Techno Novedades

The New York duo of Brian Close and Justin Tripp have been releasing music from their Chinatown studio, since 2012. Under the alias Georgia they make a sound which combines tech and tradition. Their compositions created by two hits of improvisation. Where live jams are further edited and processed. Gracing labels such as Belgium’s Meakusma, and London`s FTD. Producing super limited cassettes for France`s Good Morning Tapes, and Kashual Plastik in Germany. These global collaborations reflecting Georgia’s particular reworking of the “World Music” genre. Their approach resulting in the acclaimed All Kind Music, on NYC`s Palto Flats, and participation in Emotional Response`s respected Schleißen Series. Now comes Immute, for Ekster.

So what is it exactly that has locked me into this Which one is that magnetic hook How many grooves are in this

Simple questions, but those always lurk on our minds when we are alone with these four bombs on this EP. Thousands of noises, peeps, beats, strums do also make us delirious. And think - the mind behind this music tries to imagine a world before house and techno, while being actually well informed about those nasty styles.

These exceptional works come from Jimmy Winkles Slater, a guy running our favourite radio-show on this side of Milky Way - Greta Cottage Workshop with Onlyz

World is much happier place now.

Picture Vinyl

Furthur Electronix breaches the milestone 50 releases mark! To celebrate they deliver a perfectly executed “FE” style EP from Lou Karsh. Limited copies..

Fresh from Pedro Vian's full LP release, here are club ready remixes of Flexible Girl and Darwin's Nightmare. These are remixes made with the dancefloor in mind. The Flexible Girl remixes come from Chicago's renowned sound sculptor Hieroglyphic Being who supplies a key led version, Barcelona based Cardopusher with an 80s bass driven revision and a submerged acid remix from Portuguese producer Da Silva. The remix of Darwin's Nightmare is a trippy version by legendary Ukrainian producer Vakula.

4 Tracks of heavy Bleep & Breaks! Proper dance floor bombs from a Unknown Artist, dont snooze..

REPRESSED !!
The first compilation in a series that explores the sound and vision of the label

Repress

In the last years the Berlin-based duo Ausgang got attention in the worldwide techno scene through releases on their own label Ausgang Records. Nico and Roseen show on their first LP a clear vision of taste and quality, coming from the true techno culture. Eight tracks moving from electro to techno, based on radical essential elements reflecting their 90ies roots. Both share the basic idea of techno: raw and gritty sounds with pounding rhythms. Made for darkened rooms with fog and strobe lights. Nothing more, nothing less.

After shining a light on the rich history of Eevo Lute with two retrospective compilations of Wladimir M. and Florence earlier in the year, Delsin dives deeper in the Dutch techno archives once more by re-masterering, re-cutting and re-releasing Ballet Mechanique's Embody EP. A keystone release containing four tracks of tough, yet emotive electro jams, sounding fresh till the date of today. Originally released in 1996 on Eevo Lute Muzique and definitely one of the highlights when it comes to pure futuristic techno soul. The Embody EP from Jeroen Borrenbergs aka Ballet Mechanique and Eevo's in-house graphic designer at that time made his first public work on one of the most influential techno labels from the Netherlands.

We like to present to you our upcoming release with a day one selection of friends.

The 12” starts with the euphoric rave anthem “Members of Warning 2021” by Giraffi Dog & Erik Jähalli. A track title some of you might recognize which will bring peace and harmony to your mind again but also reflects the everyday struggle in autotuneish melancholy. Second we have the heartwarming Hip Hop cut “Shout Outs” which is dedicated to da family and our sweet raver posse. The B side hits different as Henry 3000 is a G when it comes to baba Electro bombs while DJ Hummer understands to cool it down in trancy Westcoast Funk manner.

Nite Fleit debuts on Dance Trax with 2 high octane rides through futuristic electro and high NRG techno house fusions. Backed with remixes from D. Tiffany & Jensen Interceptor this kicks of the first Dance Trax release of 2020!

The Kraftjerkz compilation series Machine Funk is our Game is back with another installment. Volume 5 features some long-time players like Alonzo and DJ Di’jital, while also introducing some new names to the Kraftjerkz roster as well. Alonzo starts the comp strong with a hyper catchy, growling cut that derives its fuel from a low, moody synth line that expands like a monster coming out of the murky abyss. High-pitched, zany synth rhythm keeps everything in balance, though, and the looping melody on this track is so solid that you can endlessly ride it. Konerytmi’s track, “Replikantti” is an electro cut whose tight, truncated percussive elements and warp-speed synth arpeggiation creates both the melody and the rhythm, keeping us hooked from start to finish. The EP turns a bit with the next track, “TicTac” by Zarcon, that begins with a UFO-infused vocal, before squelchy acid melody and speedy, twinkling synth takes over. DJ Di’jital’s track, like all of the tracks he releases on Kraftjerkz, is a quality standout, and its name says it all. “Jit it Up” delivers a hefty dose of Detroit-style jit / footwork, with its driving electro beat and laser-quick synth that seems to touch 150 BPM territory. What follows is the vocoder-laced cut from Cybereign, “Breathing Apparatus,” remixed by Mr. Kraftjerkz himself, Kid Ginseng. Finally, just when we think we’ve maxxed out our senses, the EP ends on the super weird, super original track, “Shaftwerk” from Bart Karlos. It’s a no-holds-barred banger meant to work the body. Bottom line: there’s really no filler on Machine Funk is Our Game, Vol 5. It might even be the best installment of the compilation series yet. In terms of quality, this is electro at its finest, and any of these six tracks would enhance any late-night set.

Following a string of acclaimed EPs, Glaskin are proud to unveil their highly anticipated debut album Klaftertief, due October 9th via their own YAEL trip imprint.

Glaskin are two brothers who operate on the harder, more experimental fringes of techno and electro. Current residents at the beloved Blitz Club, they built a name for themselves in Munich’s underground scene. Following a string of acclaimed releases on Scuba’s Hotflush Recordings they launched YAEL trip, a platform to showcase their own material alongside that of like-minded contemporaries.

With Klaftertief, the brothers expand on the sonic world they have built for themselves to present a vast project without boundaries. The title refers to an old German word for a deep hole in the ground that is believed to be infinite - as such, the scope of their inspiration is open-ended.

Having initially emerged as a forward-thinking techno act, the duo diversified their sound with the launch of YAEL trip, exploring aspects of electro, UK bass and more, whilst fusing introspective sound design with touches of jungle, IDM, and grime. Merging this vast sonic palette, the duo assimilate threads from different subcultures into one cohesive, genre-bending project.

Klaftertief is a document of the brothers’ artistic journey over the past few years, and by honing in on their influences, their vision is clearer than ever.

Ambient soundscapes swirl through complex sculptures to form cavernous sonic spaces. Broken beats sit alongside frenetic hi hats and thunderous kicks, all set to a range of different tempos across eleven tracks. Brief moments of weightless calm are offset by rowdy drum patterns, whilst glimpses of beauty are harvested from random modular sequences and field recordings.

Mirroring the idea of Klaftertief in their workflow, the brothers used varying setups every day of production, incorporating numerous combinations of hardware and software to allow for a freeform writing process without limits.

"One day we were just improvising on a synth searching for an interesting, catchy synthline, the next day we were slicing recorded samples until they started to make us dance in the studio. Most of the recording period we spent in front of our modular system, though. It gave us so much inspiration, a certain kind of randomness that we were searching for and effortless, joyful music making in general."

"We always dreamed about writing our very first full length LP. It came really naturally with the state we all were thrown in at the beginning of the last year. The process was full of joy as we didn't set ourselves any kind of limit. Production-wise, genre-wise, time-wise. It was just the pure joy of making music with a different musical set up every day"

The resulting album is a statement of intent from two of the German electronic music sphere’s most promising talents.

Limited to 200 w/ Printed Sleeves.

Pink Vinyl

The music on this full-length record by The Idealist, released on Höga Nord Rekords could work as a soundtrack for a Voodoo-horror-movie. It´s creepy acid-driven sound, often with a 303 as the centrepiece of the rhythm, is the kind that you´d expected to being chased in a maze of trees to.

Something threatening lies in The Idealists second release on the label. His Leftfield/techno is both a dark cold electronic adventure with metallic percussions, both a distorted image of a vengeful nature; a forest working as a single entity to find and feed on human souls.

Just like contemporary acts like Ramadanman and Appleblim, The Idealist contributes and develops a sophisticated yet primal branch of modern, uncompromising electronic music.

Repress!

Switching within digital binaries, analogue flux, and all forms of degradation in between, a creature is kickstarted to life, as if awoken with locomotion's full might. Helena Hauff delivers a mix for Tresor's Kern series, lashing together a sound world with a potent barrage of industrial dance music.
Scorched-earth missives attract metals and mining chemicals, leaving little in its wake but aggravated and chaotic experiments of lateral hypotheses in acid brine. Like a hyperloop through this labyrinth, this high-velocity future is both beautiful and evil, glinting embers through low-bit fogged-out clusters. 100 metre-high aluminium pylons vibrate, each captivated by their electrified foundations. There is no place for dust to settle on the floor. Where a loose TB-tribalism knocks switches and pounds upward synaptic shocks, life down there is too rapid. Not to be taken lying down, this is the viable path forward without the shackles of turgid passivity. The eect is no less thrilling than crucial, as it presents an essential DJ of our times.
Settling into swift 150bpm groove, Hauff ploughs through shepherd-tone electro, ghetto bumps, and grizzled techno. A new collaborative track with Morah plays a rough game of meter, with Hauff's signature sound clear as ever ripping apart new dimensions with a brutal disorder over deceptive bass synths. The visceral crunch of the present is no more clear than at the halfway point, a threshold in which the breakneck electro falls apart, with the rabid foam of Nasenbluten's ballsy gabber anthem "Intellectual Killer". Slowly more room to breathe comes into view, the pace drawn down revealing a strange sense of resolution, with expansive synths hinting at a beckoning euphoria. At this moment, Helena Hauff is clearly in full stride, uniquely melding fragile machinations against anarchic human interventions.
Helena Hauff and Morah, Umwelt, Machino, Galaxian and L.F.T. all contribute with five previously unreleased tracks, exclusive to the compilation. Rare titles are also featured, such as the late Curley Schoop’s “Mayhem” under the name Esoterik, “City Of Boom” by DJ Godfather & DJ Starski, Nasenbluten’s “Intellectual Killer“ and "After Dark” produced collaboratively by Andrea Parker and David Morley.

Clear Vinyl The second new release this year by Utrecht DJ/producer P.A. Presents (Peter Aarsman) is a highly varied EP, offering a house, techno, acid and electro track. And just like his Swirling Gas EP that was released in February, these tracks are all conceived in the 90s, and still sound fresh as a Spring morning at the top of the Dom tower.

The housey title track "Sax Madness" is a rather atypical track for Peter, who usually focuses on techno. But don't let the piano or breakbeats fool you, it still has the energy that we are accustomed to from P.A.'s productions. No saxophones have been harmed during the production of this track.

Talking about energy: "Zero P" is filled to the brim with that! Pumping, driving techno beats that remind us of Kevin Saunderson's productions, will get anyone moving. Funky stuff!

The flip side sees P.A. team up with Dazzlinj, aka his long term music buddy Jeroen Lazeroms, also from Utrecht. With "Protrack 1" the two deliver a fresh and at the same time somewhat oldschool acid tune, with the 303/808 duo taking center stage.

They close off this EP with the powerful electro banger "Creators". High paced electro beats are accompanied by hypnotizing strings, vocoder lyrics and a 303 for an acidic touch. Guaranteed to get crowd going!

Peter knew he wanted to be a DJ since he was ten years old, in a time when this was still a very unusual career to dream about. Long before house music had landed in Europe, Peter was fiddling around with disco and Italo 12"-es and all those years of training is what made him the skilled DJ that he still is today. While the era of house of techno of the late 80s and the 90s brought him countless DJ gigs, his reputation didn't cross the city borders much, until he bought his first gear and started producing techno music himself. His DJ background proved helpful with producing his tracks, as most of his them are dancefloor orientated and usually have an impeccable timing. Peter debuted with the mini-album "Salicylic Acid" on U-TRAX in 1993, followed by the "Flight Stimulator EP" a year later. Both are classics today, but neither brought him the fame that his 12" "Entangled" did on fellow Utrecht record label Deviate, which made it to many charts and compilation albums.

All tracks have been revamped and edited into more current lengths by DJ Zero One, blessed by DJ White Delight and mastered by Thee J Johanz. Label art by Bonk Artwork.

More PLEDITS make the move to vinyl. Straight up dance floor techno & almost religious weirdness imploring you to feel butts & w**k.

With his first release as EBM outfit Voltage Control on Antler Subway in 1989, Utrecht-based Arno Peeters can easily be considered one of the Dutch Dance pioneers.
Influenced by hip hop, electro and acid house, and his uncontrollable urge to experiment, he moved on to produce techno. Disappointed by the genre s conventions, he rather suddenly stopped with dance music altogether around 1995, letting a wealth of DATs with unreleased material collect dust in his studio.
To our great pleasure, U-TRAX was allowed to pick some nuggets from these archives, resulting in this Titanic EP and an album later this year.

Arno started experimenting with sound at very young age, resulting in his first cassette releases with experimental soundscapes in 1983. In 1986 he joined the notable Centre for Electronic Music (CEM), where he was able to take his experiments to a new level in a professional studio-environment.
In his techno episode , he recorded several 12 -es and CDs as Sp@sms and The Implant, and as part of Random XS, Urban Electro, African Nightflight and The AWAX Foundation, with most of his records being released on the famous DJAX label.
After turning his back on techno, he applied himself to more experimental music again. In 1996, he created AeroSon, a 40-minute sound collage that won him the first prize in the category Composers Under 30 at a high-brow international contest for electro-acoustic music. This piece was later released on the prestigious Mille Plateaux label.

Since then, his focus has shifted away from releasing music, towards working more project-based: on remixes, compilations and interactive (installations, video, sound design), building himself a successful career as radio maker, teacher and engineer, contributing to several award-winning documentaries and podcasts.
This EP is a nice cross section of Arno s dance productions, serving you some acid, techno and electro.

Titanic V1 was originally created to be a Random XS track, the techno band he formed in 1991 with Sander Friedeman. It was performed during their live set at one of the G.U.R.U. parties, organized by U-TRAX label boss DJ White Delight and label artist P.A. Presents.
This acid track was remixed into a techno monster when Friedeman replaced the 303 with a 101 and added a ton of delay on the bass drums, resulting in the woofer destroying Titanic (Underwater Dub).
The flipside sees a rare post-1995 recording by Arno: CEM Traxx 1. As the title suggests, this melancholic electro gem was created using the intricate machinery of the CEM Studio. Originally created as one half of a two-part composition for some project in 2003, it was never released before.

The EP closes with a typical Arno brainchild, the tongue-in-cheek acid banger XD5 Acid Master, from 1994. Tracks like this happen if you leave Arno unattended with a rather un-hip machine like the Kawai XD-5: he turns it inside out and uses it for things it was never intended for. Buckle up!

All tracks have been produced by Arno Peeters and mastered by Ruud Lekx. Label art by Botterman Ontwerp.

white & blue marbled vinyl

With his first release as EBM outfit Voltage Control on Antler Subway in 1989, Utrecht-based Arno Peeters can easily be considered one of the Dutch Dance pioneers.
Influenced by hip hop, electro and acid house, and his uncontrollable urge to experiment, he moved on to produce techno. Disappointed by the genre s conventions, he rather suddenly stopped with dance music altogether around 1995, letting a wealth of DATs with unreleased material collect dust in his studio.
To our great pleasure, U-TRAX was allowed to pick some nuggets from these archives, resulting in this Titanic EP and an album later this year.
Arno started experimenting with sound at very young age, resulting in his first cassette releases with experimental soundscapes in 1983. In 1986 he joined the notable Centre for Electronic Music (CEM), where he was able to take his experiments to a new level in a professional studio-environment.
In his techno episode , he recorded several 12 -es and CDs as Sp@sms and The Implant, and as part of Random XS, Urban Electro, African Nightflight and The AWAX Foundation, with most of his records being released on the famous DJAX label.
After turning his back on techno, he applied himself to more experimental music again. In 1996, he created AeroSon, a 40-minute sound collage that won him the first prize in the category Composers Under 30 at a high-brow international contest for electro-acoustic music. This piece was later released on the prestigious Mille Plateaux label.
Since then, his focus has shifted away from releasing music, towards working more project-based: on remixes, compilations and interactive (installations, video, sound design), building himself a successful career as radio maker, teacher and engineer, contributing to several award-winning documentaries and podcasts.
This EP is a nice cross section of Arno s dance productions, serving you some acid, techno and electro.
Titanic V1 was originally created to be a Random XS track, the techno band he formed in 1991 with Sander Friedeman. It was performed during their live set at one of the G.U.R.U. parties, organized by U-TRAX label boss DJ White Delight and label artist P.A. Presents.
This acid track was remixed into a techno monster when Friedeman replaced the 303 with a 101 and added a ton of delay on the bass drums, resulting in the woofer destroying Titanic (Underwater Dub).
The flipside sees a rare post-1995 recording by Arno: CEM Traxx 1. As the title suggests, this melancholic electro gem was created using the intricate machinery of the CEM Studio. Originally created as one half of a two-part composition for some project in 2003, it was never released before.
The EP closes with a typical Arno brainchild, the tongue-in-cheek acid banger XD5 Acid Master, from 1994. Tracks like this happen if you leave Arno unattended with a rather un-hip machine like the Kawai XD-5: he turns it inside out and uses it for things it was never intended for. Buckle up!

All tracks have been produced by Arno Peeters and mastered by Ruud Lekx. Label art by Botterman Ontwerp.

The second and, as later would turn out, also the last release in Heinrich Tillack's critically acclaimed Tick Trax-series. The first Tick Trax-release by this talented producer from Braunschweig (Germany) was released as Volume 1 on U-TRAX in 1994 (cat. no.: 13 UTR SYS 1). It was a very successful record, however a bit too 'rough' for U-TRAX. Therefore, Volume II is launched on the U-TRAX sublabel Phoq U Phonogrammen, that has a more raw approach to techno, acid and electro.

Heinrich is a bit of an enigma. Having released some 12"s on Detroit's Plus 8 Records (as Sysex), Force Inc. Music Works (as Absolute) and Disko B (as Festival) and his own label Jakpot (both as Festival, as well as Co-Jack, together with Olivier Bondzio aka Hardfloor), he more or less disappeared from the face of the earth. It is said that he is a developer of children's apps for mobile phones nowadays.

This second Tick Trax release has 6 tracks, all in the distinctive raw Chicago-style that Heinrich uses only in his Tick Trax-identity. For minimalists, the CR-78 orientated beats on 'Samba Track' (from '93!) will be the track to go for. For heavy pounding floor fillers you can rely on 'Heavy Weight Track' and 'Super Heavy Weight Track'. Our personal favorite is 'Rush Track', another minimal track, but heavy and dark at the same time. The power is the drive in this one!

Original release date: October 1995.