Techno Новости

Discomystery man Donald Dust makes his debut on Wilson Records withan Obscure and Hi-NRGdisco stomp

Repress!

Diagonal whack out a demented début dosage from unknown operator Handy, who probes a queered zone between the bandy-legged funk of Cylob and the sound of Evol on a bender with SOPHIE.
A perfectly curdled addition to the label's 2018 campaign, the Smacker EP follows aces by Russell Haswell and The Modern Institute with a necessary helping of deviant cheekiness across four tracks of prodded, squeezed and fondled fonq.
Here for a good time, each track says its piece in a popwise blatz of daftness at the recommended 45rpm, which becomes only sleazier, stickier at 33rpm, if the mood takes you Up top, that results in the comically tart and ruddy juzz-fank spanking of Oink and the speedy elastic scramble of Stretch, whilst underneath you'll catch the hyper coloured splashback of Spit and the nutty Talk Box workout, Dump.Bonkers.

Under the alias 4E, producer Can Oral created his own unique sound of raw, futuristic acid-electro. The A-Side tracks "Ask Isadora" and "Conga Banana" first appeared on the album, Blue Note, released on Home Entertainment in 1996. On the flip are two unreleased tracks picked from his extensive archive and edited by FIT Siegel. These were also recorded during this era, which Can describes below:

"In the 90s I moved to NYC to start a band with Jimi Tenor. I had a small flat in the East Village with the apartment number 4E and that became my artist name for the downtempo and electro material I was working on. The style I called Futuristic Electro because I didn't want to relate to the old school with this. I had my studio on the kitchen floor and pretty much only used EMU SP-1200, TB-303, TR-808 and SH-101 by good ol’ Roland. In a way NYC was still developing because it was all about house music. In 1995, I opened Temple Records in Manhattan with Dr Walker from Air Liquide and DJ DB from Smile Communications. The record shop was inside the Liquid Sky clothing store. After a fire in the shop, along with a falling out with the owner I decided to talk to a fortune teller to find out what the future held. Her name was Isadora, and she had a TV show called "Ask Isadora." She told me on live television to move out, have my own shop and be independent, so I did. Thanks Isadora!"

Outboard magician PST ends a string of great releases with a mini album on Pocochin, displaying the full spectrum of his artistry!

BATUKADA fever remixes... Electro techno power !

PINKMAN's resurrection of its Broken Dreams series is marked by a release of Dolphins - Benedikt Frey's project with Markus Woernle and Nadia D'Alo. 40G evokes landscapes of doom, disorienting pleasure, and the surreal visions that occupy a sleepless night; the soundtrack to a Lynchian fantasy about the creatures that haunt the murky waters of the modern mind. It's an album for finding yourself on a stranger's couch, tearing at the fraying edges of another endless night, wrapped beneath a blanket of drugged-out kraut. "I am here to guide you through the night," the trio sing on 'Alright'; we believe they're up to the task.

Repress!

Turbo celebrates the 10th anniversary of Gesaffelstein’s seminal work on then Montreal-based imprint with a long-awaited repress of all three EPs: Variations, Conspiracy Pt. 1, and Conspiracy Pt. 2.

Every track on 'Variations' is a battle-tested bomb. Gesaffelstein’s sound is clearly influenced by New Wave and the Gigolo-era electro (2001-2) of fellow Frenchmen The Hacker and David Carretta, but it sounds like a fresh update rather than pastiche, revitalized and refined down to a modern and versatile core.

These tracks work in Tiga's festival sets alongside some of the summer's biggest anthems, yet are equally at home in a more underground setting, e.g. Von Party's 5am warm-up before Ivan Smagghe at a London warehouse party. The title track has the most attitude, establishing a palette of dark staccato basslines, crunching hi-hats, hands-in-the-air cowbells and trippy synth leads. Selected Faces and Atmosphere are arguably even more straightforward club weapons, their breakdowns creating just enough 'insanity' without getting annoying, their grooves dropping back in with a cool, restrained power that will win over hiss weary DJs.


With remixes upcoming for Turbo and Institubes, a follow-up EP for Turbo in the works... if you want an idea as to how big Gesaffelstein will get this year, just think of him as 'Brodinkelstein.'

Russian electro specialist Sinitsin invites us deep into a dystopian world at war on his new EP for LDI Records. His four originals come backed with standout remixes from Umwelt and Privacy. Andrey Sinitsin hails from Moscow and started out playing drums in rock bands. But his love of experimentation and exploration took him into the world of electronic music where he now cooks up his own fusions of IDM, techno and electro. So far it has come on labels like Ukonx Recordings, Urban Connections and Raw Russian. He opens up his LDI Records debut with 'Perfect Killing Machine' a raw, textural electro track with grizzly bass and edgy synth lines that convey a sense of heading into battle. 'PKD' is a slick and slippery electro tune with sci-fi melodies and deep space atmospherics. The turbulent bassline again conveys that sense of intergalactic warfare while 'Across the Desert Sands' layers up coruscated bass, neck-snapping snares and deep, gurgling acid lines into a dynamic track that bristles with pent-up tension. The always fierce and analogue-loving Umwelt is an electro mainstay who runs four of his own labels including Shelter and Rave Or Die. His take on 'Across The Desert Sands' has caustic synths and brutal snares making for a dark and intense electro trip powered by an unrelenting bassline. Privacy then steps up, having established himself on labels like Klakson and Lobster Theremin. His remix is a straight-up banger, with bouncy rubbery drum programming and zipping synths racing into the future backed by smooth and serene chords. Last of all comes 'Ruined', a five-minute emotional masterpiece with melancholy chords and downbeat drums run through with a warped acid line that brings a subtle sense of hope. This is a cinematic electro EP full of adventure and invention.

Gladstone Deluxe is a New York based artist, producer and percussionist whose work takes form in recorded music, installations and live performances. Stone has performed as a soloist at the Kennedy Center, worked as a technical audio engineer, a software engineer and as an installation artist addressing concepts of rhythm, geometry, the black body and technology. “Spherical Intelligence” is Stone’s first appearance on vinyl. The crux of the record is three live performances recorded at his studio in West Harlem. These sprawling improvisations wove acoustic and electronic percussion, ambience and melody into forms that span the chasm from soundscape to advanced and intelligent club music. The stems were captured and then arranged into club-oriented tracks aimed directly at DJ and dancer. The result is an EP of cerebral, percussion-intensive music for the mind and body that reclaims and re-envisions the term “Intelligent Dance Music” from the Afrofuturist’s perspective.

The fourth physical release on the Bristol based imprint sees Out of Sorts join forces with Hekkla for his debut vinyl EP, joined by rising Bristol star Manami with a spellbinding remix of the title-track.

After rising to prominence as a graduate of Martyn's revered mentoring programme, contributing a killer track to the 3-part It Was Always There compilation on 3024, the Eindhoven-based artist has been busy at work in the studio, putting together his debut vinyl release. Reverse Groove combines Hekkla’s own formative clubbing influences with the UK-infused sound that he feels most at home with, to form a set of percussive explorations which feel at home in both Bristol and Eindhoven.

On the A-side, Going In sets the tone with a slice of grime-adjacent UK inspired broken techno, followed up by the title-track Reverse Groove, a melodically-charged techno excursion which balances dancefloor functionality with the broken UK formula.

The B-side sees Hekkla’s broken club sound in full effect on Hardcore Memories, a dubbed-out roller which combines eerie synths with tough drums, whilst Manami morphs the title track into a peak-time trance-licked banger which is guaranteed to blow the lid off any function.

62*2: Ice crystals decorate the well-worn machines. There's a positive buzz in the air, as construction on the purple plane is progressing smoothly. I'm still getting used to my new form, but I feel like I can be of help.

Humanoid continues the journey on De:tuned and returns with a new 4 track EP of classic acid jams. Brian Dougans harks back to the fundamentals of late 80s and early 90s productions, resulting in a masterclass of 303 action from a pioneer. 'Sweet Acid Sound' delivers guaranteed peak-time party material, while elsewhere tracks like 'Roached' and 'Si-rak' see Brian fusing acid and techno to hypnotic and addictive effect. Eternal love and respect tot he originators Graham Massey, Gerald Simpson and Martin Price.

Kevin Foakes (Openmind, DJ Food, Ninja Tune) created all the graphic work. Mastered by Matt Colton at Metropolis and pressed on 180 gr vinyl. A separate digital release will also be available at the usual digital shops. Stay tuned!

(180 gram pressing, blue coloured vinyl) Musique Pour La Danse presents CRON aka TODD SINES 'Scalable Architectures', the classic 1995 EP remastered. For fans of Dopplereffekt, Drexciya, Keith Tucker, Mid-West Electro A highly sought after EP equally blowing your mind and the floor. Cron is a project where Todd Sines focused on his long-running passion for electro music by exploring a specific set of machines composed of a Synton Vocoder SPX216, a Yamaha DX 100 and an Arp Avatar in a vibe completely different from his .xtrak alias or productions released under his own name. The record visual presentation was equally important as it features 3-D objects created Todd Sines through intentional misuse of mathematical functions, creating unique forms and 'scalable architectures'. Please find the complete 1995 liner notes below for more informations. Comprising of an intro + five highly danceable futuristic electro tracks of deep, sharp-edged electric grooves and hypnotic warm cuts that are each an exploration of a 'less is more' approach to production.

It was perhaps only a matter of time before Si Begg rocked up on Central Processing Unit. Now an esteemed veteran of British beat tracks, Begg's name has become synonymous with quality club productions ever since he burst onto the scene three decades ago. In the years since, Begg has released scores of records on some of the most prestigious labels in the business - Tresor, NovaMute, his own Mosquito. As such, his debut on the Sheffield imprint whose name has become a sign of quality since it launched in 2012 seems like a wholly logical progression for one of electro's most consistently excellent producers.

Begg's casual mastery of his sound is shown off by the fact that he doesn't over-egg the pudding of the Energie Electrique EP. Rather than doing sonic cartwheels to get people's attention, Energie Electrique is characterised by the way Begg adds or subtracts elements to sturdy grooves. It's an approach which makes for a collection of tunes that manage to bring the boogie from the off while they also hide all sorts of aural Easter eggs amidst the mix.

On opening cut 'Energy', a droning start full of crisp drum programming soon develops into a head spinning electro groove reminiscent of Kraftwerk's Computer World. An acid-laced bassline waxes and wanes, modulating in intensity across several minutes as Begg sprinkles in percussion, synth blurts and vocoder vocals. It's a slyly insistent rump-shaker, and the - ahem - energy that the track provides carries through into following number 'Buckfunk Beatz'. This joint begins with a gnarly, chattering synth sound before the sizzle and snap of a broken-beat kick-hat loop locks into place. While still very Kraftwerkian, 'Buckfunk Beatz' also has the playful grizzle of contemporary practitioners like Cardopusher and Begg's fellow CPU operator Silicon Scally.

Things switch up at the start of Energie Electrique's second side. Rather than rolling out a high-octane groove, Begg delivers a low-slung mid-tempo roller called 'MS10 Machine Funk'. The programming on the kick drum here could almost pass for a dirty south hip-hop production if Begg didn't lace it with such a strangely compelling use of the oscillator - sometimes squealing, sometimes squawking, sometimes wobbling, always thrilling. The mix flecked with chordal stabs, 'MS10 Machine Funk' is a masterclass in combining danceable beats with the quest for thrilling sounds that is so often the mark of a truly musical mind.

To round things out, Begg brings us back to the beginning. 'Electro P1 B' is a delightfully dystopian bit of Drexciyanism. Piston-hiss drum programming, nervy atonal synth nodules, some cavernous reverb deployment - this is a body-mover if ever you heard one, and one executed with all the style, aplomb and panache you'd expect of Begg.

Si Begg takes his Central Processing Unit bow with the Energie Electrique EP, a quartet of club tracks to rival anything in his vast and vaunted discography.

RIYL: Kraftwerk, Silicon Scally, Drexciya, Cardopusher, Annie Hall

Continuing the hunt for tracks that envelop dancefloors, the Coqueto boys present a new VA with the same feel that distinguishes them.
Wide textures, fat basslines, and dark presence are protagonists in this CQTR002.

Der angesehene DJ und Producer Daniel Avery veröffentlicht sein bis dato ehrgeizigstes Studioalbum 'Ultra Truth' auf Erol Alkans Label Phantasy Sound. 'Ultra Truth' bietet ein völlig anderes Hörerlebnis als Averys frühere Alben, für das er mit der Hilfe einiger Freunde (u.a. HAAi, Kelly Lee Owens und Ghost Culture) in seinem Studio direkt an der Themse eine ganz eigene Klangwelt entwickelt hat.

Electro and dark techno ambiances...
Album with a cool sound dynamic through.