Techno Vinyl New Releases - News

Incl. Schacke Remix

Having been extensively road-tested this past year by DJs including Daniel Avery, HAAi and Gerd Janson, Highdive arrives with tangible anticipation. The work of less-than-shadowy figures Gramrcy and John Loveless, the pair have passed lockdown and beyond remixing artists such as WH Lung, Discovery Zone and Ghost Culture. Debuting their first original material, closely following Gramrcy’s recent appearance on Loveless’s own Hot Concept imprint, Highdive is a long-anticipated explosion of energy.

Built around a sonic-boom breakdown, glossy rave chords and pounding post-punk drums, Highdive feels immediately at home on Phantasy. Having worked closely alongside founder Erol Alkan in recent years to shape the imprint's diverse output, Loveless' collaboration with the Peach Discs founder nods to the electro landscape of the label's earliest days. Having never left dance floors since, Gramrcy & John Loveless take a golden opportunity to plunge dancers into the sublime and the ridiculous.

While a stripped-down ‘Beats Mix’ sees the pair adopt a less-maximal approach, leave it to Schacke to stretch Highdive into hardcore rave heaven. The already-influential Copenhagen artist underscores his refreshing funk in the ‘fast-techno’ scene through which he has risen, turning the screws and upping the tempo with intense but elastic results.

We are happy to present you our second reference LV002. It contains three new tracks from Oxygeno, alongside a remix from the Swedish atmospheric techno master Lakej.

The A-Side starts with "Bad Habits", a raw track with distorted bassline and an hypnotic synth sound moving around your head trying to call your attention. This is followed by "Endless Carousel", the high energy track of the EP.

On the B-Side, "Time Is Running Out" pretends to be a deep brain melter, taken to a new level by Lakej, who increased its tension and shaped the track direct to the dancefloor.

Jeff Mills - electronics; Jean-Phi Dary - piano, Fender Rhodes, synthesizer; Zaf Zapha - electric/upright bass.

With the release of The Paradox: Live at Montreux Jazz Festival, techno legend Jeff Mills and keyboard wizard Jean-Phi Dary embark on an exciting, ground-breaking musical trip that takes Techno and electronic dance music to a new level. In the past Jeff has spoken of the need to, "take a few steps back and try and assess what has been done, and what might need to be approached to be able to go forward." Paradox: Live at Montreux is the result. "Trying new things is important, it's reminding people we have not exhausted all possibilities with what we can do with electronic instruments," he says.

Jeff argues that the form of Techno we know today formulated itself around the '80's and the early '90's, after the bang of the rave culture, yet audiences today are still content with the conceptual heritage of Studio 54 and Paradise Garage - that minimal form of music and repetitive loop-form of dance music that everyone dances to today. "I really think creatively we have exhausted ideas to a certain point and I think it's healthy to look to other genres and the key elements that make them interesting," he continues. "You look and compare and maybe borrow some ideas, and bring those back to electronic music, to see if it can further our creativity."

The Paradox's direction of travel into unexplored musical territory should come as no surprise since the Original Techno Wizard has never stopped pioneering new ideas. After all, when he originally burst on the scene in Detroit in the 1980s he was ahead of the game - mixing on three turntables, introducing a Roland TR 909 drum machine in his sets, and co-founding Underground Resistance in 1989. Throughout his career he has been exploring the creative possibilities of techno and electronic music, pushing at its boundaries to broaden the music's possibilities, such as introducing a programmatic element to Techno with his the score for the 1927 silent film classic Metropolis or his 2001 classic Time Machine, based on H.G. Wells' novel of the same name. Never content to outstay his welcome by staying in the same place for too long, in 2005 he revealed the breadth of his imagination with his conceptual classic Blue Potential, an album with the Montpellier Philharmonic Orchestra that saw techno happily co- existing alongside symphonic sounds.

And now, Jacquline Caux's Man From Tomorrow - the title of her film documentary of the Techno maestro - has cast his eyes over the musical horizon and borrowed a couple of ideas which he believes can transform Techno and take it to the next level, "I thought maybe it's not to late to bring or transfer some of the ideas from jazz over to electronic music, and look at the machines differently - to play the machines and not just 'programme' them. I had the idea of trying to find the common link between free jazz and electronic music, so I reached out to jazz musicians to see if we could create something new that might be a benchmark that we could start from to create another step forward for electronic music."

Turning to keyboard player Jean-Phi Dary, with whom he had collaborated on the late Tony Allen's album Tomorrow Comes the Harvest, he remembered the musical ideas he had exchanged with the pianist while the sound engineer was doing his stuff during sound-checks on tour. They were akin to having a conversation that could move in any direction until a topic emerged for discussion they liked and could develop. Musically, they threw ideas out there to twist, turn and develop until they hit a groove and moved forward with that. Jean-Phi takes up the story: "During the sound checks we use to improvise with Jeff, and one day he called me and said 'why not record these moments.' I already had an answer - YES! I love improvising. To me it's a combination of freedom and discipline, a real feeling of being deep inside yourself and in the same time being aware of every sound coming from your co-improvisors, from your co-creators." The result was their first album together as Paradox called Counter Active.

It was a bold move, leaving the rhythmic certainties of Techno to explore alternative, free flowing paths that allowed the breeze of change to blow through its highly compressed rhythms. Next came the challenge of presenting their ideas in live performance. They chose the demanding Montreux audience, and with the addition of Zaf Zapha on bass, the resulting album captures their spontaneous musical invention as it happens in the moment. It's a high risk, high reward strategy that was pulled off with conviction and aplomb. While each track has it's own story on Montreux, Jean-Phi says, "'X-Factor' is a big trip and 'Super Solid' is a real groovy track to dance" - what's happening here is the electronic sounds of Techno are used to spontaneously interact with the piano, producing a deep musical conversation not pre- determined by tape loops, a MIDI presets, the 96 rhythmic patterns stored in a TR-909 drum machine or the bass patterns of the Roland TB-303 electronic synthesizer-sequencer and all that technical geekery. Everything was up for grabs, Jeff even pared his electronic set up down to the minimum - "I didn't even use a MIDI" he explained - so the music could go in any direction the creative impulses of Jeff and Jean-Phi wanted to take it.

"We decided to stay closer to the tracks from Counter Active like a city map, but move as freely inside them as possible," explained Jean-Phi. Tracks like 'X-Factor' and 'Super Solid' provided a starting point and framework for the duos explorations, "The Montreux tracks are different variations of those tracks we created in the studio," explains Jeff. "We just knew we were going to do a track that's supposed to be called 'X-Factor' or one that's supposed to be called 'Super Solid' - I think it's safe to say that we didn't know what was possible, we didn't know that until we got together to perform. In that recording I did a lot of new things that I've never have done before, 'The Concept' and 'Paradox' basically come from the soundcheck jam sessions we used to do with Tony Allen when we used to tour together, and once we took the Montreux stage and began to play it was the extension of those musical conversations."

What could well be a small step for Jeff and Jean-Phi could be a giant step for Techno and electronic music. Breaking new ground, they have loosened-up the music's rigid structures to let a little sunlight in while introducing an element of unpredictability and danger that moves from the mechanical to the intuitive. Pushing the envelope like this in search of risk and adventure poses questions of where it all might lead. Who knows? But what we can be sure about is that the future looks bright, full of unexplored potential and possibilities. "It's not necessarily the form of jazz I'm interested in," says Jeff, "it's what you can create in the moment is what is going to be the key element of how long this genre of Techno music will last."

The latest entry from Furanum sees label boss Dominik Muller and repeat contributor Tomohiko Sagae return from remix duties on the label's preceding long play release for a four-track split vinyl treatment of Fu020. On The Other Colours of Poison, acting apart yet seemingly as one, they both dispense with nearly any pretense of an introduction, epilogue, or abstract ambiences, and instead opt for a pure and dancefloor-bound effort of four-to-the-floor industrial relentlessness encapsulated in two compositions to a man.

Sagae notably eschews his signature noise-manifesto driven approach in favour of a compelling centering of groove as a prime determinant of musical force. The results of this approach are on display first in 'Tartrazine,' where a rhythmic mind-worm seemingly burrows it's way in, assimilating and holding the beholder in a frantic dance of oscillatory sway. Likewise, in 'Amaranth' an ineluctable sense of technoid acceleration is achieved, with each of the composition's successive loops driving the sense of propulsive sonic force relentlessly forward,
not unlike the turning of a violent accretion disk tearing matter apart.

As for Muller, he builds on his previous work to construct two reliable aural vehicles for the delivery of unrelenting and thematically oriented vehemence. 'Demut' is like a scene of surrender to an engineered and shifting collosus, overwhelming all attempts at its full apprehension as cogent reverberations puncture the surrounding temporal space. On the flipside, in 'Toxic Environment,' he captures the narratively framed pulse of a phrenetically beating heart, beating on despite all odds through sheer force of will and self-overcoming.

Mastered by Kassian Troyer, The Other Colours of Poison will be available on vinyl

B. ASHRA's "Diestelman" is danceable for a long time with its just under 130 bpm and yet it gives off such a strange calm that it just seems weird. Very, very slowly, the 303 and percussion sounds accumulate and take you away. This spectacle lasts 11 minutes, in which one can only be a will-less object. Quite aloof brilliant. Askja

Christian Hornbostel’s third LP Liber Tertius serves as a summation of Hornbostels recent musical tastes. His defining feature is an immense and overwhelming sound design. Texture dominates over structure and rhythm. While definitely not an ambient album, its easy enough to get lost in whats happening in or around the beats. It's something that anyone who loves electronic music, sound and sound manipulation, can fall in love with; no one's going to care about time signatures or genre conventions. It's an instance that astonishes, not from Hornbostel's deft production touch but by his restraint, his willingness to indulge in the most beautiful simplicities. As such, it's not representative, but stands as another surprise from a producer long since known for them. Whereas Hornbostel's previous albums may have had a tendency to come across as a collection of tracks presented as an album rather than a long playing concern that actually flows, Liber Tertius is the opposite. It's an album of impressive scope and intricate detail, and one that proves that this German producer, with three decades into his career, has plenty left to say.

Club Designs head honcho and infectious beat impresario Garneau is joined by Vanouver Slab party series producer Max Ulis for the “Big O EP”. Both extraordinary producers and DJs in their own right, these Canadian underground stalwarts never fail to impress.

Breaks, beats, booms, and bass – expect to hear these on the club circuit for a while, each track a brilliant combination of deep house roots with breakbeat tips.

After manufacturing delays these tracks have been kept under wraps for over a year, but we are so happy to finally release them for the world.

After a seven-year hiatus, the longtime Berghain resident Norman Nodge is back with four new tracks of deep, narcotic techno. Hailing from Brandenburg, Nodge spent the 90s as a DJ, promoter and mentor to the likes of Marcel Dettmann and Marcel Fengler before becoming a Berghain resident in 2005. Since then he has occupied a special place in Berlin techno with a sound that is at once forceful, dubby and hypnotic, evident not only on his Berghain 06 mix and various 12's and compilation contributions for Ostgut Ton, but also on EPs for Dettmann's MDR imprint.

A lawyer by trade, on Embodiment EP Nodge reflects on decades of observing how dancers develop an intuitive relationship to music and process new sounds. 'Tacit Knowing' (A1) is a nod to the feedback loop between the instincts of dancer and producer, combining bassline, breakbeats and Detroit-like strings, which subtly develop into a cavernous techno roller. In contrast, 'Discipline' (A2) is aggressive, updated peaktime acid packed with the sounds of metal and overdriven snares.

On the flipside, 'Gathering' (B1) is a bongo-heavy tribal groover, while 'Embodiment' references a more halcyon Ostgut Ton aesthetic - one that resonates not only in the space of the club but also within the bodies of those occupying it.

Nach gut siebeneinhalb Jahren gibt es endlich wieder eine neue EP des langja¨hrigen Berghain-Residents Norman Nodge; Embodiment verko¨rpert vier neue Stu¨cke deepen und berauschenden Technos. Aufgewachsen in Brandenburg verbrachte Nodge die Neunziger als DJ, Promoter und Mentor von Marcel Dettmann und Marcel Fengler, 2005 begann seine Residency im Berghain. Seitdem nimmt er eine Sonderstellung innerhalb Berlin Technos ein, mit einem Sound, der sowohl kraftvoll, dubbig und hypnotisch ist - kann man nachho¨ren in seinem Berghain 06-Mix und auf verschiedenen 12'es sowie Compilation-Beitra¨gen auf Ostgut Ton, als auch auf den EPs fu¨r Dettmanns MDR-Label.

Bei Tage Anwalt reflektiert Nodge auf Embodiment EP seine dekadenspannenden na¨chtlichen Beobachtungen, wie Tanzende eine intuitive Beziehung zur Musik entwickeln und neue Kla¨nge verarbeiten. - Tacit Knowing' (A1) ist eine Anspielung auf den Feedbackloop zwischen den Instinkten eines Ta¨nzers und DJs, kombiniert Bassline, Breakbeats und Detroit-ma¨ßige Streicher, die sich subtil zu einem kavito¨sen Techno-Brett wandeln. Kontrast: - Discipline' (A2) ist aggressiver, aktualisierter Peaktime Acid voll Kla¨ngen metallischer Sounds und u¨bersteuerter Snares.

Andererseits ist - Gathering'auf B1 ein bongolastiger Tribal-Groover, wa¨hrend das titelgebende Stu¨ck - Embodiment' eine alkyonischere Ostgut Ton-A¨sthetik referenziert - eine, die nicht nur mit dem Raum im Klub nachhallt, sondern auch mit den Ko¨rpern derer, die diesen besetzen.

At the end of 2019, label boss Juan Pablo Pfirter was talking about a busy year ahead for MindTrip and we know exactly what he had in mind. Fresh and new collaborative projects will debut on the label in 2020, starting with his powerful shared EP with Oliver Rosemann who is no stranger to our family.

Together they go as dark as they feel across 4 impressive cuts on their Alpha release, blending peak time intensity with Industrial grooves and dark side body music their own way.

Alpha becomes the first of a multiple collaborative concepts that will expand further over the year.

This is MindTrip!

Recognised for their solid contribution to the electronic & industrial scenes, the musicians in this collaboration (Daniel Myer & 14anger from Rendered, and Ushersan & All von Phllox from Black Egg) have given birth to this magnificent 5 tracks EP, constructed as a bridge between France and Germany. A trip into darkness and winter times, amongst Techno, Coldwave and EBM with a soul. From the hit-like 'No Compromise' to the electronica closing track 'Thelemic Breath', this is a pure techno industrial killer EP !

The second release of Flight Mode has landed with four artists from four different countries. On the A-side, Dawl delivers 'Microbe', a sleek acid slow burning that truly stalks the listener, before Kiddmisha ups the speed and the eerie moodiness with 'Anxiety'. Acid Charlie's 'Por La Paz' has the most old school favour of the quartet - even before sirens hit - underpinned by a thunderous drum machine. Then the mysterious producer SPAC closes the single with more cunningly employed acid shenanigans.

- 2022 repress -

Mysterious duo 999999999 finally make their debut on their own new label, NineTimesNine, delivering three hypnotic and deadly acid techno stormers.

Harvey McKay makes a welcome return to Cocoon Recordings with the Black Spider EP, featuring three heavy-duty cuts that spin out in a variety of directions, constructing a formidable web of peaktime mayhem in the process.

Black Spider bites hard from the get-go with a venomous bassline that pulses and mutates through a series of precision peaks and troughs. The track kicks repeatedly, drenching the dancefloor in washes
of analog noise while McKay still finds space for a barrage of lattering percussion. Haunting ambient voices and a mysterious spoken mantra add yet more texture to the cavernous, gothic atmosphere it
conjures.

Next up, the disconcertingly titled Sticky Carpet utilizes a 90s hard house vibe complete with crunching, distorted beats, and a glistening octave-jumping synth pattern that slides and constricts around the chugging bassline. However, the track really comes into its own as alternating metallic patterns start to dominate in a homage to the hi-hat, whipping the dancefloor into shape as they switch in and out, jostling relentlessly for attention.

Finally, hardcore junglist tendencies take center stage on Packed Lunch as another rasping, doomsday bass rides the sonic spectrum, simultaneously spitting sparks and shaking the foundations to the core. Scattered arpeggios add a certain discord to the fray as the pounding breakbeat hammers out a pathway to oblivion. Packed Lunch definitely packs a punch, adding extra spice to an EP that’s
exclusively for the headstrong.

Acid techno... Not crazy creative but very well done.

Hand cut - LTD release

Restock

If you've ever had the feeling that things just don't make sense, that there's a hidden world of dark magic waiting in the dead spaces, the forgotten corners... well this is the music for you.

Dutchman Erik Griffioen's obsession with the esoteric is well known, and for some time his Lloyd Stellar alias has focused on this sense of the world just out of view.

Griffioen runs LDI Records as an outlet for his prolific creativity, but this release for Gated pulls from his early works, the tracks that almost got away.

This is one-strobe-in-a-dark-room electro, which rides the fine line that exists somewhere between euphoria and madness. It's relentlessly underground. And we love it.

Tape

Ampullae of Lorenzini is the latest EP from American producer Occidental.

Five tracks of elusive and aquatic electronix. A naked scuba dive into the tranquility of tidal undercurrents, surrounded by marine life.

Edition of 45 transparent seaweed colored cases with C32 cassettes. Special fold out j-card poster.

Artwork and Design by Brendan Macleod.

Restock

Northern powerhouse Perseus Traxx is on spaced out form with this four-tracker celebrating ancient Greek mysticism. Basslines as deep as sunken treasure, acid that’s worthy of the psychedelic origins of its name, and synths that spin off into infinity make up an uncompromising, mesmerising EP. As the sample on ‘Star Destroyer’ proclaims, “It’s all about the soul."

Sciahri and Desroi team up for the next non series release.

2022 Repress

Continuing the theme of community collaboration sparked by Hodge and Simo Cell’s recent 12”, Livity Sound presents the first joint works by Azu Tiwaline and Al Wootton. While they come from distinct settings (Azu in the Tunisian desert, Al in London’s urban sprawl), their music shares a similar affinity for intricate percussion and dub-informed space.
The four tracks on LIVITY052 deal in a variety of rhythms and tempos, veering from the propulsive intensity of ‘Blue Dub’ to the sparse, skipping 2-step framework of ‘Light Transmission’. Azu and Al’s refined, detailed approach blurs the lines between electronic sound design and earthy sonics, resulting in dynamic drum tracks loaded with weighty atmospherics and unrelenting tension.
Livity Sound is a label set up by Peverelist in 2011 as a vehicle for a raw and exploratory strain of UK techno, rooted in the heritage of UK dance music and sound system culture. It has since become one of the UK's foremost protagonists for cutting edge underground electronic music.

Repress

Dj Ibon is back with a new EP, this time on his new label Kengu. Moving Alone is Ibon's second EP, containing three fast and emotional tracks for peak time dancefloors, riding your bike or working out. All tracks are produced in the BunkerBauer studios in Copenhagen.

Invite's choice continues with a coherent and versatile 4-track EP showcasing hypnotising techno.

Drafted has the honour of opening up the EP and does that with 'Isolator'- a 4-to-the-floor track dominated by the low-end. Nima Khak then takes over on the A-side with 'The Work Out', a stripped down and tension building track with droning percussive elements which suck you in right away. Qindek's input is found when flipping over the record and continues the hypnotic previous tracks whilst depending on an ever-evolving synth-sequence, yet this track makes a more aggressive impression due to the straight forward and present kick and percussion sequences. Pascual closes the 7th output of Invites Choice with a powerful and overwhelming track which conveys a lot of energy. The long stretched, slowly filtered effects and dominating shakers make for a repetitive closing of this EP. The four different artist on this EP take us on a tour through minimalistic modern-day techno's versatile approach on stripped-down techno and stand firm combined!

Repress

Our favorite Russian punks, Locked Club mark their return to Tram Planet with the "Atom Hell" EP, a 4-track assault that continues on their destructive path. With the title track opener "Atom Hell" a pulsing distorted bassline saturates as the fluttering melody drives on for maximum effect. Electronic Body Music is in full-form here; whether it be the pumping wildcard "Skreamer," the hand-drum heavy "Memphis Mumbai" for the more adventurous-minded, or the Memphis rap-infused "What" - all make for destructive weapons for both club and body.

Following his conceptual "Subversive Territory" album on his own imprint, New Flesh mastermind returns to the dancefloor with "Nightmare At 20.000 Feet", a monster of an EP certified to damage any woofers.

Together with London based, Nite Fleit, the Electro rising star from Australia, founder of Atomic Alert, the unexpected duo serves up a four hands EP fuelled with off-kilter body music and thundering electro-techno pressure. Prepare for an uncompromising journey into bass as this testimony, displayed in four acts, will dive you into high NRG yet futuristic fusions!

So far one of the best releases from the NF camp.

Madrid's Roll Dann keeps up the high quality of his first few releases with a new EP on his Opera 2000 label that offers four fine cuts.

Roll Dann has already impressed with outings on Modularz, Soma and PoleGroup. It is the direct nature of his floor facing techno that appeals, and it comes infused with the inspirations he has picked up from a stint living in Berlin, as well as with the legacy of his teenage love of hardtechno-schranz. The start of Roll Dann & _asstnt's Opera 2000 marks a shift Roll Dann's creative direction where he focuses on an aggressive yet beautifully emotive style which is displayed wonderfully in his first solo release on the imprint entitled "Oppression Dance".

Big opener "When The Hate Goes Away" is a frazzled, over driven techno monster with slamming kick drums and fizzing synths that will rewire any dance floor. The brilliant "Break The Dance" then hammers you over the head with its brutal drums and big synth walls, but a more thoughtful pad also smears over the groove to bring some tenderness. "Oppression" is quick and slick, with a kinetic sense of techno funk getting you on your toes. Last of all "The Club" is another winner, this time with its eerie pads, acerbic textures and rusty hits all racing along on powerful drum programming as a distorted voice is trapped in its midst.

Stanislav is a well-known techno musician and a passionate analogue photo and synth enthusiast constantly experimenting with his visual and audio outputs. As a result, Stan brought us three timeless electronic pieces wonderfully fitting and at the same time complementing the Muscut soundscape.

Repress

'GEN X' returns with a new EP named Ravechannel. This EP is the follow-up from the same unknown artists which delivered the Generation X earlier this year. Ravechannel is an outlined EP with a touch of the early 90's rave sound blended with the sound of today. With the early rave and acid influences this EP comes as a hand stamped limited white label.

Early support by: Ilario Alicante, Nuno dos Santos, Remco Beekwilder, Luigi Madonna, DJ Hyperactive, Endlec, Patrick DSP, Takaaki Itoh, Luca Agnelli, Secret Cinema, Dubfire, Radioslave, Benny Rodrigues.

Exclusive edition imprint, very different from the general style of the TochnoTechno label but still in a techno acid way and includes 4 names of the biggest producers coming from Eastern Europe. We are calling it "Acid Era" in present days so why don't we put out something provocative. We are excited about Tripmastaz' debut on the label who has absolute support by Josh Wink, Dj Sneak, Ricardo Villalobos and many more... Oleg Mass real techno star of Fachwerk Berlin and Koett, rhythm composer and genius from South of Russia who makes the most underground and cool party XoXo. Yulia Niko is dropping last track of her album she has done in 2016 at Brooklyn before moving to Berlin.

Finally repressed

The arrangements are compiled by a selected group of producers focusing mainly on rhythms made for building. We wanted to merge the idea along side true innovators of modern architecture and the thought process it took for reinvention during those times.

Repress

Yan Cook continues his streak of high quality releases. After his EP's on Arts and Planet Rhythm, he's back on his own imprint with yet another string of effective techno tracks.

Written and recorded at Devon Analogue. Mat Playford rides synth, Special Request bangs drums, Jonny Banger loads samples, Tommy D plasters walls.

Following up after ‘Express Route’, Swedish artist Dold returns to Blue Hour Music with his new record, ‘S Jefferson St’. Melodic organ lines, rolling breakbeats and nostalgic vocal samples feature on the two classic dance-floor orientated tracks. Meanwhile the inner cuts reveal more intriguing ambient leaning works inspired by Jungle and 90’s Electronica.

finally repressed !

yellow & green mixed coloured vinyl repress

Previous releases on aufnahme+wiedergabe, Fleisch Records, Minimal Wave Records imprint Cititrax and n-PLEX have been frequently played by acclaimed DJs (Phase Fatale, Randomer, VTSS, Amelie Lens, Regis, Helena Hauff, SPFDJ, Veronica Vasicka, Silent Servant to name a few).

Schwefelgelb is a Techno duo from Berlin, known for their raw but precise and cutting productions. Their reputation for a strikingly energetic live show brought them into clubs and festivals around the globe.

After launching their own label n-PLEX and releasing two original EPs on it, NPLX003 marks a re-release of their most successful record "Dahinter Das Gesicht" ("Behind It The Face"), which was released on aufnahme+wiedergabe in 2017 primarily. After 1500 sold out copies it still remains highly demanded as one of the most influential records for actual EBM-Industrial-influenced Techno. This re-issue comes in a special edition of remastered track versions and also includes an edit of its most notorious track "Es Zieht Mich" as addition to the four original tracks.




c B1 Es Zieht Mich GP2 edit