighty U-Trax, a 12" during the early days of Carl Craig's Planet E, a remarkable album 'Painless' on Down Low Music, and most recently a series of in demand E.P.s with Lost Trax on Tabernacle, their output has remained tantalisingly infrequent.
With 12 tracks that capture their unique and awe-inspiring sound, 'Presentiment' opens you up to a world that only The Connection Machine have access to.

The Stealth triple vinyl series presents six tracks taken from Peter Van Hoesen's 'Stealth' mix compilation. The same philosophy is carried across: it marries Peter's music with the sounds he is influenced by. The result is a powerful selection of vibrant techno, with a warm, almost spiritual, feel to it. Both Donato Dozzy and Neel have appeared individually on Time to Express before, here they appear for the first time together as Voices From the Lake. The Italian duo offer more evidence of their distinctive brand of hypnotic techno with 'Zulu Vortex', a spiralling percussive workout. This is paired with a track from Wata Igarashi, a rising Japanese DJ and producer. 'Night' is a glowing, radiant piece of techno that has become a regular feature in Peter Van Hoesen's recent DJ sets.

Live recorded acid jams with the classis silver boxes, 303 and 606! Vinyl only, limited edition, 200 hand numbers copies.

We warmly welcome back Kettel who makes his return to Clone/DUB records since his debut Cenny Crush 15 years ago (which was followed by the brilliant Whisper Me Wishes in 2007). After a hiatus of 3 years since his last release Kettel is releasing his new album on Clone Records. The talented musician has been busy with producing music for computer games and commercials, but is now offering a fine selection of pieces he has made in the last couple years with this full length in mind. The result is a playful, inspiring, eclectic, delicate, melodic, well-balanced and brilliantly produced album fuzzing elements of electronica, classical music, jazz and techno stirred into flawless, memorable compositions. As a 90's kid Kettel has always been inspired by the early electronica pioneers (whose names don't even need to be mentioned... everyone knows who we're talking about right), and on this album too you can hear some of the aesthetics of those late 90's productions, but adopted into Kettel's unique world of confident rhythms and melodies filled with expression. The music on this record has a lyrical quality to it and is so expertly written that it does not strictly depend on it's electronical environment: these compositions would still stand firm performed on whatever combination of instruments. Another lovely and magical release by Kettel thats spreading good vibes from the first to the last second!

Prodigal son French Fries returns to the CCB stable with some insidiously fierce, soft and precise rhythmic weapons ready to enlighten your Saturday night.
The evening start with "Working on a Dream" filled with some surreal machine malfunctions type of sounds layered with beautiful pads full of eerie feelings and appeasement while the martial rhythm keep things in order. It's a passionate mix of steadiness structure and a total loss of the senses thanks to those organic and ethereal synths floating all along the track. The voodoo session continues on the flip with the second number, "Shades of Light". Here, some dissonant keyboards melodies intermingles with a more subtle drum programming, full of hi-hats and more latin flavored percussions, this track is more like a mantra to access some mysterious superior soul level, the craftsmanship of the whole allow the track to be used as a clever tool in any modern and demanding deejay set. Early or late this two fragile but yet powerful cuts will fit nicely to set the mood of the room right.

Italian arcade electro superstars Mat 101 are back with this LP of lost recordings from the vaults on Cyber Dance Records. Back in the late 90s when electro was first being resurrected and transformed into a more European dark psychedelic style Mat 101 were at the forefront of the revolution, taking inspiration from the pure electro sounds of the arcade games of their youth and representing the classic Italian sound in new and unexpectedly brilliant ways. Their legacy was immense, spawning Jollymusic, Pigna People, Raiders Of The Lost Arp and Francisco (among many other projects) and inspiring subsequent generations of electro wannabes with how to do it properly ever since. This LP brings together their lost recordings, some intended for a second LP that never was, along with live cuts and rarities as well as other unreleased material. However the album is in no way merely a random collection of lost bits and pieces - what is surprising is how fresh, finished and naturally flowing the record sounds, so much so that it really would have made a worthy follow up to their classic 1999 'Goodbye Mum!' first album. The breadth of sound on the records, from the gently hypnotising strains of 'Marble Madness' and the blissful climax of 'Gloria Gloria' to the intense electro jamming of 'Commando' and the progressive rave monster 'Toys Around', is truly stunning. And with dancefloor anthems like 'Falling Down Suite' and 'Musicadambiente' thrown into the mix too the release is essential ammunition for both DJ activists and armchair-listeners alike.

Following on from releases by Lutto Lento and Niagara, FTD is set to unleash even more fresh meat in the form of Parisian brothers Elzéard & Moana. They've split the release taking a side each to demonstrate the deepest realms of their influences. From percussive new age, to chant-driven house, to sprawling techno.

Nachtstrom is back with this massive remix-ep featuring 3 monster mixes by Brian Sanhaji, Perc and Dietrich Schoenemann. Played & supported by Extrawelt, The Advent, Ortin Cam, Xpansul, Xavier Morel and many more!!!

Having forged his career in the dubstep era, with nearly 40 releases to his name, Synkro AKA Joe McBride has always resisted easy classification - his music winds together such diverse influences as Boards Of Canada, dBridge, Burial and Oneohtrix Point Never, whilst still remaining utterly unique. His trademark warm sonics, and emotive melodies are ever-present in 'Changes' - his much favoured vinyl samples being joined on this record by a new found love of analogue equipment.
His recent, lauded work with Indigo under the Akkord name set pulses racing with what Resident Advisor described as the duo's ' fiercely technical take on dance music, one that you could dance to or simply admire in all its steel-plated glory'. Fittingly, 'Changes' acts as a soothing balm after the intense workouts that Akkord music incites - from the lush pads and rolling arpeggio pulse of the intro, to the understated dubstep meets ambient/balearic glory of the title track to the more muscular 'Let Me go' - awash with cavernous, soulful vocals and melancholic strings, to the epic, hymn like D&B ballad 'Body Close' featuring the dulcet vocals of Lyves, Synkro once again proves his effortless ability to create cinematic textures and surreal sonic vistas in long form.

Marbled Vinyl - The Final Redseal Release

Agony Planet is an unrelenting and bold debut from a trio not afraid to explore the dark caverns of the underground.

Fantasy Techno collective DUST - a trio comprised of audio engineer Michael Sherburn, DIY nightlife entrepreneur John Barclay and multi-disciplinary artist Greem Jellyfish - will release their nightmarish, alien horror narrative debut full length, Agony Planet, January 22nd on Mike Simonetti's new 2MR imprint.

Immersed in Brooklyn's DIY rave community, all three mem- bers held roles in the genesis of notable extinct venues 285 Kent and Trip House, and now Bossa Nova Civic Club. In 2012 Sherburn and Barclay joined forces to found DUST and were joined shortly thereafter by Jellyfish; the following year they released their first 12', 'Onset of Decimation,' on Man- nequin. Between 2013 and 2015, they released several more 12's, two on Mannequin, as well as one for Sci-Fi & Fantasy and one for 2MR.

Over these years, with Sherburn at the helm, the framework and themes for Agony Planet began to be conceptualized. Twelve tracks, spanning in genre from digital hardcore, dun- geon techno, and celestial ambience, are all held together by a theme of extravagant extraterrestrial warfare. Club-savvy techno engineering accompanied by frontwoman Greem Jellyfish's bizarre monologues and warped screams beckon listeners on a journey through the occult mysticism of the nightmarish and torturous deep ocean of an alien hell.

Energetic and raw lo-fi organ electronics. A simple and mean builder, then revealing the beauty of a beast. Harsh kicks and high notes on a crisp distortion flatline - all performed and recorded straight to cassette tape in on take. The honest follow-up to Te´le´phone - wanna call the police
Mastered & cut by Matt Colton.

PYRAMID TRANSMISSIONS are back with J FRANK - SPATIAL ORBIT INTERSECTION, a new vinyl lp from the head of BRAINSTORMLAB in ROME. During these 15 years most PT releases have sought to promote new or previously unreleased artists alongside some of the finest Underground Electro/Electronica Artists and this is J FRANK's debut vinyl release and what a fantastic release it is, Old School Electro, glitched, funked and blasted into the future.

"Spatial Orbit Intersection is a take on the retro space-age fetish that swamps my generation and electronic music producers in general. The narrative and aesthetic all point to science fiction and the start of a new age of consciousness for humanity (or lack thereof) but the underlying concept is more about choice, escapism and the tendency to passively expect change that ultimately never arrives, while forgetting to actively appreciate change as it occurs... a bit like Ferris Bueller's Day Off." J Frank

* Mister Woo is a composite techno-hybrid supergroup that has been forged against a harsh maritime backdrop of Portsmouth, UK. Following Aristotle's philosophy 'the sum is greater than its parts' the core members of Reset Robot, Jon Gurd and Tom Powell cast aside their professional careers to concentrate on the emotive outlet and gnarled production machine that is Mister Woo.


* As a complex blend of established producers, sound engineers and multi-instrumentalists, the trio, bound by location, deliver a series of audio-visual works based on ground breaking production, perfectionism and exceptional electronic music. Mister Woo Black Eyes EP is released on 11/12/15


* Black Eyes is the signature track from the EP and kicks off proceedings with an infectious fret- driven undertone. Powell's swirling vox add further hypnotic draw reminiscent of early Lemon Jelly or Karl Hyde. A refreshing un-quantized approach assists in building a heavy 4/4 neck-breaker of a groove. The whole composition oozes simplicity and constraint, with Powell's parting aberration delivering the mood for the whole EP "You don't know day until you've felt the night'. Afterlife is the dystopian bridge track that NIN wish they had wrote, using a droney guitar riff and angst- laden licks the track has tungsten running through its arteries. The trio manage to avoid vocals on this occasion instead delivering a pressure cooker atmosphere that churns through chromatic patterns until the very last chord is hammered out. Divy completes the offering with a contagious Bristolian trip-hop vibe that again delivers in the spine-snapping department.


* Completing the EP, Alan Fitzpatrick graces 'Black Eyes' with his aptly named "Loft Rocker Rework'. Abundant use of intensifying modular rumbling and Lenky-esque african claps herald a herculean build. Respite is offered briefly through a heavily filtered sample of Powell's original vocal but only momentarily until were forced back into the oppressive cauldron and caustic environment that Fitzpatrick has sustained.

The Militia is proud to announce a new member : 3.14! Better known as Alex p, the boss of the greek droning techno label Modal Analysis delivers here his very first EP.

Don't expect any ambient, it's all about stomping... Warning : Charlton's Raw Mix included!

3rd release on Billy Nasty's newly re-launched Electrix outfit !
Very limited vinyl pressing features solid remixes

Following his hallucinogenic EPs'Dust' and 'Green Man' for R&S, Alex Smoke returns with his latest opus 'Love Over Will', perfectly crafted electronica, brimming with layers that mixes depth, euphoria and social commentary in equal measure. Love Over Will sees Menzies further exploring the melding of his voice with intricate electronics and discordant melody.

The title 'Love Over Will' is a play on "Do what thou wilt shall be the whole of the Law. Love is the law, love under will", the central tenet of Thelema, created by famed occultist and ceremonial magician Aleister Crowley, with the central thread of the album being "a statement on the times we are living in, but with an optimism relating to ways forward that are possible".

Also Menzies's work has been informed by his ongoing installation work with artist Florence To, primarily on the links between sound and spirituality (ritual music, psychoacoustic effect).

The album's palette of otherworldly strings, distortion, clicks and synths acts as a bed for Menzies' voice, calling to mind the emotive fragility of Arthur Russell, at times confessional, others loudly declamatory - 'Love Over Will' is unquestionably Menzie's finest work to date.

Arriving on Phantasy in April 2015, Arc is the debut EP from Kamera, a singular new artist creating unique and vital electronic music within it's own form and context. A four track introduction to an already expansive sound, Arc relates as much to the boundary pushing experimentation of the likes of Autechre or Sabres of Paradise as it does to any open minded, contemporary dancefloor.

Cracks In The Surface is the product of a globetrotter. Straddling the lines between cult techno, krautrock and synth-punk, it expands the confines of contemporary club, electronic, and experimental musics in the process. Luebs strikes a variety of tones, from resounding and bright to somber and resolute. Inspired by the experience of losing connections with friends and loved ones, Cracks contains as many steps as missteps. Hard-hitting, insistent rhythms fracture and refracture, establishing new funks and unconventional shuffles, while bursts of analog noise bring a level of severity to the polish.

Natch Records delivers a solid and diverse four tracks ep. Two originals which best represent the latest evolution of the label to a more powerful and straightforward sound. On the other side the remixes by Jeroen Search and Zadig offer really devious and unexpected interpretations, really efficient but still demanding on the dancefloor. A title which is foreshadowing fiery times and a massive, long-awaited release!

Time for homegrown talent, one of the godfathers of Dutch Techno and a true electronic music pioneer: Maarten van der Vleuten. This trailblazer has appeared on classic labels like R&S, Djax Up Beats and his own Signum Recordings, to name but a few, with his brand of machine music. Returning to Shipwrec, MVDV serves up his own recipe for Electro in the form of the ‘Internaut EP’. The title piece takes the rhythmic mould of the 808 but shifts the floorboards with industrial soundscapes and UK Techno sidesteps framing. A morphing and melting piece of otherworldly Electronics, over ten minutes of shifting synthsizer sands. “Holographic Inserts” lands with terse clips and pulsing basslines before a rumbling analogue chord breaks the surface. Warbling bulwarks of space meet clinical lines in an immense track of expansive proportions. An epic of atmospheric, sinister and sharp sounds; a style pushing the boundaries of Electro. The first 150 copies are pressed on coloured/marbled vinyl. Comes in a silkscreen printed pvc sleeve.

Mysterious Eastern Renaissance joins forces with newly started, norwegian label project Gråtone for a broken, noisy affair.

Necro Deathmort live up to their really clever moniker, laying down 6 tracks of trademark seismic DOOMSTEP and utterly bleak NOISEDRONEMETAL with EP3 - a regression to their earliest days when reputable style pundits Vice Magazine wrote: "one minute it's Squarepusher, the next it's Sunn O)))". This is some dark occult shit, a fact reflected in the artwork which shows an almost naked girl holding a goat's skull, her face dripping with blood. There may be runes behind her, we can't quite make them out, what with all the darkness.

The record opens with 'Sedan', a face-melting mixture of a-Ha intensity and ferocious Kraftwerk-esque vocals. How can a robot sound so pissed off and utterly misanthropic Only NDM know how.

'Holy Prism' follows and we're treated to the blackest ever blackness, like a pair of skinny black jeans falling through a black hole and into the tip of a gigantic black Sharpie marker. It's just that black. This is like the soundtrack to some sci-fi horror shit, with Scarlett Johansen in knickers being chased through a spaceship by some kind of pig-demon with razor sharp teeth and a Southern Lord t-shirt on. I'm scared just thinking about it.

Then 'Quandary' kicks in and we're left fighting for our breath as the pummelling beats offer no respite and punch you repeatedly in the face with their tiny drumfists. 'The Regency' does little to soothe our shattered nerves, sounding like a bulldozer pushing a planet into the biggest 3-bar electric fire you've ever seen. 'Sparks' follows and pushes the darkness to '11', sounding like 'Rockit' by Herbie Hancock played by a church mouse in a Cylon helmet. The album concludes with 'Tundra': without hyperbole, the most bleak and harrowing music ever put on vinyl by any human.

Some people may say the band has run out of ideas, which is utterly preposterous: to make this record they used totally different keyboard presets and used extensive Lovecraft references, something never done before by a band anywhere, ever. Some may also say that the band have tired of writing press releases for their music, which is equally preposterous, as there is literally nothing more exciting than trying to describe your work to jaded music journalists. Nothing at all.

To reflect the utter darkness of this release, we've decided to forgo the usual 2-colour splatter vinyl and have them specially pressed on BLACK vinyl - these are going to be serious collectors' items, so if you've been collecting vinyl since April, then one of these bad boys will really stand out in your collection.

For fans of: cool electronic shit, random occult imagery, tight jeans, trends, fashion.

MOSDEEP is back with a fascinating four track EP, The Tales Of.. Part 1, that veers from slow and beatless to fast and energetic.
It comes from R-A-G and is a soundtrack to a distant world with corrugated drums, free flowing synths and lots of mysterious forces at work.

Up first, 'Visitors' features Fat Nancy & Flappy and is a slow, trudging cut with spooky deep space synths slowly unfolding around distant vocal whispers. Gurgling bass fleshes out a fat bottom end and the whole thing is like a slow-motion ride through the galaxy. 'The Conversation' is three minutes of beatless and moody sonic landscaping, with various heavy pads and icy ticks suspending you in an unsettling darkness, with reverberating vocals echoing of into the distance. 'We Are Not Alone' then totally flips the script with kinetic, machine gun lasers, coarse and chapter claps, elastic acid lines and lots of dance floor clout. 'Medical Condition' then features Fat Nancy & Flappy once more and is a perfectly restrained, seven minute ride over broken kicks. Big harsh claps, gurgling synths and gloopy pads all spread out in all directions with you at the centre and this one is sure to make for some freaky, weird moments on the dance floor in the dead of night.

180 gram 2 track vinyl only release. SWAMP029.
Released Sept 2014

Dirty Mac's highly anticipated return gets right to the gritty rub with four cuts of slow-burning and erstwhile white hot, dance floor choice.
New Tingle, a slow-mo Caribbean belter, has the trademark Dirty Mac buck-wild rhythm heard on his Sub-plate releases. The spacious programming, loosely hung and crisply executed hats and splashy snares steal through a listing, wormhole-acid lick and shimmering glockenspiel, while the 8-bit steelpan device combines for a muscular and agile groove. The towering, opiate bassline looms forward an unrelenting groove that menaces and entices in equal measure. This is how a fleet of tropical, spear-bristling war-ships sound as they cut a sizzling, ineffable path of destruction to a dance floor near you.
There is a masterful nonchalance to Fourth is the Charm of a kind that would smash up your best school project and hand back the bits with a smile, leaving you disarmed but entirely enthralled. The arrangement of sassy sample triggers keeps the ride nasty, but sharp over an unstoppable tilting low-end section, amorphous and buoyant, and booming around a low-slung 4x4 groove. The high-end electrics provide a contrasting dissonance, while bubbling acid licks propel everything forward so that you can't help but bop your head. Flies well below radar and guarantees dips in the hips!
Junior Barky has all the front - part grime, part dancehall, part electro-funk - to bring together each element into a surprisingly emotive and dystopian 'Living In A Land' redux. The evocative and almost wistful sound effects keep the atmosphere spacey and distant, while a quaking sub-bass lours in and out of view. The spiralling acid motif trips over itself endlessly, like a optical illusion in sound, fudgy and emphasising the surrounding high-definition arrangement. In fact some astonishing sountrack-esque production here. A track of stripped out, dub-wise space-funk, cut adrift via Croydon into another galaxy and beamed back to us from the future.
Coming to Dry Heat and we find a proper barn-stormer. Here we see the safety come switched off as almost unmitigated dance floor pressure ensues. Not immediately obvious as the groove starts pensive with deep, bubbling aquatic sfx, a cinematic sub-bass rumble warming up underneath. However, the drop is nothing if not dramatic, as the fierce attitude of the acid line, stutters and builds in relentless sharp edged fury. Inventive use of syncopated wood-percussion sounds permeates throughout and tees up the haunted-dancehall break. This winds and escalates in thick slabs of reverb and space-echo until the ebullient 303 tears back centre stage, all pots blazing. A truly stand alone track which masterfully switches between full throttle and emotive, harmonic restraint. The transitions between the two are sheer neck bristle.
This is Dirty Mac on his bossiest best. The sense that these high-octane pieces were immaculately forged and belies the production finesse of an accomplished studio hound. The effect feels like listening in 3D, as if you can inspect the reverse side of every razored hat and corrugated clap that fizzes past your ear. With a full compliment of vintage analogue, we hear the product of years in the dusty craft of machine-funk engineering: a keen insouciance that has no truck with routine and demands careful attention.

Endlich ist "Pause", das zweite Album des Elektronikpioniers Four Tet wieder auf Vinyl erhältlich! Nach dem Erfolg seiner Post-Rock Band Fridge begann Kieran Hebden seine Solokarriere als Four Tet. Nach der Veröffentlichung einiger High-Profile Remixe, unter anderem für Aphex Twin auf einer Warp Compilation, erschien sein Debütalbum "Dialogue" 1999 auf Trevor Jacksons legendärem Output Recordings. Sein bahnbrechendes zweites Album "Pause" erschien erstmals 2001 auf Domino und wurde von der Presse oft als Folktronica-Album beschrieben. Nach einigen Jahren ist das Album jetzt endlich wieder auf Vinyl inklusive Downloadcode erhältlich!

Savage Grounds are CCO and Daniele Cosmo, co-owner of Lux Rec. A techno related outfit to explore a darker, noisier and more menacing sound.
The EP has been realised by using only three machines. A Roland 808, a modular synthesizer and a Roland Space Echo. Every track has been recorded in one take.

Luke Calzonetti, following up on the Zeckenentferner tape from Opal Tapes: eleven tracks ranging from proper songs to brutal techno, romantic melodic stuff to dystopian minimal. A unique feel for texture and storytelling holds it all together, infused with a melancholic, fragile wanderlust.

You can call them a »supergroup«, but Moderat understands that it's the »group« aspect that makes them interesting.

Gernot Bronsert, Sebastian Szary (aka Modeselektor) and Sascha Ring (aka Apparat) have been working together as a trio almost as long as their two separate projects have existed. We've seen their collaboration grow from »laptop boy-band,« (as Ring playfully puts it) in 2003—with computers synched using software Ring himself had written, because at the time, »there was just no live performance software around.«

Ring confesses that Moderat wasn't »really meant to be a recording act ,« with Bronsert agreeing that, »it was really just about fun.« This maybe explains the six-year break that followed Moderat's first EP before they finally returned in 2009 with their selftitled debut album. Intent on creating something that contrasted with their own projects, the group started the cycle which blossoms on their second album, aptly titled II, culminating now in the trilogy's completion, III. Whereas I was the combination of two separate entities, II brought the members closer together, and in III, the final chapter in the trilogy, Moderat sounds like one band.

Both Szary and Ring will tell you that Moderat moved progressively from making tracks towards a more traditional writing approach of making songs - a process more fully realized on III. That's partly why the vocals have become more prominent. Mostly, you hear Ring singing (there are no guests this time), as he so often does as Apparat, but listen closely to »Ghostmother« to hear Bronsert and Szary backing him up. Stepping out of their comfort zone is the kind of thing that helped create their interplay between pop and electronics, doing it right won them the Resident Advisor Best Live Act honor as early as 2009, and they continue to gain popularity while remaining independent and underground.

Szary describes the idea behind Moderat as, »imagin(ing) yourself sitting in the cinema and watching a movie with an incredible soundtrack.« This is true with Moderat in general, but III in particular pairs an emotional pull with sensual imagery, creating dynamic sound and depth with lyrics such as »the calming scent of lavender fills the air,« or »burning bridges light my way.« You'd have
to ask them whether they're intending to manipulate the listener in the same way that John Williams or Hans Zimmer might with traditional orchestras.

One of the best parts of Moderat is their use of electronics to achieve orchestral diversity. They update the songwriting tradition with an intriguing palette, borne of careful attention and skill, informed by their »experiences with sounds of nearly 25 years of suband club culture.«
Let's not forget that these three were brought together by Berlin's now legendary rave scene. With this as their common foundation as individuals, III signifies Moderat's maturation in modern pop — an achievement shared under their collective belt.

Bronsert explains that, »the new album isn't based on jams. We went into the studio and knew exactly what we needed to do.« This is reflected in the sophisticated themes explored in the music. Take »Ghostmother,« which ponders inner peace, acceptance, fear of the unknown and how facing that fear often reveals something not so scary. Or »Running,« which is about being part of a mass that constantly needs to move to function, but doesn't have the power to decide the direction of motion. Or how about the wisdom of »Reminder,« which recognizes the world for its flaws and our role we've each played in that, but choosing to act differently and light the way to something better.

Given that, it's a bit of an understatement when Bronsert says, »I'd say our music has definitely matured.« Successful in their own endeavors, now they've mastered the »group«. It doesn't mean the end of Moderat, but it does mean they'll have to find something else to excel in.

You can call them a »supergroup«, but Moderat understands that it's the »group« aspect that makes them interesting.

Gernot Bronsert, Sebastian Szary (aka Modeselektor) and Sascha Ring (aka Apparat) have been working together as a trio almost as long as their two separate projects have existed. We've seen their collaboration grow from »laptop boy-band,« (as Ring playfully puts it) in 2003—with computers synched using software Ring himself had written, because at the time, »there was just no live performance software around.«

Ring confesses that Moderat wasn't »really meant to be a recording act ,« with Bronsert agreeing that, »it was really just about fun.« This maybe explains the six-year break that followed Moderat's first EP before they finally returned in 2009 with their selftitled debut album. Intent on creating something that contrasted with their own projects, the group started the cycle which blossoms on their second album, aptly titled II, culminating now in the trilogy's completion, III. Whereas I was the combination of two separate entities, II brought the members closer together, and in III, the final chapter in the trilogy, Moderat sounds like one band.

Both Szary and Ring will tell you that Moderat moved progressively from making tracks towards a more traditional writing approach of making songs - a process more fully realized on III. That's partly why the vocals have become more prominent. Mostly, you hear Ring singing (there are no guests this time), as he so often does as Apparat, but listen closely to »Ghostmother« to hear Bronsert and Szary backing him up. Stepping out of their comfort zone is the kind of thing that helped create their interplay between pop and electronics; doing it right won them the Resident Advisor Best Live Act honor as early as 2009, and they continue to gain popularity while remaining independent and underground.

Szary describes the idea behind Moderat as, »imagin(ing) yourself sitting in the cinema and watching a movie with an incredible soundtrack.« This is true with Moderat in general, but III in particular pairs an emotional pull with sensual imagery, creating dynamic sound and depth with lyrics such as »the calming scent of lavender fills the air,« or »burning bridges light my way.« You'd have
to ask them whether they're intending to manipulate the listener in the same way that John Williams or Hans Zimmer might with traditional orchestras.

One of the best parts of Moderat is their use of electronics to achieve orchestral diversity. They update the songwriting tradition with an intriguing palette, borne of careful attention and skill, informed by their »experiences with sounds of nearly 25 years of suband club culture.«
Let's not forget that these three were brought together by Berlin's now legendary rave scene. With this as their common foundation as individuals, III signifies Moderat's maturation in modern pop — an achievement shared under their collective belt.

Bronsert explains that, »the new album isn't based on jams. We went into the studio and knew exactly what we needed to do.« This is reflected in the sophisticated themes explored in the music. Take »Ghostmother,« which ponders inner peace, acceptance, fear of the unknown and how facing that fear often reveals something not so scary. Or »Running,« which is about being part of a mass that constantly needs to move to function, but doesn't have the power to decide the direction of motion. Or how about the wisdom of »Reminder,« which recognizes the world for its flaws and our role we've each played in that, but choosing to act differently and light the way to something better.

Given that, it's a bit of an understatement when Bronsert says, »I'd say our music has definitely matured.« Successful in their own endeavors, now they've mastered the »group«. It doesn't mean the end of Moderat, but it does mean they'll have to find something else to excel in.

Hypercolour welcome back the pairing of Lucretio and Marieu AKA the Analogue Cops. The Italian producers, now residing in Berlin, present 4 contrasting tracks of bit-crushed techno and loopy Chicago House armed and ready for this summer's parties. Having previously released two EPs on our HYPE LTD label, the pair follows up with more dancefloor certified vinyl of pure analogue goodness.

EP opener 'Vampire Killer' is a Lucretio's ode to bit crushed Techno, with 135+ beats per minute of face melting, drum machine funk. Beautifully distorted melodies (taken from the game Vampire Killer on the MSX2) contrast with distilled analogue rhythms to transport the listener to some lost world of computer games and 6am Techno.

'Shinobi' continues side A's theme of chip/game music twisted for the warehouse. Bitty melodic phrases push the track into orchestral territory, with heady arpeggios and feel good melodies evoking shades of late night Sega and SNES sessions and the days of proto-house.

'Corona' is Marieu's first contribution to the EP, taking his side of the wax into harder, darker territory. Deep, sine wave bass, impeccably mixed drums and a vocal lick that creeps into the mix without introduction; 'Corona' is a short sharp shock of a track. EP closer, 'McGraw', waltzes into vintage Chicago territory; with looping funk samples and slamming drums, this track proves you don't need 20 channels to make a burner. Pure 4-track House simplicity at it's best.

Irishmen Kieran Craddock & Peter Fleming, aka Effy, after 2 releases on Disco's Dead and Erimus, respectively, showcasing their jackin' house and dark warehouse proclivities, and attracting support from UK households such as Swamp81, are now armed and ready to join the IM family. Part of the encroaching brit monopoly of our roster, alongside Beaka, Seb Wildblood, Wallworks/RZR, Kalpa, iO Sounds, Troy Gunner et al, their work on "Distant Sounds" is a testament to our dedication to steal the cream of the crop of UK talent and release it on the other side of the Atlantic. Tee-hee. Now then, on to the music.

"Move" is probably the sexiest track we've ever put out (barring the dubious sensuality of most Liar trax). "Just a little bit" go the breathy vocal cuts, and the rest of the track complies. Seductive rather than lascivious, it's pervaded by a less-is-more approach that does away with any superfluous element one might encounter in modern clubbing.

"Bourbon Switch" continues among the same lines, albeit being a bit of a punchier, more driving affair. Garage percussion, basslines, house groove, techno gravitas - for anybody familiar with the UK scene, this is nothing new; however, few others juggle these as well, and with as much functionalist immediacy, as Effy do.

On the remix tip, things get mental. Troy Gunner takes "Move" into heretofore uncharted territories - stripping down the track even more, utilizing silence and space to spectacular results, and inflecting a thoroughly alien rhythm. Hound Scales does the very opposite, driving his 'Shade 2 Go' remix hard, plentifully building atop the original into a perfect morsel for those hungry for his unique brand of outsider techno. Distant sounds from distant future, graciously available to you courtesy of Infinite Machine.

Beginning in 1974, based in New Zealand, the sound-performance group From Scratch used an evolving array of percussion instruments to create a distinctive rhythmic music, texturally rich and tonally sumptuous, making use of found and repurposed objects as well as custom-made percussion instruments.
And while the music has a sophisticated, fluid and intelligent polyrhythmic drive, pitched percussion features prominently, using microtunings and just intonation in tightly structured pieces which evolve and mutate, making use of intricate interlocking of melodic and rhythmic elements. Given their Pacific identity, one can find similarities with a number of Asian Pacific musics, their music will appeal to open-eared listeners interested in such musics, and it will also intrigue admirers of the early
work of Steve Reich and Terry Riley. Formed by Phil Dadson on his return to New Zealand following his late-60s involvement in the U.K.
with Cornelius Cardew's Scratch Orchestra, Auckland's From Scratch embraced an egalitarian ethic, focusing on co-operation, integration,
and the union of opposites. These principles are clearly heard in the music here, with all the players interlocking, with the music exploring and exploding the polarities of melody/rhythm, local/global, group/individual, minimal/maximal. These four tracks, ranging from 1974 to 1982 are propulsive and yet serene, percussive and yet
sweetly tonal, and toe-tappingly alert, an immersive and distinctive soundworld. All tracks here are newly remastered from the original
master tapes, "Passage" was their first recording and is previously unissued.

Incredible, idiosyncratic and obscure early 80s French futurist DIY project led by Jean-Luc Aime.
This feature-length album of elusive recordings marks the bone fide axis point where Zeuhl-Skool meets synth pop, dark ambient and early electro culled from rare vinyl and disparate cassette co-op releases for this first ever LP release.

A lost art-ifact from a micro genre where ZED, Eskaton and Heldon share outernational tape space with Vox Populi! The Normal, Colin Potter and Luc Marianni this record occupies a unique place on the shelves of fans of early DIY electro and post punk while ticking the boxes of 80s VHS OST enthusiasts and the growing interest in European cassette zine projects. These melodic macabre tape experiments fuse multi-track cassette experiments with home-made special effects at the hand of an accomplished multi-instrumentalist working on the outer reaches of disenfranchised progressive-pop and reluctant techno defining then deconstructing genres that have yet to exist. Fuelled by futurist gothic imagery and operating on a parallel plain to his European and American contemporaries there are few artists like Stabat Stable and virtually none more enigmatic. This benchmark record is the first signpost to a darker part of your musical want-list as the invisible glue for fans of the aforementioned anti-genres. File under Not Yet'.

Blogs-beatport-traktor suckers: don't ask me why its only on vinyl, it's only on vinyl & basta.Boston's soldier Mr DeViere joins the LNEG insurrection armada. A1: sick 9 minutes of pure overdriven intensity, syncopated fire alarm, DeViere in his most jackin' translation. Incendit.B1: relax your head, caribbean ambient, hammock & vista mare. Very ltd copies, handstamped.

Collecting orders for repress!
Fodd Dod debut recording is a beautiful portrayal of disappointment - one that could be aimed at anything and could be added onto any situation or relation. Whether it is aimed at the impossible symmetry of male/female chemistry, one's own shortcomings, or the shortness of life, Fodd Dod translates to "Born Dead", the subject of the disappointment is not important - it is not why, but rather how. The six tracks that form the record offer no solution, they dont even hint at one. Track by track "Studie i Narhet, Langtan och Besvikelse" drags you further down, using simple machine drum rhythms and droney synth melodies combined with SARS signature mourns - but with enough skill and enough progression to never lose its aim, without ever becoming stagnant. What separates Varg and SARS' work as 'Fodd Dodd', from many of the "minimal synth wave" projects of the last years genre revival, is that you for once believe in the emotion being transmitted. The project, however similar in approach to other bands, current and past, does not feel forced. So even if the emotional quest of the record is to dwell in disappointment, the record as a listening experience does the exact opposite. The inescapable nerve in the six pieces is so strong, that one ends up feeling captivated rather than disappointed." -Loke Rahbek

From the Rotterdam harbours come the deep and deviant electronic voyages of Jeremiah R. Electro in classic detroit fashion, oozing with Westcoast gravy. An EP crafted for night to dawn, for the floor and the mental cruise. Cop it and drop it! All with mind-bending screen printed inner sleeve by the BAKK Decency Department.

now repressed !!!! the burner with the new mixes by butch & popof !!!

Brand new double A-sided Anthony Rother 12" hitting the shelves in May! played by sven väth!

our favorite foil faced machine heads, FRAK, on LUX REC...full info soon

The initial release from Patrik Skoog's new 12" series out of Sweden. That B1 track might make your poor turntables in need of a needle replacement after dropping it! VInyl only. Recent 2x12" album on Third Ear UK!

SUPER LIMITED EDITION - 100 ONLY! Orders will be rationed.
Special Request (Paul Woolford) remix of Royce Wood Junior's BANGER Midnight.

12" vinyl with a hand stamped and stickered sleeve

Italian DJ/production duo Simbiosi will release a 3-part box set containing fourteen tracks of techno, hardcore and abstract explorations. Loads on here...TIP!
The set includes 'xxxxxxx' (available to stream now on the Werkdiscs soundcloud) and 'Impari' which featured in Actress' recent DJ-KiCKS mix . "The whole series has been recorded at night. Everything sounds better at night", say Simbiosi.
The trio of 180g black 12"s are housed in a beautiful black and white printed card mailer featuring artwork by Euan Duncan. MP3 download code also enclosed.

There are so many lessons to be taught in life. Through loneliness, suffering and inaccessible places of the heart.
Unspeakable secrets and all that crashing down which leaves no hope, we endure. And as we move forward we learn. Visonia enlightens us with an astonishing EP, a journey into one of the most overlooked emotions, humility. A cold place, uncomfortable and yet so rewarding. Music that makes you strong. Which captures you and soothes you to that secret garden deep inside. Let us take you there.

with crazy erg the label welcomes a real specialist when it comes to techno, not only that he is on duty for quite a while now, but also because of the fact that ergin karabulut is known for his truth to techno with releases on numerous labels like harthouse, contruct rythm and so many others. his automatic is a sure shot on dancefloors with it`s driving sounds and kicking drumming. on the flip uk`s technobangers spektre deliver a darker and not less powerful interpretation of the original. another record to be found in playlists all over...

Collecting Orders For Repress!
The mysterious Ekman, aka Roel Dijcks, has been gaining some deserved attention with his terse brand of Electro. With releases on the likes of Panzerkreuz, Solar One Music and Berceuse Heroique, Dijcks has rattled souls with his bare mechanics and cold-hearted sounds. Arctic blasts descend from the outset with his latest for Shipwrec. Frosted coils ensnaring clipped beats, roaming bass lines kept in check by tight drum patterns. Emotion is masked, feelings enveloped and embedded beneath those arrangements of aluminium and steel. Distress is never far from Ekman's work. The flipside jangles with fear and retribution, respites elevating that initial unease into something outright sinister. Anxiety is effect. A brooding boil of ghosting reverb and sharpened percussion from the hooked hands of Ekman.

Mit dem neuen Songwriting- und Produktionsansatz legt die 40-jährige Steffi treffsicher nach. Auf Power Of Anonymity stehen lässige, melodische Stücke wie - Pip', - Fine Friend' und das breaklastige Titelstück neben geraden, hypnotischen Tanzflächentracks wie - Selfhood', - Bag Of Crystals', - JBW25' und - Bang For Your Buck'. Abgesehen von den Solo-Instrumental-Stücken sticht Steffis Kollaboration mit ihren langjährigen Freunden Dexter und Virginia - das erhebende, perkussive Vocal-Stück - Treasure Seeking' - als wahres Sahnehäubchen heraus.

Genau wie - Power Of Anonymity' als einzelnes Musikstück lebt das Album als Ganzes von einer Industrial-nachhallenden Struktur aus 808s, spitzen Synth-Stichen, pulsierenden Staccati und düsteren, perkussiven Drumbeats. Mit ihrem zweiten Studioalbum erinnert Steffi an klassischen, bahnbrechenden Detroit Electro während sie gleichzeitig ihren ganz eigenen, modernen und retro-futuristischen Klang entwirft.

Just recently the The 23s, a mysterious one-man-show from the German Nord-Rhine-Westphalia area, launched the second chapter of his career and released 'Flamingo' - another longplayer full of romantic smooth operators. It can be heard as a love-letter to the movie scores of the French 70ees cinema or the impressionistic sound arrangements in early Peter Greenaway movies. You find the head of a double bass in it, discreet piano melodies thrill your senses and gentle horns and beats recollect the warm jazz influenced soul of oldschool hip-hop. Now four globally famed producers laid hand on his sublime get-down-deep instrumental journey and remixed two of his arrangements.
Canadian disco-techno-blender The Mole transforms 'Any Second' into a slow banging sort of trip hop experience, in which you can get lost in a deep echoed background atmosphere.
The now defunct German experimental electronic trio to rococo rot, long-term friends of nebulous The 23s, reworked 'The scene where the car was blown away' and twisted it into a futuristic Balearic trip where Guitars slide cool and rhythms roll unfolded.
Also Gilles Alken aka Edward, man behind the acclaimed White label from Berlin and renowned Giegling artist, fell in love with 'The scene where the car was blown away'. His version is a rattling one with a prominent magic double bass and an average psychedelic atmosphere that absorbs listeners profoundly.
The fourth remixer comes from Cologne. His name is Christian S, he loves twisted grooves and he is deeply in touch with the Cómeme tribe. His choice was also 'Any Second'. In comparison to the one by The Mole his version is racy. Hi-Hats and percussive rhythms provoke movements instantly, while bewitching chords pitch the emotions high. Four remixes by four musically different grounded producers, that all have one in common: the playfulness of the pattern-based The 23s hallucinatory sound world.

Golden Teacher and the Rough Trade shops join forces to offer new ears the opportunity to hear the Teacher's first three recording efforts on one handy compilation. Recorded between 2012 and 2013 at Glasgow's Green Door Studio through a state-funded scheme for unemployed young musicians, this release documents the six-piece's interest in the willful naïveté of late 20th century "post-" tendencies, leading France's MidiLibre to later describe Golden Teacher as "an idiot-savant prototype of dance music in the 3rd millennium." What that basically means is Golden Teacher kicks ass! They know what makes people dance and they know how to do it. From the acid go-go of lead off track 'Rashomon' you're in for a total treat that takes in the synth funk of 'Love Rocket!', the percussive rumble of 'Double Bump', the voodoo drum machine drenched 'Like A Hawk' and the atmospheric 'Dringhouse' to name but four killer tracks on this amazing set. If you need comparisons think LCD Soundsystem, ESG, Talking Heads, Brian Eno, Pigbag, Trouble Funk, Moroder, DAF and Liquid Liquid. This is the perfect chance to get on point with one of the greatest bands around at the moment and this won't hang around for long.
LP - The LP presents a selection of the band's favorite tracks from these sessions. 7 Tracks but with the full CD Version included.
CD - The CD gathers all material from the three EPs, first released as OM18, OM20 and OM23 on Glasgow's Optimo Music. 12 Tracks and 60+ minutes of music.

01. Rashomon
02. Party People
03. Double Bump
04. Love
05. Castlemilk
06. Silver Chalice
07.Like A Hawk
08. Sweat Bath With Saturn
09. Dringhouses
10. Dante and Pilgrim
11. Golden Chalice
12. Love Rocket

Cultivated Electronics presents the first in new series of collaboration EP's which see's CE label head Sync 24 joining forces with other artists. The first instalment is with the the dark Electro purveyor The Exaltics (Bunker, Clone, Trust, Solar One etc). Together they serve up 4 moody yet diverse Electro tracks synonymous with the style you would expect from both of these producers.

SORN002 welcomes another experimental beat maker tot he fold. Asan is likely from another planet. His take on techno is like no other. Expect wild drum patterns, freaky synths and alien grooves. Synth Lord Steve Moore strips things back in a way only he can and creates an arpeggiated synth journey which you'd never tire of, even if it was 45 minutes long!

Classy but tough - rig hammering Techno from Australia...TIP!
The Label Say "We've had our eyes peeled on Melbourne's Craig McWhinney aka Vohkinne for some time and couldn't be more pleased to finally send off these monsters he tailored for our second release, brilliant production and and a suited follow up to label owner Patrik Skoog's well received premier release a few months ago - Format 12" only!"

Arcanoid and Caustica Waveform's Diffuse Arc join forces and deliver three excursions of spacey analog electro on the first Odio 12", BIG!

Third release from Diffuse Arc on Caustica Waveform, excellent synth-heavy electro, real singular sound from the Madrid-based label and superb artwork as always!

From hefty dancefloor bass-weight on Little Light and T5YC to deep, hypnotic synthwork on Retrospective and Silence, this EP the the perfect balance of dance music and emotional expression.

Meticulously crafted empty space between full kicks and percussion clunks, carefully placed stabs and chords opposite heavy slabs of bass and rumble. This EP has contrasting light and dark all over - the ideal EP for our Brightest Dark Place.

Caldera:

Born in Duisburg, Germany and now based in Brighton, UK, Malte Schumann is a relatively new producer to the electronic scene, but anyone catching an ear-full of his house, bass or techno productions might assume that he had been producing and releasing for much longer.

After 2 strong releases on Berlin-based imprint Sonic Moiré, Caldera was picked up for an EP on the subscription label Cut, and one year later we got him onboard for an EP atBrightest Dark Place.

Alongside the Retrospective EP Caldera also has a 7', a split 12' and an hour-long cassette release planned for 2016 already. Look like Malte is set for big things this year!

This will be released as a limited single sided 12" vinyl with a silkscreen print on the B side.
2015 looks to be Delta Funktionen's year. Following the terrifically dark and deep Wasteland series comes "A New Planet". A cold electro beat is the bedrock from which a corrupting and corrosive 303 coil grows. But even with this caustic foundation, moments of salvation are to be found. A second techno moon dawns midway, frostier percussion giving way to warmer rhythms. Full and flowing bars fall and rise behind the squawk, allowing a new and brighter element to bloom. A track that is at once atmospheric and club centric from an artist at the top of his game. This will be released as a limited single sided 12" vinyl with a silkscreen print on the B side.

Ekster is thrilled to present it's first compilation album pressed on a double black 12' 180 grams vinyl. Featuring Polysick, Hiele, Hantrax a.o.
Shut your eyes for a moment and listen to the music of EXO. The day is fully awake and yet it seems the whole world is sleepy. It is this feeling of sultry drowsiness tinged with passion that is evocative of all that is EXO. This record, effortlessly, will accompany you on an imagined journey through a schizophrenic land- and soundscape, where reality surpasses every exotic fiction.

CP/BW is a collaboration between Corporate Park (aka Shane English/Jonah Lange) and Beau Wanzer. The LP collects material recorded over the past 3 years from various fits and bursts in Denton, TX. It's a slimy hodgepodge of varied influences processed by warped minds and melting hardware, displaying Wanzer and Co.'s unique brand of American electronic madness. BIG!

Soul Jazz Records launches its new electronic music imprint Sounds of the Universe division with the first of two new albums by Hieroglyphic Being. 
Current Wire magazine front cover artist Hieroglyphic Being's debut album for the new label - The Acid Documents - is an album made up of tracks first released last year only ever available in a bespoke edition of 100 copies - in the form of a homemade CD-R - made exclusively for the Sounds of the Universe record store.
This album is now released officially as a one-off edition of 1000 copies on coloured double vinyl, CD and digital, fully remastered with artwork by Japanese artist 2Yang.
Hieroglyphic Being, aka Jamal Moss - who features on the front cover of Wire magazine's current issue - is a DJ/composer/sound artist who makes pioneering, experimental, boundary-pushing Afro-futurist electronic music. 
Born and based in Chicago, Moss's music embodies two of the cultural foundation blocks of the city's musical lineage: that of Chicago's original Acid House sound (c. 1986), of Frankie Knuckles, Phuture, Marshall Jefferson et al, alongside a rigorous experimental sound searching that taps into the cosmic musical lineage of pioneering artist Sun Ra whose Arkestra landed and was based in the city from 1946-61. 
This association with Sun Ra is by no means hypothetical, having just been in the studio with the Arkestra leader Marshall Allen and a host of free jazz players for the album Hieroglyphic Being & JITU Ahn-Sahm-Buhl's 'We Are Not The First.'
Similarly his relationship to Chicago's original acid house pioneers of the late 80s is no hyperbole. Originally mentored by artist/producers Adonis and Steve Pointdexter, Moss also now runs his own Mathematics label which has released music by foundation acid house pioneers Lil' Louis, Adonis and many others. To quote Moss, 'I am the last of the line of producers directly influenced by Ron Hardy (the pioneering acid house DJ) at the Music Box.'
Moss grew up in the south side of Chicago. After being thrown out of the home of his adoptive parents, he then spent three years homeless living on the streets of Chicago, living a nocturnal existence as a gigolo in Chicago's alternative clubs. He began his career as a DJ at the pioneering Liquid Love parties at Chi-town's legendary Power House (home of Ron Hardy's Music Box) around 1989.
What clearly defines Moss's music is that while sometimes pushing the limits of sound to an ear-splitting dimension of experimentation and DIY-electronics, the music is always clearly a progression of the lineage of black music. In the words of fellow Chicagoans, The Art Ensemble of Chicago, it is simply 'Great Black Music.' And yet in this uniquely defined sound, Moss somehow manages to draw into this world elements of industrial music, German electronic music (Cluster, Harmonia etc), Detroit's sci-fi techno artists (Atkins, Saunderson, Craig) and more.
(The second Hieroglyphic Being album on the new label, under his moniker Africans with Mainframes, will be released on Soul Jazz Records' Sounds of the Universe in January 2016.)

Randomer returns to L.I.E.S. with his second release for the label, a 5 track maxi-12inch jam packed with mixing tools to rip the floor. Granted these aren't your everyday mixers, Randomer went in and dug up some percussive nastiness and got all dynamic with it, dropping in and dropping out, heavy kicks and bells, these tracks will work the crowd and are suitable for all nite clubs around the globe. Club tested and approved, a classic in the making.

Science fiction, psychosis and savagery converge: The ever-enigmatic Redshape returns to his own label Present with this propulsive and decidedly unearthly release. BLEEP REPEAT makes for a potent first track. Here, a thumping step gives way to synth lines that sting and swell across solar systems. Things get headier, grittier, reaching a furious and frightening rush with spectral soundbites to match. A homage to UK rave sounds, this track perfectly captures the uncanny pairing of aggression and rapture at the heart of 90s bleep. PAPER BLADES follows, a celestial soundscape punctuated with hissing breakbeats and a sinewy bassline. Rippling acid lines beam along the astral plane, and a hallucinatory, near-liturgical melody meanders all the while. Spaced-out yet inexplicably driving, this track is elevating, enveloping

Four labyrinthine excursions in psychedelic techno, from Antonio Marini.Take a step back... move to the side, just a touch... there... acid, dub and free jazz, focalising like heat blisters, then healed in a flash. Wayward Flow, for example, with the ghosts of double bass and bongos swirling in from the margins.
Entheogenic freak-outs, with the left profile of Robert Hood, the right profile of Vangelis.

Debut full length from this quirky French pair after a couple of very impressive singles. We are pleased to hear Antinote continuing to delve the of experimental 'Pop' electronics area. Excellent stuff! TIP!
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"Touring intensively for the past couple of years, Syracuse's Antoine and Isabelle finally spent some time in a studio to record new songs as well as ones that were born on the road. Liquid Silver Dream is the result of these studio sessions.

From the opening track, Vapeurs d'Équateur, to the last one, Le Coeur en Naufrage, it seems that the whole album has been recorded in some secret cave under the sea. Maybe the hot and dry weather in Paris by the time of the recording and the fact that the studio was lacking air conditioning can somehow explain the urge to liquidize
every musical element - Isabelle's voice, the instruments - before pouring them into one of the six tracks of the album, turning each tune into a phial of intriguing essences.

Syracuse reminds us with this album that sophistication doesn't mean complexity. LOVE, for example, is a beautiful demonstration of this statement: the song has the genuine simplicity that any love song should have; the only ornament being an elegant opiate dub treatment given by a master of the genre, Iueke.

The first track on the B-side, Floating, allows you to take one last deep breath - somewhere over a still ocean where time has momentarily stopped - before 10 minute-long Liquid Silver Dream, a big acid wave slowly getting at you before wiping you out in a roar of synths and crushed claps. Finally, Le Coeur en Naufrage resonates in
your ears: you are lying on the shore while the sea gently skims your feet."

Defeating apathy by creating his own world, Abdulla Rashims music thinks before it speaks. Untangeled energy and drive breathes life into the rigid rhythmic structures, where the wild, almost primal, core illuminates the heartfelt and soulful layers within in his music. This musical contradiction between thought and letting go, acts as the base foundation in Abdulla Rashim's music. As a celebration and as a aural development, Abdulla Rashim releases his 'Unanimity' LP on Northern Electronics in May 2014.

Athens reminds us of Berlin right after the Wall. Gritty, chaotic, dirty, and partying like there's no future. Dream Weapons is a reflection of these confused greek days.
With limited means and a DIY attitude he builds harsh, lysergic, electronic dreams on the ruins of a once splendid empire. MRT is the perfect place to do so. We believe in total failure.