Techno Novedades

Traveling to the future through a past of machines. Childhood Intelligence Thirteen written/produced by “Electrodefedender”. Unknown to most, Originating from Frankfurt am Main, he has been pursuing his art for more than 20 years. Self-releasing through his own “Defendergrooverecords” - Re-Introduced to the World with his New Mini Album - “A Mirror Of A Soul”. Post-apocalyptic, classical, and mystic are the atmospheres that float across. Break-battle style Electro, Vocoders and Newbeat - full of Rich Synthesiser Landscapes that remind of the source, the early 80s Origin

Hinter King Midas Sound verbergen sich The Bug, Roger Robinson and Kiki Hitomi! Nach ihrem gefeierten Album "Waiting For You" (2009) auf Hyperdub veröffentlichen sie nun auf Ninja Tune den ersten Teil ihrer Kollaborationen Serie! "Edition 1" entstand in Zusammenarbeit mit dem öster-reichischen Klangkünstler Fennesz!

Mit ihrem Debüt-Album "Waiting For You" (2009) kreierten King Midas Sound ein phänomenales Werk, das irgendwo zwischen elektronisch beeinflusstem Rock, Dub und der langsamsten Spielart von HipHop changierte. Live ergänzen sie das Ganze seit jeher um quasi-apokalyptische, FX-getränkte Shoegaze-Klagegesänge und -klänge. Ob live oder auf Platte - King Midas Sound gelten als brodelnde Klanggewalt. Seit sie 2013 zum Label Ninja Tune wechselten und die hochgelobte Single "Aroo" und insbesondere deren B-Seite "Funny Love" veröffentlichten, konnten sie sich klanglich noch mehr entfalten. "Funny Love" war schließlich auch der Stein des Anstoßes und quasi-Katalysator für die Idee zu einer Reihe von Kollaborations-Projekten mit anderen Musikern. Insgesamt vier sind derzeit in Planung, das erste davon trägt den Titel "Edition 1" und ist aus der Zusammenarbeit mit dem österreichischen Klangkünstler Fennesz entstanden. Christian Fennesz, wie er mit vollem Namen heißt, gehört "zu einer Generation, zu einem Umfeld, das man mittlerweile endlich als die Dritte Wiener Schule bezeichnen könnte" (spex.de), einer Reihe von Künstlern, die hauptsächlich aus dem Dunstkreis des Labels Mego stammen und Free Jazz und Impro, die Lehren von Techno, Glitch und Electronica weiterentwickelten. Diese Mischung rief auch Kevin Martin und Roger Robinson auf den Plan und brachte die beiden auf die Idee, Fennesz für ihr Projekt an Board zu holen. Mit improvisierten Gitarrenstücken, Samples und unveröffentlichtem Material von Fennesz nahm "Edition 1" schließlich unter dem Namen King Midas Sound langsam Gestalt an. Haltet Augen und Ohren auf, denn diese beiden musikalischen Schwergewichte, King Midas Sound und Fennesz, werden ihre kompromisslose Performance in Kürze live auf diversen Bühnen Europas präsentieren.

Superb EP bringing 2 experimental electro tunes. Deep & hard !

Zoom is Thessa Torsing's first full-length album as upsammy. Since 2017, she has developed a signature style in front of listeners eyes and ears: hers is a mesh of airy tones, tender melodies and highly technical drum patterns which wrap around the body of the song like colourful thread around a metallic spindle. Zoom, a refinement of her sound and an expansion of its ambition, is evidently electronic yet seems to float some way off beyond the glow of a screen. Zoom is upsammy's most comprehensive release to date, something she remarks is "a closer and truer look into my work right now"

Across the 11 tracks on Zoom, which has early support from Ben UFO, Lena Willikens, and Call Super, are moments that sharpen your focus then throw you off guard. On "It Drips," a chunky beat conjures the image of a stomping machine. Not so – within seconds a gentle frosting of notes begins to emerge atop the song before a lead melody yawns into view. This technique recurs on "In A Shade", where buzzy static around the margins of the track and a robust low-end are merely the sediment for the song to grow into another form altogether. Using only an Analog Rytm drum machine, Ableton, some modular kit and field recordings to achieve such a wide palette of sounds, the album reflects the excitement of its maker throughout the production process.

The title is an invocation for people to look a little closer at their surroundings and replenish their stock of wonder: "People can be consumed by really big or 'fantastical' things in life, but don't see the small things that have great emotional, artistic or even spiritual value." The packaging of the release contains reminders of the everyday – from associated imagery, a poster, text and videos, all compiled, photographed, and executed by upsammy, to a limited clear vinyl pressing as part of Dekmantel's physical release.

From somewhere in Tennessee. Actually, Knoxville Tennessee. Raw Electro and Breakbeats out of the swamps. Techno and Tennessee are not normally thought of together, but here they are. Bumping.

The 9th release on BLKMARKET MUSIC is the second follow up release by Taimur, Amo, and Ostara under their T.A.O. alias. TAO stands for the absolute principle underlying the universe, combining within itself the principles of yin and yang and signifying the way, or code of behavior, that is in harmony with the natural order.

On the A side, the opening A1 breakbeat track ‘Ready Set Flow’ keeps on building and building with Ostara on the vox. The track sets the tone for a party with sleaze and constant tease. The A2 electro turns into techno on the track ‘Sevn’, a journey into time and space. On the B side, B1 is a minimal after-hours space nugget that takes you ‘To the Moon.’ B2 closes out the EP with a hypnotic and twisted 4 on the floor track ‘Shadow In the Maze.’

RED Repress !

Heckmann hard acid classic from an era when deejays still rocked ponytails and dreadlocks.

We are the Gods coming from outer space bringing a message to humanity. We talk to you with dark techno, acid breaks and dark-psychedelic sounds.

Half of Manie Sans Délire, June, turns up on Artificial Dance with his anticipated new mini-album, ‘Horizons’ - following on from his studio companion Trenton Chase’s ‘Planar Array’ released earlier in 2020. True to the signature synth-splattered sound of his and his duo, June’s newest wave-imbued manifesto has us swimming amidst an organized chaos of roughly extruded keyboard wizardry, punk-minded drum programming and a retro-futuristic headspace.

Scanning out the gap between Italo, new wave, EBM and new beat, ‘Horizons’ shifts seamlessly from forward-moving, arpeggio-laden circuitry (‘JW’, ‘Infinity Room') to hi-intensity body music (’New Horizons’), through ambientoid spaced-out sonic explorations (‘Uncharted Territories’) and quirky downtempo chuggers (‘Reverie’, ‘Psychic Process’). A kaleidoscope of rhythmic tricks and shape-shifting mirages, June’s scope-expanding six-track voyage vows to play mind games with its listener till all lights have gone off.

Manisdron is a side project of GOAT (JP) drummer, Takafumi Okada. A powerful force both live and in the studio - this is no nonsense gear that truly gets your heart pumping. TIP!

In collaboration with Brooklyn-based artist RDO/ATK, Sophia Saze makes her long-awaited return to her Dusk & Haze imprint with four slamming cuts on a release entitled ‘Stalker’.

Born in Tbilisi and now residing in Philadelphia after years living a nomadic lifestyle, Sophia Saze began her creative journey in her formative years with classical music and dance training. With a solid and natural musical foundation, Sophia became engulfed by electronic music leading to the launch of her Dusk & Haze imprint in 2017, before dropping a remix of Heathered Pearls on Ghostly International and the release of her much lauded debut album on Kingdoms. ‘Stalker’ sees her team up with old friend RDO/ATK who has been soaking up the dancefloor since the early 90s. With much of his influence stemming from the early east coast rave and club scene, his sound maintains a homage to the past without getting stuck in it. A sucker for a dirty 303, a breakneck amen, or a crushed 909, RDO/ATK’s style spans across genres from jungle to acid to broken beat and everything in-between.

The EP kicks off with a dynamic, jungle roller entitled ‘Stalker’ featuring old-school, amen breaks, stirring yet intriguing synths and hefty bass shatters balancing styles of glitch and funk together with pure class whilst ‘Fucking Crazy B’ lays focus on cold, syncopated grooves, chopped up shrieks and screams from a video of a traumatic personal incident and shimmering pads moving into ominous territories.

On the flip, ‘Talk To You In Your Brain’ delivers relentless kicks and spiralling acid squelches peppered with chilling vocal samples and frazzled fx that pulsates strikingly throughout until ‘Acid B’ rounds off proceedings with an effervescent, warehouse techno cut as the electrifying modulations bounce gracefully off the menacing percussion and slashing, 303 tones.

SOIL RECORDS still does not let its guard down, clearly, it is one of the rising label. Return to the attack with the second installment of “Valley Of Tears”, this time with works by YEARS OF DENIAL, DJEDJOTRONIC, VELVET MAY, ST. THEODORE and SOJ.

Omnidisc welcomes Vivian Koch to the family with a proper 3 tracker. Electro influenced melodic power

Tekvision Volume 1 was a stone cold classic, with Rolling Stone charting it at #3 in their top 20 EDM records of 2017. Two years on, Cornelius ‘Traxman’ Ferguson returns with the second instalment, featuring 7 exceptional new Footwork productions. Traxman is a bonafide OG, with a discography dating back to the halcyon era of Ghetto House in the late 80’s and early 90’s. 30 years on, Traxman is a revered figure in Chicago’s urban music scene, having presided over the evolution from Ghetto House to Juke and from Juke to Footwork culture. Originally released in 1989, Work Dat Mutha Fucker by Steven Poindexter is considered to be one of the most influential tracks from the early days of Ghetto House. Traxman remixes it brilliantly on this release, reworking the stripped back, minimalist drum beat of the original into an upfront Footwork pattern. This sense of continuity is equally evident on Let Me See You Naked feat. DJ Juicy, and Traxman’s remix of To Da Hoooz by DJ Deeon. These productions successfully capture the sexual energy and exuberance of Ghetto House, turbo charged at 160 BPM. Elsewhere on the record, Traxman explores different moods whilst always keeping the dance floor firmly in mind. The opening track It’s Lasting Bass lays an infectious vocal harmony over complex drum patterns and a fearsome bassline. Osaka opens with mellow, sultry keys before introducing a wobbling synth and diced up Orchestal samples. 4 Da Lyfe is a soulful and slightly more meditative track, with a vocal loop expressing solidarity and self-affirmation. Wildcard feat. Jana Rush, stands alone as the only track without a vocal element, instead utilising a piercing and insistent synth to create a powerful sonic intensity. Overall this is triumphant record, and a worthy successor to the original Tekvision release, proving once again that Traxman is an unrivalled exponent of MPC-driven footwork energy.

*cassette release*
100 copies only. C50 tape recording of Bantam Lions soundscapes. A preamble to a forthcoming 12” (BLUNDAR9) release in jointure with Best Available Technology.