Techno News

New Dub Compilation by "Avant Roots".

"made of CONCRETE" founders Andreas Pionty & fumée grise celebrate the label's second anniversary with a special release, that aligns their soundscape to palpable, material coordinates in a near- synesthetic output. Joining forces as Rebar, a moniker nodding to the label's name itself, their debut EP consists of two original tracks and two remixes centered around geo-relevant, field recorded elements.
Named after a district in Dresdener Andreas Pionty's hometown, opening track "Prohlis" is a straightforward exploration of industrial elements with an impersonal, functional atmosphere. "Kaputt" labelhead Coeter jumps in on the rework, adding more groove to the track through rhythmic distortion.
Breaking off from the homogenous structure of the first side, "Hansaviertel" unfolds as a more traditional composition. Using live recordings from the eponymous district in Berliner fumée grise's home base, an area well known for its modern architecture, the track evokes the same minimalist and cavernous ambiance as the area itself. Known for his upright techno antics, "Credo" main man Alex Bau puts forth an atypical dub tech remix. Retaining the initial groove and spacious attire, we're enveloped in a more laidback, minimalist interpretation of the original.

The fourth Kabalion elixir takes us on a walk from the cold depths of our previous pitch black subaquatic opus toward beautiful dreamscapes where the sun leads us toward eternity.

Cio D'Or (Telrae): 'A very special and beautiful release!'
Claudio PRC (Prologue): 'Great stuff as usual into beautiful sounds and visionary trips! Love and support!'
Deepbass (Soma Records): 'Beautiful music.'
Eastern Renaissance (Geophone): 'Beautiful release'
Etapp Kyle (Klockworks): 'Pure beauty!'
Luigi Tozzi (Hypnus Records): '

Following our dubby vibes, this time are our friends from Switzerland Mikhu & Fulvio Calà, as usual, no digital promotion and limited edition.

Rory St John returns to Voitax with "Excommunication", a hyper-deep, futurist take on classic dub techno. Skillfully assembled, each of the four tracks hypnotically morph and evolve, forgoing the cheap tropes of today's 'rise and drop' techno for a more immersive listen - one gets the feeling that each and every sound is wielded with precision, and exists exactly where and for as long as it should. Reacting to the increasingly harder-edge sound that proliferates today's techno, Rory St John strove to push his sound in the opposite direction. The result is sombre and introspective - a slick, reverberating antidote to mainstream anthems. This release is markedly different to the abrasive stylings of his previous "Run Your Mouth" EP and reveals yet another side to the producer's sonic palette.

Early support by Dax J, Eomac, Etapp Kyle, Inigo Kenndy, Marcel Dettmann, Samuel Kerridge, Slam and many more....

Brand new in those deeper days, 'DUB 2 DUST RECORDS' is going to start their vinyl-label, releasing electronic dance music with a special
focus on the various colours of deep Dub-Techno and "Dub" inspired Tech-House.

As artists and remixers Marko Fürstenberg, Gabriel Le Mar, Frank Leicher, Quantec, Luke Hess and youANDme will light a match this year for 'DUB 2 DUST' reflecting their passion and respect for the needs of a Dub head on the floor.

The dub-feeling is clearly the inspiration behind the general flavor of the DUB2DUST-Sound and will demonstrate innovative efforts to offer interesting hybrids of techno/house music. 'DUB 2 DUST RECORDS' is operated from Gabriel Le Mar & Carsten Schorr, and already based in Frankfurt am Main, Germany.

Limited 300 copies pressing - VINYL ONLY !
Unison Research is an iItalian duo (Filippo Di Nola and Luca Starace) with a passion for analog machines and anyway is a party where Filippo and Luca are a resident djs.
Here they deliver three techno tracks with deepness and accurate structure that continue the mood of the previous release of the label which is already a classic for Dub Techno lovers

Limited 300 copies pressing - VINYL ONLY ! Solid dub Techno from an already respected in the likes of many top players !

After the first classy, deep and aetherial 12" back in May 2019, B2 Recordings is back with it's second release, and here we see the labelowner Bengoa move things forward with a three-track EP of all original material following a five-year hiatus. Title-cut 'Forest Law' takes the lead with robust, organic percussion at its core while wandering subs, airy, circling synth lines and vocal chants ebb and flow throughout the groove to create a rolling, hypnotic groove. 'A Little More' opens the flip-side next, embracing a dub leaning feel with choppy stab echoes, crunchy drums and bumpy bass hits before 'Corponation' rounds out the release, laying focus on expansive voice murmurs, airy atmospherics and an acid tinged bass hook alongside loosely shuffling, jazz tinged drums.

The third reference in Concerns Music LTD has two original tracks by Kalter Ende and two remixes by Orphx and Manni Dee. Pure techno.

New myths; remember downstream, the truth and sacred geometry. Unlikely and bright, it weighs waves like an anchor through pinch unconscious - unread and still. We are understanding - process born from fact. The rope is taut, calm, made of ritual and leading us back - but in telling it transforms; pre-linguistic, stamped, fully dynamic, the start refracts into new versions and inwards we fold. It remains rhythm in absence, but grows as we watch. Next thread drawn from the Mirror Zone, this one built by Vector Trancer. Our plate reads panoptic; dark dub and ambient loaded with psychoactive EBM. See further; MSB's vital experiments powered by half-speed Beat Box; distant Objets D'Art channelling through Namlook's Fax; pared down FSoL at the hands of Autocreation. Celestial fringe echoes, viridis mantra, and guttural/ceremony trudge. Direct knowledge, heavy and charged.

Al Wootton continues pushing the Trule sound with the Operator EP. Spanning from the Ragga Garage of Levi, the UK Techno Breaks of Teresa, the UK Funky/dubwise stepper of the title track Operator and the minimal 2 step techno of Franz. All primed for the sound system and the dance floor.

vinyl only label project from berlin !blue marbled vinyl with handmade stamps and free sticker, inspired by jules verne`s "20.000 leagues under the sea"... deap-sea monsters and fear of the dark side ! only available on vinyl - no digital release ! no facebook, no twitter, no soundcloud, ...only music

LIMITED 100 COPIES / Absolute Cosmic Principles

incl. El niño de los peines remix

Solid Uncoated returns with its second release, again compiling four productions from the inner circle of its network. D'Evoé opens the feld with »Failures«, a gloomy and cavernous hardware track resembling the bassline and pad recipe from S/U 001 in a more offensive manner. Next up is Arian Alexander, one half of the Monogenic duo, with »Pakchoi«: A lesson in sub-heavy, effective purism, pushing sparse chord stabs over a swinging 909 rhythm. Opening up the fipside there is Bool again, another acquaintance from the frst 12", delivering his trademark peak-time sounddesign within a massive, morphing chord sculpture.
The circle is completed by Sub Accent from France, another newcomer to the S/U family, represented here with an amtmospheric track of industrial-leaning, widescreen ambient techno. Limited to 300 hand stamped copies.

We are kicking off the labels 20th anniversary with two parts white vinyl edition of Etui Winter Camp 4. Part two focuses on techno.

Master of ambient spaces and far out places, long-time Finnish producer Sasu Ripatti (aka Vladislav Delay) blesses us once again with another release, this from his 'Visa' period of unreleased tracks.

The first track out of the gate is a recognizable Vladislav Delay piece, but instead of gently flowing rivers of sound, instead we have a series of stiff, machine-like rhythms applied to his classic infinitely deep pads and ambient environmental sounds.
It just continues to pile in more elements until becoming almost indistinguishable from his natural, organic flow.
From there we move into somewhat more familiar territory but still unusually stripped down and mechanical for a Vladislav Delay joint.

It’s fascinating to see such an intricate songwriting process laid bare in such a way, often exposing each individual, nearly bottomless sound in isolation.
Deeper into the album, things veer into decidedly more abrasive and synthetic territory, at times becoming an almost unrecognizable artist for a moment, only to be eventually subsumed under layers of shifting ambience that could only be Sasu.

This austere minimalism makes these tracks some of the most hypnotic since the early 90s excursions, but at the same time seems to have left its organic, analog roots and melded with the harsh gridlocked modern sequencer. ~Clint Anderson

12-inch, first edition of 200, vinyl only, full cover, center hole on front, black innersleeve, shrink wrapped
Five dubbed out techno cuts from echoed (industrial) anthem to (pulsating) dancefloor
banger. Inspired by late-nineties Dub Techno. What happened remains uncertain...

blue marbled vinyl with handmade stamps and free sticker, inspired by jules verne`s "20.000 leagues under the sea"... deap-sea monsters and fear of the dark side ! vinyl only - no digital release or promo !

Vril's now classic 2014 Delsin debut.

Re-press of A Sagittariun's debut 2011 EP on Elastic Dreams. 'The Circle Stops Somewhere' has been a
defining release for the British techno explorer, long since out of print since its release seven years ago.
Now the label re-press the original vinyl release that features two amazing MD2 (AKA Mike Dehnert) remixes.
Resident Advisor summarised the debut A Sagittariun release in a glowing review 'The Circle Stops Somewhere"
is definitive driving music, even down to the evocation of onrushing traffic in the form of cold, blurred synth stabs.
It's also a nostalgically-observed piece of electronic jazz, the dominant motifs of which transport one into a
crepuscular world of uncertainty and disquiet. The reliable Mike Dehnert turns in two contrasting mixes...'

If we would have to name one thing our fans have been consistently asking for, it’s a vinyl version of THE FIELD’s legendary first album FROM HERE WE GO SUBLIME: originally rolled out in 2007, this much-acclaimed full-length debut of what was to become one of the most celebrated projects in our artist fold saw a regular CD edition and an accompanying 12" sampler – but never a full vinyl release. Following our long sold out 2014 limited edition reissue for Record Store Day, we welcome FROM HERE WE GO SUBLIME back as a double LP in gatefold vinyl.

Axel Willner aka THE FIELD joined the Kompakt family in 2005, bringing forward a new fusion of ambient and techno that fed on his adoration for Wolfgang Voigt’s classic 90’s projects Gas and M:I:5 as well as the shoegazer rock of Slowdive and My Bloody Valentine. Called a “techno pop landmark” by Pitchfork, FROM HERE WE GO SUBLIME almost immediately became a cult favourite, starting a trend that continues to this day – as can be seen with THE FIELD’s most recent full-length offering CUPID’S HEAD that has been lauded by critics and crowds alike.

The most striking feat of FROM HERE WE GO SUBLIME must be its sonic cohesiveness, debuting a fully-formed artistic vision that – seven years and three albums later – hasn’t lost any of its luster. As a fixture in THE FIELD’s discography, it remains as important as ever, with Axel Willner installing a blueprint that inspired many but sounds like no one else… except himself. Giving you a feeling of warmth and familiarity on first listen that you can’t quite grasp, it’s like this sound has always existed, when in fact it was the unique creation from one highly gifted producer. And it all starts here.

Wenn wir eine Sache benennen müssten, nach der unsere Fans immer wieder fragen, dann wäre es eine Vinyl-Version von THE FIELDs legendärem ersten Album „From Here We Go Sublime": Urspünglich 2007 veröffentlicht, wurde das gefeierte Debut, das zu einem der beliebtesten Projekte innerhalb unseres Künstler*innen-Ordners wurde, sowohl als reguläre CD-Edition als auch als begleitender 12“ Sampler veröffentlicht – aber noch nie als vollständiges Vinyl-Release. Im Anschluss an unsere seit langer Zeit ausverkaufte limitierte Reissue für den Record Store Day sagen wir Willkommen zurück zu „From Here We Go Sublime“ als Doppel-LP in der Gatefold-Vinyl-Version.

Axel Willner aka THE FIELD tat sich 2005 mit der Kompakt-Familie zusammen, im Gepäck eine neuartige Fusion von Ambient und Techno, die sich aus seiner Bewunderung sowohl für Wolfgang Voigts klassische Neunziger-Jahre-Projekte Gas und M:I:5, als auch für den Shoegazer-Rock von Slowdive und My Bloody Valentine speiste. Von Pitchfork als “Techno-Pop-Meilenstein” bezeichnet, wurde FROM HERE WE GO SUBLIME fast über Nacht zum Kultfavoriten und legte den Grundstein für eine Erfolgsgeschichte, die bis heute anhält – wie man anhand des von Kritik wie Publikum gleichermaßen bejubelten, aktuellen Albums CUPID’S HEAD sehen kann.

Die hervorstechendste Stärke von FROM HERE WE GO SUBLIME wäre dessen klanglicher Zusammenhalt, das Debüt einer vollständig ausgeformten, künstlerischen Vision, die – sieben Jahre und drei Alben später – nichts von ihrem Glanz eingebüßt hat. Als feste Größe in THE FIELDs Diskographie ist das Werk so wichtig wie je zuvor, eine Blaupause, die viele inspirierte und doch nach nichts anderem klingt… außer sich selbst. Bereits beim ersten Hören ein schwer benennbares Gefühl von Wärme und Vertrautheit verbreitend, scheint dieser Sound immer schon da gewesen zu sein, obgleich es sich um die einzigartige Schöpfung eines hochtalentierten Produzenten handelt. Und es begann alles hier.

LIMITED ON COLOURED VINYL

Dark Dub Techno by Chris Manura. Dirtydrivesounds is back with its second vinyl - including Mac-Kee and Sven Tasnadi (Pokerflat, Katermukke) Remixes.

Mikkel Metal returns to Copenhagen's Echocord this May with his new mini LP 'Just Enough Light', comprising six originals from the Danish artist. Copenhagen based producer and DJ Mikkel Metal has been a beacon of light in the Danish electronic music scene and further afield for nearly two decades now, with the Dub Techno imprint from his hometown, Echocord, being the predominant home for his output, whilst also releasing material on Cologne's Kompakt, Tartelet, Semantica and Avant Roots, a telling sign of the quality embodied in his work. Here though we see Mikkel deliver a mini album concept in the shape of 'Just Enough Light' and opener 'Awake' perfectly sets the tone with emotive, dynamically unfolding atmospherics, tension building bass drones and spiraling dub chords subtly easing us into the project. 'Bregnan' then stirs in some classing Dub-Techno tropes with billowing stab sequences, lumpy subs and off beat high hats carrying the hypnotic groove for six and a half minutes. 'Jech' then strips things back to an almost beatless amalgamation of murky chords and modulating synth whirrs. Opening the flip side of the release is 'Include' which embraces a brighter feel via ethereal pad swells, jazztinged synth melodies and bumpy 909 rhythms before 'Konkin' edges back into the eerie, brooding aesthetic with bubbling echoes, broken drums and menacing bass swells at its core. 'Restore' then closes the package on a stripped-back vibe, laying focus on an ever- eveolving singular dub chord to ebb and flow around thunderous subs, kicks and bright hats.

Tableland is a new Techno-leaning project from an established name. Vinyl only. No more information right now.

New year, new luck.

Our resident JESSAMINE is making the serve and releases his first artist EP on our in-house label.

With its rough bassline and arpeggio, the title track flutes clearly focuses on the dance floor, moreover, it is not too fine for an emotional break either. dérive-the second track on the A-side-is a much more twisted, darker and trippier one, more suitable for the later hours on the lobby and similar intimate dancefloors.

As long-time friends of the club, MAP.ACHE and KASSEM MOSSE contributed fantastic remixes. While KASSEM MOSSES's stille floeten remix comes along a little more stoic and therefore all the more hypnotic, MAP.ACHE's interpretation of flutes is uplifting and a catchy tune as described in the books.

Agenda 2020 ://about blank-style.

404 is a young collective based in Paris of 4 very different guys making music together. Last year they released a debut mini LP on Dusseldorf label Candomble and started performing live at Concrete and other prominent venues. This is their second release ever. Dark, improvised, smokey, claustrophobic techno of the highest psychedelic grade, bringing together elements of the « slow techno » sound, industrial textures and dub.

Sometimes near - sometimes far, dead points arrive. Something or other is given away, distant past usually stays. Coming up here on Leap. Profile s hypnotizing debut solo 12 inch puts a melancholic grin on the face of the dubtechno devotee. Thanks for purchasing a real copy!

Raime's second album, Tooth, arrives June 10, 2016 on 2xLP, CD and digital formats. The widescreen melancholia of their 2012 debut, Quarter Turns Over A Living Line, gives way to an urgent and focussed futurism, in the shape of eight fiercely uptempo, minimal, meticulously crafted electro-acoustic rhythm tracks. The DNA of dub-techno, garage/grime and post-hardcore rock music spliced into sleek and predatory new forms.

No let-up, no hesitation. Needlepoint guitar, deftly junglist drum programming, brooding synths and lethal sub-bass drive the engine. The production is immaculate, high definition. No hiss, no obscuring drones or extraneous noise: the music of Tooth is wide-open and exposed. The seeds of its supple dancehall biomechanics can be found in the self-titled 2013 EP by Raime side-project Moin, an ahead-of-its-time synthesis of art-rock and soundsystem sensibilities, but Tooth pushes the template further, binding the disparate elements together so tightly that they become indistinguishable from one another.

If Quarter Turns was an album that confronted total loss and self-destruction, even longed for it, then Tooth is the sound of resistance and counter-attack: cunning, quick, resolute, calling upon stealth as much as brute-force. At a time when so many pay lip service to experimentation without ever fully committing themselves or their work to it, Raime return from three years of deep, dedicated studio research with a bold and original new music: staunch, rude, and way out in front.

A unique album of outtakes from the classic ‘Songs
Of Praise’ and ‘In Pursuit Of Shashamane Land’
albums, compiled by On-U archivist Patrick Dokter
from the original tapes and expertly sequenced to
work as an immersive listening experience. A
companion piece to the acclaimed ‘Return Of The
Crocodile’ set from 2016 that took the listener on a
version excursion through the early years of the
group.
 These are the dubbier and more out-there
experiments mixed down whilst Adrian Sherwood
was shaping the sound of the albums. Bubbling
percussion lines skitter across the stereo spectrum,
ghostly voices echo inside the machine and
mangled guitar riffs beam down from Mars, whilst
staying rooted in the tough tribal rhythms that
form the bedrock of the AHC sound. This is music
for the head and feet, take heed!
 Mastered by King Kevin Metcalfe. Comes with
digital download card for full contents plus doublesided poster insert containing an extensive new
interview with African Head Charge mainman
Bonjo Iyabinghi Noah, telling the story of his early
life.

Originally issued in 1993 and the last African Head
Charge album on On-U Sound for 12 years,
released at the height of the band’s popularity as a
staple of live music festivals.
 Continuing the skilful fusion of styles they had
explored on ‘Songs Of Praise’, this album added
elements of trance and electronica to their
trademark percussion-heavy sound.
 This expanded reissue adds eight bonus tracks to
the original vinyl edition, including two that have
never been released before.
 Includes a digital download card for the full audio
plus a double-sided poster insert with excerpts
from a new interview with band leader Bonjo
Iyabinghi Noah.

Originally issued in 1990 and considered by most
fans to be African Head Charge’s masterpiece.
Religious chants set to an African dub backdrop of
layered hand percussion, with a mighty sonic and
great musicianship places the record in a unique
place. An outernational classic.
 For this reissue the album has been expanded to a
double LP with all the tracks from the original vinyl
release plus bonus tracks previously only available
on CD.
 Includes a digital download card for the full audio
plus double-sided poster insert with excerpts from
a new interview with band leader Bonjo Iyabinghi
Noah.

The first album African Head Charge made for OnU since 1993, this 2005 set was a triumphant return that saw longtime collaborators Bonjo Iyabinghi Noah and Adrian Sherwood reunited in the studio once more, the album title referring to the project’s original mission statement (nicked from Brian Eno!)

 This album is African Head Charge at their very
best, rich in varied percussion and spiritual chants,
set over hypnotic and transcendent layers of
African rhythms, trippy and bubbling dubbed-out
effects and trademark pounding bass.

 This is the first time the album has been released
on vinyl. Cut over 4 sides for maximum dynamics
by King Kevin Metcalfe.

 Includes double-sided poster insert featuring a
new interview with Bonjo, two bonus tracks and
digital download card for full contents.

2011 album available on vinyl for the first time. Master percussionist Bonjo Iyabinghi Noah joins forces once again with dubmaster Adrian
Sherwood at the controls and a whole host of guest musicians, including contributions from dancehall pioneer Jazzwad and electronics from Adamski.

All the elements of a classic African Head Charge album are present: spaced out dub, tribal chants, ecstatic trance but updated with a rugged sound system undercarriage. Arguably some of the hardest hitting AHC rhythms laid down in the studio to date.

Cut as a double LP for maximum dynamics by King Kevin Metcalfe. Includes digital download card for full contents and double-sided poster insert containing new interview with Bonjo on the making of the record.

Children Of Tomorrow will celebrate soon its 10 years anniversary. The label was created by Emmanuel Ternois back in the day and being joined by Arnaud Le Texier in 2011. Since then they focused on Techno producing amazing artists, to name few: Terrence Dixon, Zadig, Tensal, Antigone, Oscar Mulero, Jonas Kopp, Samuli Kemppi etc... Children Of Tomorrow is now presenting the first album from Arnaud Le Texier. After almost 30 years Dj-ing around the world and almost 20 years producing. Signing many releases over the years and always busy delivering dance floor releases, it's been a long wait to finally get an album from ArnaudOn his first album we can feel that he wanted to tell a story and to express something deeper with his production experience. There is a different variety of Techno that stretches from ambient / broken beat / hypnotic / raw Techno along with subtles grooves, wondrous atmospheres & sonic textures. On A side the album opens with Dusk, an ambient atmospheric mid-tempo track with sonic sounds that is a perfect intro.Pattern 2 starts with drones and blip sounds and a broken beat groove follows with a pad that sounds like a voice coming from the space. The track ends with some modular click sounds that make the whole track clever. Followed by the album title Granular Therapy, a deep techno track with modular bass line and melancholic pad. A perfect track to play in after or to warm up a party.The B Side is more dedicated to the dance floor with Black Nympheas that is a proper dark modern techno with a grinding bass line and magic drones. A simple beat makes the track evolve in a nice way. Blade Pass frequency is 4/4 effective Techno with a 909 kick, a syncope acid bass line and a pad that sends you to another dimension. It is a powerful track but with a sense of deepness and sensibility that Arnaud can achieve sometimes. This side closes with Binary Sun Dawn which is an ambient track with melody that has a jazz feeling mixed with dark atmospheres, sonic drones and water drops. The C side opens with Mono Driver, a minimal track with a little synth that stays until the end repetitively until it makes you travel and lose your mind. Deep and dance floor at the same time.

Then Snapper is a more percussive track with some shinning bells and a grinding modular bass line.

The last track Virgo Consortium is a cosmic broken beat with dark atmospheric drone, simple bass and phasing efx. The D Side starts with Midi overdub which is a beauty. A mix between ambient and broken beat. The pad has the deepness that transports you somewhere else with an angel choir on top. The beat is spacial and groovy at the same time with smart high hats. This reminds Arnaud's past ambient production but with a modern approach. Surely a special track of the album.

Hideous Engine is more dance floor with metallic bass line and 4'4 beat going towards a sonic pad that closes the track.The last track Dawn is ambient with drones and blip sounds and an acid bass line modulate. A perfect end of the album.This album is an accomplished journey that makes you dance and travel from dusk till dawn. Arnaud Le Texier shows a coherent vision and illustrates his vast diversity in the techno world. Hopefully we won't have to wait 20 years to get another one.

Marcelle arrived via punk, post-punk, avant garde and dub and lives by the independent, forward-thinking spirit inherent in those scenes. "Everything Not Yet" is Marcelle’s ninth vinyl-only release for Jahmoni Music from Munich and follows on from last year’s ‘One Place For The First Time’ which swiftly sold-out and is now onto a repress. The 10" vinyl is released alongside her latest album "Saturate The Market, Now!" featuring a shorter album-cut of ‘Everything Not Yet’ among nine other tracks. So are you sitting comfortably? Well Marcelle would prefer if you weren’t. Because this is music for misfits to move to. The very opposite of business techno. A missive from a cult DJ with an enviable record collection and a fearless artist who couldn’t give a flying fuck about dance music norms. Saturate the market with pure energy – let’s do this!
Seb Wheeler, Mixmag

”Are you ready to take your turn now?” asks a mischievous voice at the beginning of DJ Marcelle’s new album. But by this point you don’t have a choice: you better buckle up for a joyride through the wild, unpredictable imagination of a true electronic music auteur. ‘Saturate The Market, Now!’ is stuffed with the kind of raw, rhythmic workouts and playful humour we’ve come to know and love from the long-serving Dutch artist. Let’s start with the music: Marcelle pinballs between pumping outsider house, brilliantly weird acid and musique concrète experiments where anything could happen at any given time. Then there are her famous track titles, which take another aim at nightclub patriarchy (‘Technicians And Their Light Effects’, the successor to last year's 'Technicians And Their Smoke Machines') at the same time as displaying a keen sense of satire (‘I Fell In My Own Cesspit!’) and revealing a difficult relationship with the sour, massive rock that for her is ‘German Bread’. With artwork featuring a collage of puppets found in her Amsterdam house and Marcelle’s own on-the-road photography, this is yet another album that sets her a mile apart from the paint-by-numbers dance music producers - or “accountants” as she’s witheringly described them.

Marcelle arrived via punk, post-punk, avant garde and dub and lives by the independent, forward-thinking spirit inherent in those scenes. A sense of freedom is imbued in her work, unsurprising given that this album was written in two weeks and was made entirely on her own collection of machines (save a few choice vocal samples). It’s Marcelle’s eighth vinyl-only release for Jahmoni Music from Munich and follows on from last year’s ‘One Place For The First Time’ which swiftly sold-out and is now onto a repress. The vinyl is released alongside a 10” featuring extended and dub versions of triumphant album-cut ‘Everything Not Yet’.

So are you sitting comfortably? Well Marcelle would prefer if you weren’t. Because this is music for misfits to move to. The very opposite of business techno. A missive from a cult DJ with an enviable record collection and a fearless artist who couldn’t give a flying fuck about dance music norms. Saturate the market with pure energy – let’s do this!Seb Wheeler, Mixmag

‘Rain, spit, ice, neon, plants, steam, mercury and soil. This is dream music categorised by a language of senses; visual, poetic, and abstract sound that draws on techno and dub ambient.

‘Somewhere between pastoral impressionism and cyber-noir, its surface evokes the tensions of a fluctuating, fizzing atmosphere, pictures emerging and dissolving in the mind’s eye. Thick layers of field recording flood tracks fabricated from erratic, oddly distanced rhythm.

‘The sensation whilst listening is not unlike hearing the world from a place within the body; swimming in the bloodstream, cutting through the turbulent landscape secure in a metal tube.

‘Or being over-exposed to lushly textured environments with the anatomy far receded; an out-of-body experience where subtler senses are heightened and the landscape begins to take on surreal qualities.’

Artreform opens new year with stunning tech-house release 'Affair' by label's head Joss. Including trippy and groovy remix by legendary G-Man!

Repress

Deep space techno tracks from beyond by Boston's Deviere (known from Jamal Moss' Mathematics records), approaching like a time capsule from an alien past and a bullet into that forgotten future.

Earl Gateshead retells the story in a different style as Babe Roots reconstruct the rhythm with a spiritual dub vibration.

Der Kanadische Wahlberliner Nathan Micay (aka Bwana) Präsentiert Sein Debütalbum Auf Lucky Me. Nach Releases Auf Whities, Esp, Aus, Cin Cin Und Dj-sets Für Resident Advisor, Essential Mixes, Boiler Room, Kreiert Micay Nun Eine Neue, Verjüngte Schnittstelle All Der Elemente, Die Zur Magie Von Future Sound Of Londons Rave-hybriden "accelerator" Beitrugen (prog, Trance, Techno, Hardcore, Jungle, Idm, Ambient). Verpackt In Ein Hochmelodisch-komplex-spaciges Sound-design Klingt "blue Spring" Wie Ein Inspirierter Technicolor-trip Durch Sub-bässe, Future-breakbeats, Dancefloor-rollercoaster, Erhabener Euphoria, Ausserweltliche Klanglandschaften Und Sogar Ein Wenig 3/4 Zeit.

The official soundtrack from the Netflix movie 'Kidnapping Stella' gets remix treatments by dub techno mastermind Vril and Berlin local Anja Zaube on the A-side, as well as DUATRECORDS labelheads Amin Fallaha and R100 on the flipside.

Eduardo De La Calle s recent Distortion Theory III EP on Abstract Reasoning was another impressive piece of work from the prolific producer. Now come four diverse remixes of the title track, each with their own unique twist on the warped machinations of the original.

J - Keel kicks off proceedings with a droning, tense interpretation which toughens up the original considerably. Reversed chord stabs pitch up and down as ominous bass bores a steady course through the track s underbelly, with ticking percussive elements ensuring a motorik pulse.

The masterful Roman Fl gel teases out the chime motif of the original and supplements them with muted marimba-esque arpeggios for a soothing, underwater feel. The beats are kept to a succinct minimum, with subtle swathes of strings bringing a majestic, dreamlike tinge to this refined, minimalistic production.

Fellow Spaniard ORBE brings an ambient feel to the hazy, delicate melodics of his mix, with the delayed, warped synth patterns that struggle to be heard and beautiful atmospherics recalling Carl Craig. Moments of distorted pressure seep through and remind us of the buggedout flavour of the original.

Holland s Conforce rounds things off with plump low end throbs and sparse synth pulses reminiscent of Basic Channel, with gently shuffling hi-hats underpinning the murky yet warm textures and broad, heavily reverbed swathes of chord drama.

*Limited Repress*

Belfast's EJECA debuts on UTTU's Dance Trax series with 3 originals plus a rework from Berlin based Berghain ghoul Matrixxman. 4 incredible dance floor bombs that touch on jackin house, detroit techno, trance & dubbed out berlin techno.

Andrew Weatherall turns in two thudding, low slung tracks. Expect clattering effects, outer space bleeps, and hypnotic bass. Andy Bell returns to join Andrew in the studio, layering a haunting, tripped-out guitar line over the top. File under cosmic dub. 1000 vinyl only. Remixes on the digital edition from Andrew’s Two Lone Swordsmen partner Keith Tenniswood, and Lithuanian taste-maker Manfredas. Mastered by Noel Summerville. Artwork by G.S-L Studio.

After the initial release from Transformations, the collaboration between Deepchord & Fluxion continues with the Bona Fide EP.The urban journey remains, with the duo challenging the audience with another colourful and sonically rich release. The duo has created their own multi-layering sound; a wide space cinematic environment.As before, two really engaging recordings that are not written with one specific environment in mind.

Review from Resident Advisor:

Expertly made dub techno for the dance floor.

Scott Monteith's last album, Wax Poetic For This Our Great Resolve, was both a lament and a message of hope for a world in turmoil. On that record, the Canadian artist embedded speech in an often instrumental form. On his latest LP, he's less poetic, reflecting not on the world around him but on a festival he played last year: Waking Life in Portugal. In the process, he's made some of his most straightforward dub techno in recent memory.

Waking Life has the same rich sound design that's characterized so much of Monteith's music. Lush synths glimmer in the dark expanse of the aptly titled "A New Sense Of Purpose." The gently percolating lead on "Waking Dub" evokes sunlight reflecting off a river. The 14-minute closer, "A Last Swim," is immaculate dub techno.

Waking Life feels made for the dance floor and flows like a night out, peaking with "A Last Swim." The LP's midsection is heady and nocturnal, with a tech house-inflected groove on "Midnight In The Garden" and a bleepy lead on "A Thousand Shining Stars" that wriggles and shimmies endlessly. Most of Waking Life has this feeling of perpetual motion, as if the whole record poured out of Monteith in a single studio session.

Waking Life may be Monteith's most satisfying work since his career masterpiece, Drawn & Quartered. Like that album, it strips down the Deadbeat sound to its core elements—house, techno and dub—the results of which are undeniable. But where Drawn & Quartered was almost intimidating in its heft, Waking Life seems intent to serve the kind of uplifting and communal experience that spawned it.

When was the last time EDMX served you what you expected? Maybe you drop the needle down in anticipation of some slick boogie-inflected synth pop and get walloped in the face with hellfire techno. Perhaps you were itching for body-popping electro and got cerebrally hijacked by pagan coldwave.

On this latest magnum opus, his first on Queen Nanny. Ed Upton is in the mood to get down low in every sense of the word. On the frequency range, this is a record dripping with lard-fed bass at every turn. The arrangements too are devilishly low in channel count – raw riddims with just a few key ingredients to do the necessary damage. Then there are the tempos, which predominantly set cruise control at 90 BPM and glide.

It’s not hard to tell where EDMX’s inspiration has sparked from on this album – in the spirit of celebrating the compatability of oddball sonics from all corners of the globe, he’s patched his sound into a specific vibe and struck gold with some of the most distinctive riddims you’re likely to hear all year.

Lithuania's Greyscale returns this December with Ohrwert's 'Fidelis / Blavus', backed with remixes from XDB and grad_u.

Greyscale was launched in 2012 by Lithuanian producer and DJ grad_u, and photographer Rima Prusakova, set up as a platform for material from grad_u and close friends whilst Prusakova's
black and white analogue photography provides the visual identity of the label.

The original mix of 'Blavus' opens the EP, perfectly setting the tone with murky, ethereal atmospherics, billowing dub echoes, modulating percussion and thunderous drums before DubTechno stalwart XDB strips things back a little with soft touches of the originals airy drones tucked away in the depths whilst choppy stabs and dynamically unfolding analogue rhythms wander throughout.

The second original from Ohrwert opens the flip-side, upping the energy levels slightly with hooky stab-sequences, filtered delays and hypnotic melodies running alongside a sturdy percussive foundation. Lastly to round out the release grad_u reworks 'Blavus' into a more groove-driven workout, employing shuffled hats, looped dub chords and bumpy sub-bass hits throughout.

Mastered at the legendary Dubplates & Mastering in Berlin.

Vinyl Only. Amazing dub techno with more than 10 min playtime per side. Music speaks for itself

This evocative amalgamation of deep emotive textures swimming around 4/4 kicks and sub-bass is MixCult Records Vinyl Only 007 release. This whole EP is glazed in cold haze and is a real provision on dark, long, icy dusks.

Side A1 by Sancess kicks off with an self-effacing minimal temperament, excelling with a very crisp and raw beat pattern.

Side A2 by Nae:Tek is a very bass driven and unrelentingly obscure deep techno premise, becoming the gut-punching dancefloor track of the whole EP.

Side B1 reveals a new whole version of David Hausdorf - Deep & Slow interpreted by Dmitry Stelmakhov with elegance and progressivism.

Side B2 by Gjidoda features a patient and slow burning foundation of dub sounds, an unflawed cut for a dramatic takeoff of a well-crafted musical journey.

Comment to come ...

This new serie of "Raw cuts" focus on a spontaneous desire to share some personal beats, sometimes, Deep such as "Mindshift", or more percussion and beats driven such as on both versions of Mandrum, and even Techno with Progression, i hope
you'll find them enjoyable and useful! Dj Deep

Lazare Hoche: « I like Mindshift and will play it out, great tension and infectious vibe! »
Roman Poncet: « Amazing Release will play it out! »
Ben Sims: Charted!
Levon Vincent: I like the Mandrum dub. Very nice
Jeroen Search: thanks, just downloaded it, and always feeling your stuff!!
Claire Morgan Solid! Love Mindshift & Progression, thankyou :)
Luke Slater Just great!! full support
Mosca Yes yes! Not often I go for a Main over a Dub but Mandrum is the one! Fine line between
classic stripped back stuff and futuristic freshness... love trax like this that can straddle both depending on context.

20 years since the original release on Richie Hawtin's M_nus imprint, Exalt Records reissue the minimal classic - Swayzak vs. Theorem 'Break In At Apartment 205' 12'.

The two main tracks from the original release have been remastered by Paul Mac and come on either clear or black vinyl with artwork by Grid Pattern.

Three years after the release of JS' 'REDUCTION 2 (PHORMA008), Phorma is now releasing its first remix EP. PHORMA008R features 3 stunning remixes by Volte-Face, Blazej Malinowski, and JS himself, offering 3 distinct takes on the original suitable for peak-time as well as the after hours. The record will be released as vinyl only with a sleeve by Hamburg's Maison Blessing, inverting the original artwork. First appearance of Volte-Face on Phorma Artwork by Maison Blessing (Dial, Laid) Supported by Etapp Kyle, Svreca, Eric Cloutier, Peter van Hoesen, Ness, Jonas Kopp and others

Originally a collaboration that started in 2004 between the talents of electronic music aficionados Michael Sickinger (USA) and Jonas Thor Gudmundsson (Iceland), Octal Industries has been sketching out cavernous sounding, glacial tinged, dub-infused techno that carries with it a unique radiance that is all too often missing from the genre. Now solely the oeuvre of Jonas Thor Gudmundsson better known under his Ruxpin guise, the Octal Industries catalogue spans over the last 15 years and totals nearly a dozen releases.

After a couple of meetings between Jamie (Exalt Records) and (Andy Verdant Recordings) bosses, the idea of a label collaboration seemed a natural progression for both imprints and ‘Vertex’ was spawned. To honour their common love of music that have depth, width and atmosphere, approaching Gudmundsson for material to kickstart their new venture was an easy choice for both involved.

As the title suggests, “Our Seasons” is a 10 track excursion into the soul of the Icelandic experience, a reflection upon the stark contrasts found in their natural environment. A collection of music that continuously morphs and throws down a variety of tempos and soundscapes over two records: the total sum retains a certain character that is unique to Gudmundsson’s touch.

Setting the scene on record one with the welcoming tones of “Borg Tekin”, you’re met with an expansive sonic vista that seeps into your consciousness - vocal elements calling back and forth. Like the passing of a restless midsummer night, “Thorp | Vanda” digs further down and focuses on the pulsating axis of sub bass and swirling pads that eventually find their peace. The heavy fog of “Roblegt” is more intense by contrast, the cyclical ambience closing in with little room as tension builds. “Dreki Flyr” eases back off: gentle curves, whispering synth patterns and rhythmic patter join as they flit through the night-air.



Switching to the second record, expansive percussion and glistening atmospherics characterise the dreamlike state and playfulness of “Forever”. After which you’re brought back by the slow march of “Winter Techno”, a reflective mood brought to the fore through icy shards of synthesis that take hold. As if waking from a deep slumber, the slow poise and airy tones of “Asleep” capture that peaceful, hazy moment where light breaks in and life begins to stir. The onwards and upwards feel is continued with the fresh energy of “Another Day”, the breezy composition bathing you in the warm glow of a summer’s morning. However, the juddering intensity and tones of “Lullaby” steep you in an almost unexpected surge of heat, before the closing notes of “Times fade” bring you back to an uneasy serenity that is somehow magically unerring – a perfect summary of Gudmundsson’s vision and how he feels the world around him.

Jonas’ recordings have been lovingly engineered by José Diogo Neves and cut by Curvepusher. Consistent with both labels passion for releasing beautiful records, Our Seasons presents commissioned artwork from Andrei Kedrin with layout by Grid Pattern.

The LP will be a limited 250 edition with bespoke artwork printed on 400gsm paper inserts, printed labels, stamped outer sleeves all housed in heavy PVC outer liners.

2x12"

Delsin are pleased to gather together some of the highlights from the rich and varied catalogue of Manchester-based producer Claro Intelecto. From his earliest works on Ai Records through a prolific run on Modern Love to his more recent outings on Delsin, Mark Stewart has continually presented a vision of electronic music that uses the Detroit blueprint as a launch pad for his own distinctive strain of techno. Moving from elegant beauty to rabid intensity while grounded by a firm sense of rhythm, his catalogue runs deep and wide. This expansive compilation filters out select highlights from across his discography, and reframes them as a compelling overview of a truly distinctive voice in modern electronic music.

It's time for the new release of Mate, the saga continues with "From Detroit To Madrid II".The Legend of Detroit Gari Romalis producer from Skylax, Housewax, Dockside... presents two tracks "No way around a groove" dives into the tech dub making a deep trip, and "Detroit on the move" is old school house track perfect for the dance floor. Rafa Santos makes his debut in the label with "Love Song" a house hymn straight to the heart,this melody give you goosebumps and " Mystic Voyage" with a full hypnotic chords and powerful rhythm....

We are both spectators and actors in the great mystery of existence.

Lay Down The Groove is proud to present its second vinyl VA release, "LDGV02 Night Spot". With the collaboration from Medu (Rewire Musik), Gabriel Ferreira (Items & Things), our label heads (this time appearing as Lay Down The Groove) and an unknown artist who has also worked with Tupiar Records.

This organic and clean selection of tracks has already been supported by Dudley Strangeways, Caceress, Martin Bellomo, Javier Ferreira, Miro Pajic, Dryclap, David San and many more.

Artwork: Juan C. Rodríguez
Mastering: Eternal Studios

For their ninth record TRUSIK enlists the German producer bhed whose long form constructions blend ambient, dub, techno, and dubstep into forms that stretch each genre’s signifiers to their breaking points.

Heavy-weather, beyond-good-and-evil soundsystem poetics, channelling raw and rootical techno, Isolationist abstraction, and dub at its most turbulent and raw-nerved and space-time-warping. New worlds ahead... Equal parts tuff, tail-thrashing dancehall pressure - see 'Hell Dub' - and art-of-darkness ambience and introspection, culminating in the slow-burning, third-eye-opening 23-minute dreamweapon, 'Vertigo'. Part of the Young Echo crew, Ossia embodies the best tradition of Bristol underground music in that he doesn't pay much mind to tradition, just does his own thing. Yes, Devil's Dance shares DNA with those sullen masterpieces we will always associate with the city, from blunted 90s street-soul/hip-hop to sub-loaded dubstep - but like his forebears Ossia is ultimately a mongrel breed, drawing from his own, very contemporary and idiosyncratic well of influences: grime, jazz, steppers, dub, post-punk and industrial abrasion, concrète minimalism... Devil's Dance could easily be not just a forbidding, but a suffocating proposition. But even at its most angst-ridden it feels lithe and aerodynamic, its darker impulses both intensified, and offset, by a pure soundboy's delight in detail and colour and higher dancefloor mechanics. The music pulses with energy, a fever to communicate...and Raki Singh (violin), Jasmine (vocals) and Ollie Moore (saxophone) add vivid flesh-tone to the punishing, plasmic electronics. The record was mixed at an infamous, subterranean Bristolian recording studio, using an arsenal of spring and plate reverbs, modded pedals, tape-delays and compressors: systems of black magic crucial to the album's intense presence and physicality and carefully modulated dread. In the end what we are witnessing, and experiencing vicariously, is a purging, an exorcism: find the devil, dance with the devil... and then chase, chase, chase him out of the earth

Subaquatic modular vibes. Vibrant Colors, peaceful textures. The feeling of swimming underwater, standing on
top of a mountain.

If early humans heard today’s music would they shun it or relate it to the constant struggle, brute danger and terrifying, preterite beauty of their world? On his latest Where To Now release, ‘Lowlands’, grizzled sonic voyager U goes some way to approaching and exploring this notion.

Far more dancefloor-geared than his last release for Where To Now?, (the acclaimed ‘Vienna Orchestra’), the EP opens with ‘Arctic Eden’ where slamming breaks somehow obliterate any trace of evoked dance music nostalgia as they are chopped to a perpetually rolling false start. The effect is visceral yet stilted, like a dog jerking to begin the motion of running from an ambient threat such as fireworks. Snares are sometimes overshadowed by clanging hits like a child gleefully banging on pans. This and the following 2 tracks are cryptic and primordial acid flashbacks marking the A-Side as the proverbial ‘edge of the forest’ where we can gather in relative safety and semi-familiarity, aside from the looming and dense periphery of trees and ill defined peril that lies adjacent.

‘Don’t Fuck With The Dragon’ deceives with its heavy kicked four-to-the-floor introduction before diving into a low-hanging smokescreen of murky synths that obscure pounding percussion and vague and muttered voices. A sawing bass synth tears through amid pinging 808 cowbells and frequent flashes of sound like granite scraping across the EP’s sonic tiles. Sudden euphoria takes hold as the murk clears to the track’s ebullient conclusion. ‘Buildbase’ indeed has the driving pulse of construction to it but the base is nearly destroyed as explosive sideswipes render previous sequences to sludge and rubble and the percussive clicks no longer propel forward but tiptoe around the bass drum thuds and menace.

On the B-Side we are into the forest. Barely navigable and unfamiliar - in classic U style we are turned on our heads and forced to feel for the touchpoints on this side having been perhaps lulled into a false sense of security before. A strong Eastern vibe announces the side as dune-dwelling drums hammer behind a sandstorm of swishing sonic texture. This heralds a sombre and regal section that develops into a thanatoptic drone with a post-industrial lament of echoing metallic percussion rising from the track’s smouldering ashes.

High tide’s downbeat drums float behind a submerged classical motif and drowned piano melodies as we drift into the focal point of this strange collection. The title track opens like a Celtic ‘O Superman’ as heavily processed vocals weave a traditional tale over beautiful, doomy, looming synths and ambiguous high register melodies. It is raw emotion delicately balanced on the edge of the comical. Unsettling and familiar and uncomfortable. It is the perfect conclusion to an intriguing 30 minutes of music that seems to deliberately cater to nobody specific yet prods at myriad facets of the human spirit.

Idealist returns with his second long player this October, entitled 'Mind Field' and featuring eight dub-leaning cuts from the Swiss producer. Based out of Zurich, Switzerland, producer and DJ Idealist has become a respected figure in raw, dubby house and techno over the past five years via his releases on Echocord and his Idealistmusic and Details Series labels, picking up support along the way from the likes of Mike Huckaby, Dana Ruh, Tini and Mandar to name but a few. Here though we see him returning to Copenhagen's Echocord with his second long player following 2016's 'Firewood Street' on his own label. Leading on the package is 'Explorer', setting the tone with crunchy percussion, billowing stab sequences and airy dub swells before 'Dimension' employs pulsing subs, soft organ like chords and gritty analogue drums as its foundation whilst fluttering stabs and sweeping atmospherics wander within.'Stage One' is up next, consisting of a weight low end drive, thunderous kick and snappy clap running in unison with swirling dub echoes and tension building strings, a shining example of an effective dub-techno tool. 'Golden Places' offers something different, this time round embracing a walking bass groove, soft 303 style resonant flutters and cinematic strings. 'M.I.T.H' opens up the flips side of the release, upping the energy levels with a dynamic, robust rhythm, gritty stabs and murky modulating effects throughout before 'Singularity' edges things back into deeper territory with fluttering synth licks, vacillating pads and low-slung drums. 'Smoke and Mirrors' embraces a loop driven approach next with a focus on short, sharp synth cuts, bumpy drums and skippy hats before 'Final Cut', as the name would suggest, wraps up the album with oscillating percussion, choppy bass hits and raw drums all unfolding with the subtle nuances prevalent throughout yet another smooth and understated addition to Idealist's catalogue.

Gear Check:

Elektron Digitakt
Mode Machines ADX1
Roland Juno 106
Dreadbox Abyss
Korg Minilogue
Korg Monologue
Korg Volca Keys
Roland RE-201
Boss RE20
Strymon Blue Sky
EHX Small Stone
FMR RNLA
Soundcraft LX7II
Cymatic Audio Utrack24

LUSS is cleared for descent.

Great sounding new imprint based in Moscow and run by Vadim Lankov. The first release comes up with a quite dubby and minimalistic four-tracker, that is probably can be defined the crossing between minimal and house tech. This release is made by well-known Vadim Lankov.

Sound design masters Benjamin Brunn and Dave Wheels of the Workshop fame team up with the iconic Berlin based Sushitech for a beautiful double 12" LP release.

"2000" is an electronic masterpiece, lush melodies, dubby rhythms and some mesmerising synth lines that we can all recognise from previous milestone Benjamin Brunn releases such as Song From The Beehive that was already released a decade ago together with Move D.

This 2x12" with 8 full length tracks packed in a gatefold sleeve makes a beautiful pack that is a simply must have for any serious vinyl collector - BIG!

fourth blueten release for the barcelona-berlin connection from
gimenö and stefan helmke with three dub/break/techno sounds ! vinyl only !

Dutch producer and live act Conforce is back with 'Autonomous', a fifth artist album and the latest in his long relationship with Delsin Records. Conforce is Boris Bunnik, a producer who explores the deepest realms of dub, house, techno and electro under many different names. His Conforce alias is where his most club orientated material comes from and this new nine track album finds the Transcendent label boss producing dark syntheses inspired by his hometown and harbour city, Rotterdam, and its automated industries. A masterfully conceptual album that really paints a vivid picture of a harbour as heard from deep down in the depths.

Amadeo Savio is next up on Vigenere, the label that has thus far presented a whole host of unknown names in the field of minimal techno all bound together by a shared classiness in their production style. Savio's approach is deep and dubby on opening cut "Isolat", one primed for the after hours. "Trance Later" has a slightly more forthright approach, but there's still plenty of mellow delights to be found in the synth department to keep you chilling. "Encor" heads into more typically minimal pastures, while "Kassion" explores broken beat patterns and fragmented samples with scintillating results.

10" vinyl only

Boundless sounds of winter on the new Aniara. Spacious explorations into beauty, rhythm, soundscapes.

fifth blueten release for the barcelona-berlin connection from gimenö and stefan helmke with three dub/break/techno sounds ! vinyl only !

After been releasing techno monsters on the biggest labels on the planet (Soma. Ovum. Drumcode. Sci-Tec) Itamar Sagi comes back with his first EP on his own lable -3R88 RECORDS-. The Israelian techno master delivers 3 amazing cuts with his own unique sound signature. warm and filled with groove. the title track "Mercury No Retro" got a punchy remix from the Swedish house and techno veteran Joel Alter

Jens-Uwe Beyer

Cologne-based musician Jens-Uwe Beyer creates atmospheric, melodic tech-house that ventures into song-based synth-pop as well as more experimental ambient works. Under the moniker Popnoname, he began releasing singles and EPs on German labels Firm and Italic in 2005, and was a regular contributor to Kompakt’s lauded Pop Ambient compilation series. Popnoname’s debut full-length, White Album, was released by Italic in 2007, and was followed by Surrounded by Weather in 2008. Two years later, Japanese label Plaza In-Crowd released Surrounded by Mars, a remix album featuring reworks by artists including the Field and Ada. That same year, Beyer co-founded experimental music and art label Magazine along with Barnt and Crato. The label’s debut release was Render, a limited EP by Cologne Tape, a supergroup featuring all three of the label’s founders as well as Axel Willner (the Field), Kompakt mainstay Jörg Burger, and others. In 2011, Beyer released a collaborative album with Drums Off Chaos, a percussion-heavy project spearheaded by Can drummer Jaki Liebezeit. Also in 2011, the three founders of Magazine released their first effort under that name, an abstract house EP titled Concerts, Festivals, Shows and Other Special Events. Beyer’s first solo release under his own name came at the end of 2012 with the release of Red Book, a single 80-minute long track. Popnoname returned in 2013 with 50 Degrees, the project’s most collaborative and song-based effort yet. In 2015, Beyer released an experimental ambient album under his own name as part of Kompakt’s Pop Ambient artist album sublabel.

Albert Oehlen

Albert Oehlen was born in Krefeld, Germany in 1954. He attended the Hochschule für Bildende Künste in Hamburg, where he studied under Sigmar Polke until 1981. During the early stages of his career, Oehlen’s artistic inclinations and thematic interests were diverse, ranging from music to painting. Neo-Expressionism became the prevailing aesthetic in the 1980s, inspiring him to combine abstract and figurative elements throughout his paintings. He established a close friendship with German artist Martin Kippenberger and dedicated himself completely to abstract painting. As early as a decade ago, Oehlen set up a studio in a tower of the city walls of Segovia, where he began to work on computer generated images that would become integral to his paintings. Oehlen’s spatially complex works use the collision of figuration and abstraction as a strong reminder of the multiple forces involved in the resurgence of painting at the latter part of the previous century. Albert Oehlen has exhibited extensively throughout the United States and Europe. Recent solo exhibitions of his work have been held in institutions such as the Palazzo Grassi in Venice in 2018, The Cleveland Museum of Art and Guggenheim Bilbao in 2016, The New Museum in 2015, Museo di Capodimonte in Naples, Italy and the Musée d’ Art Moderne de la Ville de Paris in 2009. He has also participated in exhibitions in major institutions such as the Musée Cantonal Des Beaux Arts in Lausanne, the Renaissance Society in Chicago and at the Kunsthalle in Basel. Oehlen’s show at MOCA Miami in 2005 marked his first major solo exhibition at a museum in the United States. In 2009 Taschen published an oversized artist’s monograph as part of its XL series that covers the entire scope of Oehlen’s oeuvre. Albert Oehlen lives and works in Switzerland.

Great "7" by Joachim Nordwall's industrial dub alias, white vinyl in generic black sleeve.

Pynch are Spencer Enock (vox / guitar / synth), James Rees (guitar), Julianna Hopkins (drums) and Jimmy Folan (bass).

Based in London – the band who hail from various places including Birmingham, France and Ireland, met Enock (who comes from Ramsgate) in London while all studying music. Pynch originally started life as a set of demos written and recorded by Enock in his parents Ramsgate basement taking inspiration from indie stalwarts like LCD Soundsystem, The War On Drugs, The Strokes and Beach Fossils to name a few.

Speedy label boss Dan Carey came across the band when they sent an email containing three demos over to Speedy HQ – the first of which was ‘Disco Lights’. ‘I try and listen to everything we get sent,’ says Carey, ‘which is hard because we get sent a LOT. This came through as I woke up early one morning in a hotel in Berlin where I’d been recording with an artist. ‘Disco Lights’ stood out immediately – and seemed so different to anything we’d done before. I called Pierre (Hall, Speedy co-runner) saying we had to do it, and emailed the band straight away. I loved its pop sensibility – but the demo was really lo-fi. I kept imagining this bigger, more widescreen version of it. In my head I wanted it to be almost like TOY covering ‘Everywhere’ by Fleetwood Mac.’

The resulting cut puts Carey’s vision into fruition. An immediate sun-drenched pop song with nods to Tame Impala and MGMT whilst maintaining that lo-fi Captured Tracks-esque feel, the production gets bigger and bigger as the track progresses culminating in dreamy synth layers being added and a killer solo to boot.

Of the recording process the band says - 'Hands down the best recording experience we've ever had. It was so much fun working with Dan. He was genuinely excited about the song and had so many creative ideas on how to bring it to life. Everything took shape really quickly and we were blown away by how everything was sounding.' 

The B-side ‘Orla Carey’s Pynch Your Lights Out Dub’ is a dub remix done by none other than the producers 14-year old daughter (having previously mixed tracks for Scottibrains, Goat Girl and Girl Ray) proving the apple doesn’t fall far from the tree.

The band have also acquired an unexpected fan – in that of Libertines frontman Pete Doherty, who invited them to play a few dates with The Libertines. Of the unlikely relationship Enock says, ‘It’s quite funny really. My parents live near Margate and about two years ago my dad bought an ice cream van to use during the summer and struck up a friendship with Pete. He then played him a few of our songs and Pete quite liked them and let us open for them at the Kentish Town Forum. It was super cool of him.’

Another essential Speedy disco-very. Pynch yourself. It’s real.

New label, Reposition are setting themselves at the vanguard of cutting-edge electronic music with their first release by Belgium's T-Scale.
T-Scale, from Liege, started experimenting with audio editors and sequencers in his early teens. Active on his local scene since 1998, having been involved with several collectives and the now defunct Industrial-Bass Music band, Urban Toonz, he played alongside internationally acclaimed DJs and live acts like Murderbot, Ital Tek, Subjex, Exillon, Milanese, Boxcutter and Noize Creator. Now based in London, he is a member of the UK based collective and platform, Loose Lips, which launched in 2014, as he continues to push his sound forward. In his quest for physically impossible sonorities, he has spent the past 6 months developing a performance tool that gives him the ability to sculpt sounds on the go.

At a recent gig in Macedonia, he played an incredible 'live pure data' set, using real-time graphical data flow programming to create all his own sounds.
With this huge wealth of knowledge and a hard drive stacked with unreleased productions, his 'Spookz EP' is long overdue. He describes his music as Industropical or Funkyndustrial and when you hear his two original cuts on this EP, these descriptions become more apparent. 'Spookz' is dappled and harmonious with sweeping electronics and in-depth grooves. 'Prance For Me' is atmospheric and quaking in its deliverance, showing all his innovation and creativity.
The EP comes with two stellar remixes. The first is by El Prevost who delivers a grinding reworking of 'Prance For Me'. El Prevost has been forging his sound over the last decade, gradually shifting into the House and Techno scene in particular for UK label, Third Ear and his most recent self-run label, No Speakers, which boasts a varied artist roster that includes Doorly, Red Rack Em, Wbeeza, 65D Mavericks and Gabbi Lopez.
Rommek's remix of 'Spookz' follows and shows why this recently emerging artist is fast becoming a definitive force on the Techno scene. Fellow Loose Lips collective member, Rommek made his production debut on Weekend Circuit, before joining James Ruskin's iconic Blueprint label who released his 'Moth Hole EP', plus an appearance on their 20th anniversary compilation, 'Structures and Solutions' gaining him an admirable reputation for textured sound designs.

Clear Vinyl

Regarded by Dominik Fernow as the “best US noise project in terms of texture and composition”, Skin Crime return to Hospital Productions with an immanent inversion of noise convention
exploring ideas of tense, slow-burn patience instead of aggressive intensity.
Brutally active between the early ‘90s and mid ‘00s, Skin Crime took a 12 year hiatus until 2016 and the bloodshed of their instantly sold-out, 20CD boxset of archival material. That same year they
also issued ‘Ghosts I Have Been’, a crushingly bleak album inspired by Japanese mythology and ghost stories which have paved the way for this new one, where the band’s Patrick O’Neil and Mark Jameson continue to refine their instincts into the dankest brand of organic ambient noise.
In key with their ghostly Japanese muse, specifically the “Bakaneko” or “Ghost Cat” movies of the ‘50s and ‘60s, as well as the writing of Lafcadio Hearn aka Koizumi Yakumo - author of ‘Kwaidan: Stories and Studies of Strange Things’ - Skin Crime’s music in ‘Traveller on the Road’ is all about presence and the suggestibility of hypnagogic and half-awake states. Their cold-fingered sleight of hand is applied to exceedingly fine layers of textural enigma in long, unbroken tracts that hold the listener’s gaze with frightening power.
‘Avoid Large Places At Night’ takes hold with intravenal potency, very subtly drawing eyes to half-mast with its mechanical womb-like ambience, and stealthily introducing subharmonic rumbles
and peripheral rustles that suggest unseen spectres lurking in a thicket of ghosts. A lack of sudden movement only ratchets the threat levels to seat-edge. Likewise with its deeply soporific subs
and texturhythms, the B-side’s ‘Black Cat From The Grove’ continues to numb the senses in a noise style, but eviscerated of all open aggression, preferring a dense mode of suggestion that only emphasises the unheimlich nature of their music.
It’s a masterclass in saying it without saying it, and effectively amounts to a missing link between Kevin Drumm, Painjerk and Mika Vainio, or even Rainforest Spiritual Enslavement and Meitei, that should not be missed by any fans of the above.

Bash (AKA Julio Bashmore) graces Trules fifth release and the first in a series of ten inch singles with Jubilee, a sub heavy, minimal, UK garage dub that manages to marry the sparser techno vibes of his Conch releases with the subtle anthemic quality of his other alias. A real dance floor sneak bomb.

Al Wootton provides a two-stepping dub remix on the B-side, chopping the drums and echoing everything out to infinity.

“Assembly Sequence” is a split EP featuring two of the four founders of Kajunga: Berndt and Cloudy Kid. Having taken root in Minneapolis and frequenting cities like Detroit and Chicago, the EP has an inherent Midwest feel. This marks Cloudy Kid’s third release with Kajunga and Berndt’s second. Berndt has also released with sister labels Clave House, and Corndogs out of Detroit.

Assembly Sequence is controlled by the mechanical nature of its creators. Berndt and Cloudy Kid split the arrangement down the middle to manufacture a sonic signature they believe can be used to drive the biomechanical functions of life-space.

Side A begins by fusing ethereal groove polymers with stabilizing oscillations from Berndt’s precision pump rhythms; On side B, Cloudy Kid neuro-casts an injection chassis turbine on the entire structure, constraining the rhythmic patterns to rip deeper into the corrosive noise planes of the collective Darkmind.

alter basic channel stuff, ein klassiker vor dem herrn

Kontakt brings back two sought after minimal-dubtechno tracks by Metric System, which was one of many aliases used by Thomas P. Heckmann in the 90ties, where he explored the sounds of the legendary Sequential Circuits 440 and EMU SP-12. The original recordings have been carefully restored and officially re-mastered by Thomas himself. Limited coloured vinyl.

2x12" !

An der Grenze (ADG) is glad to introduce you to its 5th release "Talka" on 2 x 12" (ADG005) by Moscow- based composers, live performers & DJs OID & Anrilov, and revisited by Unbroken Dub.

Whereas OID, a versatile artist, has made a name for himself with releases on DJ Koze's PAMPA, Milnormodern and PNN, Anrilov releases here his first solo track. Unbroken Dub, for his part, already has a significant experience with multiple releases on Rawax as well as solo EPs on Delsin and Resonance Moscow, amongst others.

On vinyl 1, each artist presents his own version of "Talka". Whereas OID proposes a dark, mind-blowing and bewitching version, Anrilov opts for a rather cadenced, breakbeat and mystic one.

On vinyl 2, Unbroken Dub delivers two different interpretations of "Talka". On the A-side, his Refix is deep, linear and mystic whereas, on the B-side, his remix appears to be the best musical translation of his artist name: serene and dubby.

Legendary UK outfit Future Sound Of London kicks off with a trippy head jam to soothe the mind of electronic dreamers. Berlin's Monolake aka Robert Henke follows with a beat-driven and heavy industrial piece of clattering sounds and whirring rhythm mechanics. David Morley completes this sixth EP of the 10 years series in style: "Traytor" brims with depth and floaty atmospherics pushed further by low range beat parts. Real endorphin material.

Kevin Foakes (Openmind, DJ Food, Ninja Tune) created all the graphic work. Mastered by Matt Colton at Alchemy Mastering, pressed on 180 grams vinyl and a separate digital version will be available from the usual digital shops. Stay tuned!

Nathan Micay (formerly Bwana) steps out under his own name for the first time with a pair of glistening panoramas well-primed for those exultant hours of the early morning. The 12' opens with 'First Casualty', aka *that* track played by Avalon in her Printworks set last year, before heading into deeper territories with 'Beginning Ballads' on the flip. In Nathan's words: "These are without a doubt the most personal tracks I have written to date. I made them as a sort of exercise in self-therapy during my first few months in Berlin. As time has gone on, more meanings have unfolded with each listen. For me, these tracks are a rebuttal to the endless churn of negativity in the news and online. They have become my battle cry in the club, something to mobilize while also offering a chance to escape it all, even briefly."

*Highly recommended* 2019 Repress of Archetype ''CN2'' alias project.
NYC Veteran and machine wizard Charles Noel aka Archetype reaches deep into hissonic archive to present another incredibly special release on Bright Sounds.
Featuring exclusive previously unreleased material ranging from abstract to sublime in the form of a new & unique alias, (CN2). Essential

Mysterious dubtechno by some metaphysical entity.

Cosmocities Records presents their first triple LP compilation
A trip through electronic world with rare and beautiful instrumental tracks.
500 copies . Vinyl only .

After a few good years of releases on labels such as the Catz’n’Dogz founded PETS or unforgettable hit ‘Turnaround' made it together with SLG for Play It Down, Smolny has started his own imprint called Bourassa Records.

‘Explain’ EP is the first release on the label and you can definitely call it bangin’ stuff! All the tracks are inspired by UK Dub and techno sounds. Smolny concentrated on the strong and soft bass line in the same time which literally vibrates and floats on the filter. In a balanced way, it gives tension in the tracks of well-arranged drums that kick you at the right moment. In each of them we can also hear a hypnotic vocal cuts that gives you slight anxiety and mysterious aura.

Mala joins forces with Natty and wordsmith Benjamin Zephaniah on new single Word & Sound.

Word & Sound - a reference to the Rastafari terminology, word-sound power - the idea that the vibrations of speech and music impact the world, far beyond both that we can touch and see.

Speaking about the record, Mala said:
'The making of this record happened so naturally, the words inspired me to create the music. Their message and intention was set. Conscious vibrations using words and sounds.'

The single sees the official relaunch of Mala's I&I Music - famed for its limited and much sought-after vinyl only white labels.

Hand Stamped, Vinyl Only! The fourth Coffee Pot release shows the different sides of the italian duo, from the A-side groover 'Spread The Message', to the trippy 'Melody Drone', to the deep hypnotic 'Nuevaera'.

Early support from Paul Ritch, Luca Agnelli, Drumcomplex, Greg Gow, Don Rimini, 2000 And One, Gel Abril, Carlo Lio, Duncan Gray, Daniel Sanchez, Depthon, Gemini Brothers, Brother's Vive, Last Waltz, Marco Effe, Mental Resonance

Warm atmospheric Dub Techno excursions. 500 copies hand-stamped vinyl pressed on 180 gram

Birmingham experimental dub terrorist Mick Harris inaugurates new Madrid imprint Trauma Collective here as Monrella, with four brand new executions of sheer naked aggression. It was under this moniker that Harris (aka Fret/Lull) released half a dozen EPs for Karl O'Connor's ZET label between 1996 - 2002 - a strong departure from his previous involvement in seminal grindcore outfit Naplalm Death, and the experimental Scorn project (with fellow band member Nik Bullen). Fierce, functional and direct impact grooves that lunge straight for the jugular, the cuts featured on the Build Time EP recapture the zeitgeist of legendary local club night House Of God - an institution responsible for unleashing fellow legends such as Regis and Surgeon back in the day. Although somewhat overlooked, Harris' sound under this alias has most definitely evolved, and follows through with enough dancefloor dynamics to blend with other modern techno sounds.

Remix versions for Juergen Vonbank’s ‘Trial & Eros’ album from 2018 by some of Austria’s finest artists, ranging from well-established veterans to aspiring new talents. Limited hand-stamped
edition.

LTD repress !

Chapter One. The future is here! Incredible album of SIT on Sushitech! Vinyl Only