Techno News

"My idea for Tiraquon Recordings and the Vol.1 compilation was to release non-conceptual dance floor focused music that have a higher energy and BPM than the usual Space Dimension Controller sound that many have come to expect. By drip-feeding the singles, I wanted to build towards a full vinyl compilation at the end with some new tracks as a bonus. We delayed the release as I wanted to make sure the tracks are able to be experienced the way they were supposed to be, in clubs and at festivals."

RED/YELLOW MARBLED Vinyl

Internationally revered, multi-faceted artist Arnaud Rebotini arrives on Veyl with the new EP, 'New Territory'. While venturing into a wide array of musical genres and sonic realms, the release is still unmistakably Rebotini, fueled by infectious electro-body grooves and hypnotizing vocals.
From the utterly addictive, pulse pounding allure of “Special A” to the more industrial techno strains of 'A Noise Rose', Rebotini delivers a myriad of interconnected tracks which traverse fresh auditory landscapes but maintain a common circuitry. The poignant, anthemic lyrics of 'No More Love (No More Hate)' resonates loud and clear while the throbbing, Giallo flaire of 'Italian Sex Drive' sends shivers down the spine.
'The Pale Eastern Christ' injects a haunting atmospheric mood while the title track is irresistible ebmwave that falls perfectly in between the lines for an indelible sound that only the French producer can conjure. Rebotini’s work continues to shatter boundaries and fuse genres while essentially pioneering a category all of his own. 'New Territory' furthers the legend and keeps us begging for more.

People try to label our music but in the end it's difficult because we look at it from many different angles, we assemble ideas from different musical styles and we open ourselves to extreme levels of each concept, taking it outside the norm, only this way we manage not to be labelled in a specific style of music. We want to take you from starting point A to infinity.

The mix features an introduction by Wesley Joseph and exclusive tracks from friends and collaborators Skee Mask, Or:la, Gaunt, Avon Blume and Ehua as well as the playful and energetic new track from Vynehall himself 'Sugar Slip (The Lick)'.

Vynehall effortlessly traverses across genres from spoken word and ambient, to breakbeat, gqom and afro-house.

"The output of fabric's label holds a special place for me. During my teens into early twenties the musical landscape I was exposed to broadened, and my taste diversified greatly; going to shows, making music, and swapping new finds with friends. fabric had a huge part to play in shaping what I heard and was exposed to via their mix & compilation series. The first two I heard were Swayzak's 'fabric 11', and James Murphy & Pat Mahoney's 'FABRICLIVE 36'. Both these CDs helped open the door to a wider palette of sounds. Not only did I delve deeper into the compilations post & prior, but I learned about what I enjoyed when it comes to DJing - dynamics. That was the aim of my entry into the fabric discography. A dynamic mix with a cohesive sonic narrative running through it with the club in mind. I feel incredibly lucky to be putting forward my take on something that helped to shape how I approach what I do when I DJ."

Leon Vynehall will be taking over fabric for a personally curated night of live music and DJs on Friday 8th April 2022.

Level two of LNS' electroid quest on own imprint. As last 12" there are 6 tracks, generously bridging knocking MPC-style Electro, up-tempo video-worlds and melodic but clubby Techno with blends of dub. A DJ Sotofett remix takes the dubs even further while the bleeped "Lehkist" is an excellently deep manifest of the melodic stance this record carries throughout. To be continued...

Inflitrate's electro mission continues unabated with this new drop from Maltese producer Sound Synthesis. He's previously been spotted on Fundamental, Gated and Nebulae amongst others, and he's coming correct with four brand new cuts right here. This is classically executed electro with a warm middle that will appeal to fans of Radioactive Man's early material. "Hidden Realms" is a brooding yet cosy workout, while "I Guess You Know" heads into more sparkling, emotive territory, and "Sonically Entwined" lets in a little Kraftwerkian noir. "Electronic Feelings" is a more downcast track to close out the 12", but there's still plenty of punch in the broken beat powering the track.

8th from London based “Art Of Dark”. 4 fresh cuts from Jack Keo.

Silvery sharp & bouncy 12". Techno-head E-GZR meets LNS on the A-side for stylistically and precise electro - where a globbing bassline competes with gated snaps, rolling 808-hats and a deep push-and-pull padded lead. B-side solo's E-GZR's perfectly saturated drums & celestial programming of electro-funk melodies and futuristic chords. Unreleased mix & non-album track from LNS & E-GZR's upcomming "Sputters" album on Wania (mid 2019).

Repress

Maelstrom returns to Mechatronica in full force with a magnetic set of productions, building a hypersonic vortex of speedy IDM dips, sinister electro and picturesque ambience on his second EP for the Berlin based record label and collective.

Randstad is the production and DJ moniker of dutch multimedia artist Thomas van Linge, co-founder of the record labels BAKK and Rubber and freshly relocated to Berlin. After first hearing his rhythmic drum
workout on ‘Metalloid’, his contribution for this year’s ‘Still Life’ compilation, we’re glad to have tapped his second EP ‘These Serpents’ for Veyl. Randstad is pushing his idea across the spectrum of industrialized beat music for this outright roaring 6-tracker ideal to tear down clubs when they finally re-open in 2036.

EVEN THE CHIMERA is the debut album by Wild Terrier Orchestra, a new project by Dimitris Papadatos, aka Jay Glass Dubs, based on interchangeability and open improvisation. A newer, freer incarnation of Papadatos’ creative intent, the project acts more like an open container of disparate and idiosyncratic contributions from a mutable cast of musicians and artists. Often times not provided according to a pre-planned structure, these contributions are actually more likely to arrive in the form of free improvisations, unconnected musical segments and fragmented splinters of sound. This allows Papadatos to aggregate all the constituent parts according to an intuitive process that bridges between the detailed craft of electronic music production and surrealist techniques such as the Cadavre Exquis and the Cut-Up. It’s both a harmonization of contrasting tones and a research for commonality within difference, although none of the wild terriers are ever nearly tamed. Unsurprisingly, the main inspiration for this new chapter came from a a pinnacle of avantgarde literature: poet Andreas Embirikos’, considered Greece’s first surrealist and all-out paradoxical figure. Specifically, this release is guided and instigated by his poem OKTANA, in which Embirikos inscribes a manifesto for a hedonistic utopia years ahead of any accelerationist theories, bursting with contradicting presences and mutating identities. Written in the aftermath of the Greek civil war, the poem calls for a time of eternal poetry and spiritual intoxication that can only be reached through a painful process of violent deconstruction. Thus, EVEN THE CHIMERA was born: a culmination of Papadatos’ decades long research on traditional Greek and Byzantine music, free jazz and free improvisation. Firmly spread between two side-long tracks, the contributions of American singer and musician Cruel Diagonals on vocal duties as well as Greek artist and musician Fotini Korre on ney suggest the existence of a filament that connects the west and the east through the creation of ‘’possible musics’’. This happens in accordance to Papadatos’ practice of a counterfactual approach to the process of what music history dictates. It is also directly shaped by the musician’s frequent dwellings in the isle of Cyprus, a land in which the clash of worlds and culture has often taken both violent and beautiful shapes. The long drones, acoustic ghosts and unbalanced choirs that form the album seem to call from the Mediterranean itself, not only from its history but also from its possible futures and unreal narrations, invoking it as a nexus of diversity and possibility.

Oblivion Dip, a deep-side of the Norwegian techno & experimental corner, outs two versions of dark but fresh tribal-acid-techno cuts on the A-side. The B-side generously presents a very intriguing industrialized metal-saw beauty of an ambient-noise track. Absolutely not obsolete!

Tiga follows mega-hits Let's Go Dancing and Bugatti with a massive Boys Noize collab

It's been a long time in the making. From their early days as label-mates on the legendary Gigolo records, these two dons have remixed each other, DJ'd back-to-back, even worked on the same motion picture together (Ivory Tower), but not until now have they teamed up so completely, or to such devastating effect. On the eve of BNR's 10 year celebrations, where the two will headline a series of 6 shows together, Turbo proudly presents '100.'

Both producers come through clearly: the slamming drums and acid Boys Noize has so thoroughly mastered, the clever vocal hooks, catchy basslines and ravey breakbeat flourishes that are the feathers in Tiga's boa - the best of both artists are brought together here, with a distinct nod to their electro roots. It's an immediate winner, asserting it's sonic prowess through a flawless arrangement, confidently proclaiming it's perfection in a slick, round triple-digit. One-hundred.

The magic, as in Mind Dimension, Let's Go Dancing, or Bugatti, is for packaging true pop into a compact, techno power-punch that leaves underground cred intact. Both Tiga and Boys Noize are outstandingly versatile DJs who consistently yearn for something more than the obvious tropes of EDM, embracing extremes, fitting in the esoteric, being connoisseurs of a multitude of micro-genres of electronic music. 'Jam #1' is an ode to these low-slung techno roots, a stripped-down bonus beat that lays down the law of the drum machine, and sets the stage for the forthcoming '808 IRAQ' pulled from the same Berlin studio-session, to be released on BNR

This is Lost Soul Enterprises big 15th release on wax, a tidy compilation of off-kilter dance floor cuts and misfit synthpunk anthems.

Side A commences with the gothic, neon-soaked Miami bass of ALONZO's "Cruising with Pap," featuring sinister verses delivered by a shadowy syrupsipping secret guest vocalist. Up next is bucking bronco NICK KLEIN's slow-mo industrial headbanger "Posture Test. The sonic equivalent of a sweat-soaked concrete floor, it lurches along at its own mechanical pace amid the metallic hiss and howl. Lastly, wild synth lines and ethereal dubbed-out samples dart in and out over a tough, punchy rhythmic foundation in NAEEM's "TLX," an android's sci-fi electro vision gone haywire.

On the B side, HEIDI SABERTOOTH's "Was It You" launches us deep into chugging acidic territory, combining enigmatic spoken vocals and a psychedelic, slowly evolving SH-101 line over a persuasive groove. Like a slap in the face after that comes raucous synth-punk powerhouse SSPS with "Paradise Lozt," raw as fuck, chanting a litany of dystopian tales atop pumping drums and a wash of demented organ-like synth stabs. Finally we close with the short but powerful "New Vape City" by the nomadic DOUCE ANGOISSE - an absolute earworm, a doleful coldwave ballad whose lush production plays perfect counterpoint to the icy, deadpan sentiments within.

collecting orders for repress

Pieces of 8’ was one of the tracks played during the duo’s first ever live performance, which was for Boiler Room over five years agoand has been a central part of their live show since.It has been through many iterations since and is now part ofJoy Orbison’s radio station on Grand Theft Auto.‘Pieces of 8’ is a track that sounds as fresh today as if it had been made yesterday.

On the flip side, ‘Echo Rush’ was a track that Ed, in his own words,“Found on ourlaptop one day and had no idea when we wrote it.”It was made on a synthesiser called ‘the virus’ (LOL) and Ed remembers hearing the track for the first time in a long time when he was late for a festival appearance after a delayed flight. While running up to the stage, Tom had started playing ‘Echo Rush’ and the memory was sparked. From there the duo finished the track and have now found a timely release for it, a track so obviously able to stand on its own in the coming mega summer.