Techno Vinyl New Releases - News

It goes without saying that space has always been central to Techno - both in terms of its cosmic and futuristic trajectory, as well as in the spatial dimensions of sonic elements. Etapp Kyle's first full Ostgut Ton EP release sees the Ukrainian-born, Berlin- based Berghain resident emphasizing the connection between the two, while avoiding Techno's overt intergalactic cliche´s.
By partially linking to his Continuum EP (Unterton, 2016), the results are four tracks of pristine, sci-fi minimalism, propelled by Ambient synths and percussive explosions in distant skies - more utopian than dystopian. Opener 'Alpha' establishes the cosmic theme from the get go, with chord swells and a whirring, phasing spacewind panning across the stereo image. While a subdued kickdrum gets things started, it's the rhythmic interplay between dynamic high-hats and halled-out rimshots that guide the track through space. From there, 'Quantum' on A2 strips the voyage down to a glowing, unwavering arpeggiated synth line, interspersed with twisted, high-pitched bells and updated 909- esque snare patters.

Etapp Kyle's deep, bleepy minimalism continues with 'Source' on the flipside, where morphing hats and an atmospheric two chord progression lay the foundation for an interlocking array of rhythms. On closer 'Ritual', things take a different turn entirely, as a dirge-like drone resounds across a colossal sonic expanse. Eventually, ASMR-inducing vinyl crackle and miniscule syncopated rhythms fill in the galactic details. A booming, tribal timpani completes the kick-drums in each measure, while shakers hold a groove.

As a producer, Etapp Kyle manages to create atmosphere through an ear for detail and extreme precision. Here, his mix of minute, hallucinatory rhythmic elements and sonic spatial exploration project the tracks beyond the big room to Techno's biggest room: the universe.

Egg London’s What Came First Recordings host Swiss producer Eveline Fink’s Morning Contrast EP, featuring 2 minimal groove infused cuts with remixes by German maestro Tobi Neumann and club’s resident Kyle E.

Electronic music has long fascinated Eveline Fink and her debut on WCF ties in for her love of minimal sounds, in both laid-back and club-orientated environments.

Influences from the past, the present and perhaps even the future are the key elements behind her sonic vision. The first track 'Contrast' opens the EP, a stripped back production with subtle vocal samples to give off a dark, moody feel to the track.

Keeping in tune with the minimal feel of this release, 'Morning Dust' has an alluring lead melody with a wavering bassline. A touch of tribal percussion also gives the track a Balearic feel.

Tobi Neumann's remix of 'Contrast' is an intensely hypnotic take on the original, blending twinkling melodies with crisp percussion throughout.

Kyle E's 6AM Remix of 'Morning Dust' is a beautiful dub production with a stunning break at the 3rd minute mark, with the result in ending the EP on a high.

PGS 011 comes to us from Gustav Brovold, an essential player in Detroit's latest wave of underground electronic music. His début EP, "Hyperbolic Space" is the first release solely dedicated to the local legend, with influences ranging from 90s UK rave, apocalyptic techno, and bright, post-Drexciyan electro. Since the late-aughts, Brovold has been a fixture of Detroit's dance community; first as a member of Randy Chabot's Deastro project, and then a pillar of the after-hours scene through raves with the ADULT Contemporary collective, all the while sprinkling in rare, must-see all-hardware-based live shows around the city. Moments of brilliance have boiled over the surface globally, with appearances on Don't Be Afraid as Radio Brovold in 2015, the Detroit Electronic Quarterly's "DEQ Vol. 7" in 2016, and on the punishing opener of PGS 009's with "Temple of the Circuit" earlier this year.

Following a live show at Detroit's Donovan's Pub in late 2018, Zach (Shigeto) came to the obvious realization–this music is the reason why we started PGS, and needed to release the music to a wider audience. Brovold handed PGS a flash drive with hours of completed music, a gold mine in bits and bites. "Hyperbolic Space" represents a cohesive sampling of the mountain of tracks from Brovold's vaults, propelling PGS into the next decade. Play it in your car, or at unauthorized raves, and dance to the airwaves of Radio Brovold.

"Oakland Ave"
The vibes of forgotten 90s raves: UK techno made with digital synths, resampled as a low-bitrate soundtrack for the night time level of a PlayStation racing game. Building, dancing hi-hats, slow building chord stabs, dubby techno feels. A triumphant finish, 1st place in fifth gear. (*If you play this at 45rpm, you can Jit).

2 side 10" bullet !
A very Pounding Groove kind of record !

Regis revisits his releases for the dearly departed Blackest Ever Black with a ‘Tongue Box’ of remastered and restructured versions bearing the toned muscle and darkroom workshop atmospheres found in his 2020 debut album ‘Hidden In This Is The Light That Makes You’
The set sees Regis return to a point when his sound had fully shifted from brittle, loopy bangers to a more sensuous, serpentine style embracing space and subbass, in a vital new mutation of UK
industrial body musicks that acknowledged influence from techstep D&B as much as dark ambient and gothic sound design styles.
Restructured versions of Regis’ modern classics, the T++-like broken roller ‘Blood Witness’ from the ‘In A Syrian Tongue’ 12”, and the snarling post-punk techno swagger of ‘Blinding Horses’ lead to the NIN-like beat-less scape of ‘Blinding Horses (Stable By Mix)’ - exclusive to the set - while he performs back-alley dentistry on the gnashing 16th note arp fangs of ‘Manbait’ with lacerating effect, beside the haunted romantic chamber string sentiments of ‘The Solution’ which could almost come from some Derek Jarman soundtrack, and 2014’s ‘Masterside’ appears remastered to best show off both sides of its swooning and sinuous goth techno silhouette.

Silver Vinyl

Regis revisits his releases for the dearly departed Blackest Ever Black with a ‘Tongue Box’ of remastered and restructured versions bearing the toned muscle and darkroom workshop atmospheres found in his 2020 debut album ‘Hidden In This Is The Light That Makes You’
The set sees Regis return to a point when his sound had fully shifted from brittle, loopy bangers to a more sensuous, serpentine style embracing space and subbass, in a vital new mutation of UK
industrial body musicks that acknowledged influence from techstep D&B as much as dark ambient and gothic sound design styles.
Restructured versions of Regis’ modern classics, the T++-like broken roller ‘Blood Witness’ from the ‘In A Syrian Tongue’ 12”, and the snarling post-punk techno swagger of ‘Blinding Horses’ lead to the NIN-like beat-less scape of ‘Blinding Horses (Stable By Mix)’ - exclusive to the set - while he performs back-alley dentistry on the gnashing 16th note arp fangs of ‘Manbait’ with lacerating effect, beside the haunted romantic chamber string sentiments of ‘The Solution’ which could almost come from some Derek Jarman soundtrack, and 2014’s ‘Masterside’ appears remastered to best show off both sides of its swooning and sinuous goth techno silhouette.

In 2020 the world will be upside down and nothing will be as it was.

The COVID19 virus is very present and we must learn to live with it.

After a long break Delude Records is back with a new Various Artist Vinyl.

This is the third vinyl from the CONNECTED series and is full of the best Techno and Melodic Techno sound.

On the A side Patrice W. presents two brand new tracks from his current studio album PLANETARY.
The tracks MARS and URANUS come along in the usual Patrice W. manner.

Solid techno sound meets melodic tones, peppered with a demanding danceable beat.
On the B side you meet an old friend from Delude Records again.

Paul Sim returns with his second studio album after a vinyl abstinence of almost seven years.
He sponsors two tracks for this vinyl from his current album LOST.
Unlike years ago, his tracks LÜBARS and THE CHORD BREAK are more crisp and melodic and less experimental.

Solid Melodic Techno with a pinch of Tech House round off this VARIOUS ARTIST EP.
This transparent limited vinyl is a must for every techno record collection.

'IDMEMO' would not pretend to be a representative compendium of 90’s-00’s Intelligent Dance Music. It was not Vladimir Ivkovic & Ivan Smagghe’s point when they decided on the project. It is a very personal snapshot of a moment in time, when both of them were working in record shops, when they were listening to indie and electronic music. One can not stress enough the importance of this crossing of roads, pop kids getting through to the dancefloor via Aphex Twin and nerdy house heads dissolving their four to the floor into the futuristic world of Warp compilations.

The compilation unfolds in the loosest, the best way to make some kind of sense. There are some classics (Black Dog’s lysergic 'Psyl-Cosin'), there are some rarities (that Zugzwang track), some tested late night floor melters (Reload remixing Slowdive) and some personal outlandish choices that strangely take their place (Spiritualized’s 'Anyway That You want Me-remix 3').

All in all, This is an anti-archive, a choice of tracks primarily lead by emotion, more pads than glitches,”intelligent” music depraved by that last half-pill at 6am rather than high-brow destructurations, Ivkovic & Smagghe hitting, as ever, at their own margins.

'IDMEMO' is a collaborative project between Above Board Projects, Offen Music and Les Disques De La Mort. Selected and sequenced by Vladimir Ivkovic and Ivan Smagghe. Art and design by Atelier Superplus. Mastering courtesy of Keith Tenniswood @ Curved. Manufacture and worldwide distribution by Above Board, 2020.

Limited Edition

Z@p's expedition into ideal acoustic universes of 'Sonic Utopia' continues on Melliflow with the second part of 'Vapours Of Utopia'. Two special tracks selected from the vaults on this 10" to make for a standout limited edition package.

Massive Split EP from Noir Music - pure energy.

The king of beats strikes again...After his classic trilogy, Detroit's Filthiest strikes again in collaboration with casa voyager presenting a killer double pack that blends the artist's oldschool ghettotech influences with his recent electrofunk works. Tested and approved.

Berlin's new born label debuts with its limited 12inch vinyl series.
Mechanical grooves, shuffled rhythms and jazzy moods combine with gummy basslines bubbling underneath and illusive wondrous
harmonies to shape this unconventional minimal techno. 'Roots
remain unseen underground in the same way that our consistence remain hidden to the common eye' Cover artwork: oil on paper by Nicolò Canova

First released by Cazzo Film in 2001, ebo hill’s Bonking Berlin Bastards has long achieved the status of an underground punk porn classic. Like the Cazzo productions of director Bruce LaBruce, hill’s vision was both ahead of its time and a playful distillation of 90s and early-2000s Berlin Zeitgeist: queer, industrial, hypersexual, exhibitionist and fueled by electronic music. The story is told in large part by the soundtrack, to be released for the first time on Ostgut Ton sublabel A-TON. The music follows a group of squatters, punks and drag queens as they fuck, party and stumble their way through an empty city at the turn of the millennium. Approaching these themes more through location than plot, the film’s narrative freedom is also a narrative of freedom; between chance encounters and sex in public, atop the maze of roofs in the city’s former East, bent over bridges and moaning in ecstasy at oncoming traffic, pants down in telephone booths, packed into sex clubs, in the shadows of abandoned factories and techno clubs lost in time. Composed by improvisational techno trio AeoX and noise / industrial producer Rouage aka CNM (respectively), the music spans a broad range of appropriately pounding industrial, weird techno, noise, ultra-stoned ambient, improvised dub and electro. It’s a sonic spectrum that connects Berlin’s queer hardcore techno and squatter party scenes from which AeoX and Rouage emerged, drawing a direct line between the likes of Berghain-forerunner OstGut (a primary meeting point for the film’s cast & crew) to the more industrial, breakcore and noise- oriented independent party collectives and locations who provided multiple settings for the film, including Grüne Hölle and Stellwerk.

*Artists:* CNM / Rouage (Kathinka): Born in 1975 and raised in East Berlin. Co-organization of subcultural events since 1998 in Berlin, Potsdam, Leipzig and Barcelona. Experimental music, collaborations, exhibitions and audiovisual shows since 2000.

AeoX: Active between 2001 and 2007. Originally a quartet, then a trio, the group eventually shrank to two permanent members: Alex.E and Hanno Hinkelbein. The latter founded Null Records, where AeoX released two album and numerous EPs. They also released on Mental.Ind.Records founded by former OstGut resident Cora S. Musically, the group experimented with combining improvisational hardware techno, breaks, traditional instruments (guitar, clarinet, piano) industrial and metal.

Ursprünglich 2001 von Cazzo Film veröffentlicht, hat Bonking Berlin Bastards von ebo hill längst den Status eines Underground-Punk-Pornoklassikers erreicht. Wie die Cazzo- Produktionen von Regisseur Bruce LaBruce, war auch hills Vision seiner Zeit voraus und ein spielerisches Destillat des 90er- und Anfang-2000er Berlin-Zeitgeists: queer, industriell, hypersexuell, exhibitionistisch, angetrieben von elektronischer Musik. Die Geschichte wird größtenteils über den Soundtrack erzählt, der auf Ostgut Tons Sublabel A-TON zum ersten Mal veröffentlicht wird. Die Musik folgt einer Gruppe von Hausbesetzern, Punks und Drags, die ficken, feiern und durch die leere Stadt um die Jahrtausendwende streifen. Bonking Berlin Bastards erzählt diese Themen mehr über die Drehorte als über die Handlung. Die erzählerische Freiheit des filmischen Narrativs ist gleichzeitig eine Erzählung von Freiheit: Von zufälligen Begegnungen bis hin zu Sex in der Öffentlichkeit, auf Dächern im früheren Osten Berlins, sich über die Brüstungen von Straßenbrücken beugen, trotz und wegen des Verkehrs stöhnen, mit heruntergelassenen Hosen in Telefonzellen, in überfüllten Sexclubs, im Schatten aufgegebener Fabriken, zeitverloren in Technoclubs. Der Soundtrack wurde sowohl vom Improvisationstechnotrio AeoX als auch von Noise-/Industrial-Producer Rouage aka CNM komponiert und spannt einen weiten Bogen von explizit pumpendem Industrial, schräg klingendem Techno, Noise, ultra-stoned Ambient, improvisiertem Dub und Electro. Das musikalische Spektrum verbindet Berlins queere Hardcore-, Techno- und Hausbesetzer-Party-Szenen, aus denen AeoX und Rouage selbst hervorgingen und zieht dabei eine direkte Linie zwischen dem Berghain- Vorgängerclub OstGut (ein wichtiger Treffpunkt für die Darsteller und Crew des Films) und den eher Industrial-, Breakcore- und Noise-orientierten Independent-Partykollektiven und -Locations wie Grüne Hölle und Stellwerk, welche mehrfach als Drehort und Kulisse des Films auftauchen.

CNM / Rouage (Kathinka): 1975 geboren nd aufgewachsen in Ost- Berlin. Co-Organisation subkultureller Events seit 1998 in Berlin, Potsdam, Leipzig und Barcelona. Experimentelle Musik, Kollaborationen, Ausstellungen und audiovisuelle Shows seit 2000.

AeoX: Aktiv zwischen 2001 und 2007. Ursprünglich ein Quartett, dann ein Trio, dann verkleinerte sich die Gruppe auf zwei permanente Mitglieder: Alex.E und Hanno Hinkelbein. Letzterer gründete Null Records, auf dem AeoX zwei Alben und zahlreiche EPs veröffentlichte. Ebenfalls Veröffentlichungen auf Mental.Ind.Records, welches von der ehemaligen OstGut resident Cora S. gegründet wurde. Musikalisch kombiniert die Gruppe improvisierten Hardware- Techno mit Breaks, traditionellen Instrumenten (Gitarre, Klarinette, Klavier), Industrial und Metal.

The seventh volume of Drumcode's annual A-Sides compilation hits with no less than 10 debuts for the label, with Charlotte de Witte, ANNA, B.Traits and Scuba's SCB project, among the collection of topline artists to release their maiden productions on the imprint.

Over two decades into its lifespan, Drumcode keeps evolving and excelling, pushing techno forward while remaining wholly respectful of its roots. This reputation for progression was further fuelled this summer with its inaugural festival at the NDSM Docklands in Amsterdam, featuring a long list of heavyweights including Nicole Moudaber, Joseph Capriati, Amelie Lens and Ida Engberg, among others.

As ever, the A-Sides compilation provides a timely opportunity to showcase the full range of its sonic repertoire, with Adam Beyer scrupulously selecting unreleased tracks that have taken prime position in his sets over recent months.

Part 4 see's Alan Fitzpatrick, who's been heavily featured across the A-Side series, join forces with Scuba as he operates as his uncompromising alias SCB. The result is a propulsive floor-gripper that testifies to their masterful deftness as co-producers.

Rounding off the A side British techno alchemist Boxia sets out to impress with 'Final Call' which elicits physical engagement with mellifluous vocals and soaring pads.

On the B side Jay Luman unleashes 'Stella Luca' another bomb that has featured in Adam Beyers sets over the festival season. Dynamic drums & an uplifting top line melody intertwine all the way through with all the trademarks of this being yet another smash by the infamous Hungarian techno producer and DJ.

Closing part 4, emerging talent Weska is brought into the fold, with the razor-sharp track 'Other Places' that is primed to do lasting damage.

Affûté broadens the scope of its sound once more by adding Amandra to the roster. The young artist delivers two tracks made of his signature sound: mechanical rhythms and repetitive melodies.

French comrade AWB's remix is a distinctive and clever remodel cut of Ruban Rouge, further deepening the emotion of the track. Edit Select brings a darker, haunting touch to Tour Karin with his modus operandi akin to Amandra's: a slow, subtle and detailed progression.

Teo Drean gives Tour Karin more horsepower, coupling a heavy kick with wondrous choir sounds.

White Vinyl

Affûté broadens the scope of its sound once more by adding Amandra to the roster. The young artist delivers two tracks made of his signature sound: mechanical rhythms and repetitive melodies.

French comrade AWB's remix is a distinctive and clever remodel cut of Ruban Rouge, further deepening the emotion of the track. Edit Select brings a darker, haunting touch to Tour Karin with his modus operandi akin to Amandra's: a slow, subtle and detailed progression.

Teo Drean gives Tour Karin more horsepower, coupling a heavy kick with wondrous choir sounds.

Yellow Vinyl

New Incendiary single from the upcoming new Bottin album. Taking a detour from his italo and space disco trademark sound, this one is full spectrum laser house is sure to captivate a wide range of disco and not disco heads. And of course it's ablaze with Bottin's sizzling synth paraphernalia. Set phasers on kill! The A side extended version is vinyl only! Flipside features a lucious dub mix by In Flagranti who need no introduction, do they

This very special record is a collaboration between Amsterdam based stalwart, and frequent contributor to Young Marco’s Safe-Trip label, Darling, and his extremely talented daughter, Lexi. Here the producer, Darling, crayon proofs his studio and lets his 4r yr old daughter, Lexi run riot on the synths. The resulting submerged grooves, outer worldly melodies & psychedelic nursery rhymes are made up entirely of seqeunces recorded in by the outstandingly creative youngster with Dad making the edits and laying in the beats . This record was powered by Haribo.
BIG TIP!

Comes with insert.

9 very dramatic apocalyptic-industrial-psychotic tracks

Collecting orders for repress

* Fresh from her 'Raw Silk Uncut Wood' LP for Latency, Laurel Halo switches focus directly to the dance floor on this new collaborative EP with Livity Sound regular Hodge. The culmination of a series of recording sessions in Berlin, the pair have produced a record that burns with the energy and dynamics their respective DJ sets are known for, rounding out the year for the label in style.

Hot on the heels of their second release comes a third essential offering from SRVD aka Radio Slave & Patrick Mason.

The Rekids boss linked with Patrick Mason—a young creative at the forefront of Berlin’s art, fashion, dance music and LGBT scene—back in 2018 after they struck up a friendship in Panorama Bar. Now their superb studio work continues to bear fruit inspired by New York’s vogue scene, and these latest two tracks are perfect impactful once more.

The hard-hitting techno opener ‘Talking 2 B Mad’ is built on rock solid drums that never let up. Industrial synth fizzes twisted vocal loops and icy hi hats add detail to the most physical groove, which cannot fail to get you moving. On the flip, ‘Twitch' is just as physical and direct, this time with big synths suspending you in midair as the hammering drums seem to grow in size. It’s frenzied techno that is designed to make you sweat.

At WNCL HQ, we’ve been hanging tough with new kid on the block, STAVROGIN (Stray Landings, 3BS, Last Drop) who has blown our mind this time

He provides 3 fresh original tracks in follow up to his recent debut appearance on We Are Family Vol 4. Remix duty is taken care of by fellow Cassette Librarian and breakbeat scientist, LMAJOR who comes through with the right stuff...

Parasian fellow Stephane Laporte joins the Antinote crew with a very introspective and dreamy full length record. kraftwerk gone ambient will be the best discription..TIP

Three years in the making only to be held up nearly another whole year due to COVID, this dark brooding monster of an EP by Brussels based Strapontin, aka multi-disciplinary artist Patrick Belmont, is finally seeing the light of day.

Clocking in at over 35-minutes the record is almost album length and spans a multitude of depths and moods with elements of techno, new wave, rock 'n' roll, house and tribal…...all glued together with a sleazy atmosphere reminiscent of the electronic body music pioneered by Strapontin’s Belgian forefathers Front 242 and their German peers DAF.

Add to this a heads-down-no-nonsense darkroom beast of a remix by techno maestro Sascha Funke and the package is complete.

Strapontin provides us with some insight:

“It started with a desire to move away a bit from my 'dancefloor' side and go into more undefined fields, I wanted to work with blurry sensations that I can't understand. I like mixed feelings. Dramatex 300 is made of that ambivalent mood. The voice is saying 'I'm feeling empty' and 'I'm feeling healthy' at the same time. I like that paradox. Eunuque is a song but is also a character I will develop in a short movie (which will act as the 'music video' of the song). The Eunuque is a character full of anger yet he doesn't want to fight nor has he a target to aim at. A restrained aggressivity is boiling inside him/it that has no opportunity to escape from the body and gain release. The song is the fever he feels from these inner battles. I think Le Bain d'Huile and Anti-sceptical have the same slow and angry feeling. I'm proud of these tracks because they are a bit mysterious to me and it feels like they controlled me more than I controlled them.”

Getting plays from Monika Seta & Alexis Le-Tan

Fear is the vilest of human emotions - it weakens and corrupts, leaving mistrust and paranoia in its wake. In Against the Dying Light, Swarm Intelligence embraces and wields fear, all the while breathing life into its rival: hope. To explore these concepts, Swarm Intelligence turned to horror films for inspiration - choosing dissonance and atonality to create sinister and unsettling melodies, as well as Foley techniques to produce disturbing, unnatural sounds. The results are at times vicious and abrasive, at others acquiescent and almost mournful. Swarm Intelligence's Against the Dying Light marks the first, full-length album on Voitax. With moments of seething tension, unrestrained fury and dejection, as well as glimmers of hope - this record may have its roots in industrial techno, but ultimately it defies classification.

You say you want techno? Alas, our man TÉNÈBRE has pulled the plug on his plans to reinvent the techno landscape and instead is aiming for the pop charts with this selection of mainstream crowd pleasers...

Beyond the Pub is a collection of tracks for the after hours. From drunken treks to the filthy kebab shop to outer body experiences in the icy wonderlands, Cosmic Pint Glass tells the stories that happened after leaving the Social House.

In Vol 1. Mark du Mosch adds tension, FRAK takes you on that boozy journey to the Kebab Shop, Julian G reflects on the beauty of a frozen wonderland and Lie of the Land takes you on a introspective acid journey. Trip!

Repress

Monnom Black welcomes Binny to the label. His Mispress EP consists of 4 peak-time bombs, in classic Binny style that he is known so well for. Inspired from Mills, Surgeon and 90's techno with a modern day twist. Absolutely Essential and Highly Recommended!

It is a pleasure to work with David Granha and to present his 2nd release on Noir Music. Not only is he a super talented producer but he is also open to taking his tracks a step further and in the process evolve as an artist and producer. I have been playing these 3 tracks a lot in my sets around the globe and almost each week discussed change of details with David.It makes me proud to have this 'Savala' release on Noir Music cause you can hear from the title track 'Savala' is an extension of his previous release on the label and with 'Balea' and 'Mortal Sins' he moves his
sound-design to new ventures and a more minimal, raw approach to the final outcome. Exactly what I wanted from David. Exactly what I hoped for and well...... Even better. These 3 tracks just sounds amazing and they have been crafted perfectly step by step over a long period of time. A lot of passion, energy and love have been put into this release.On top of that the titles of the tracks also have sentimental value to David, so there is also a deeper meaning with this release.Give them a spin and experience how powerful these tunes are.

If Galaxy Lane’s first EP didn’t send the portals of time and space upside down, then the second EP will throw you down a vortex of hypnotic grooves juxtaposed with eerily erratic rhythms built in outer space.
The first of two EP’s to be trusted in the hands of Lone Romantic, ‘Night’ and ‘Later That Night’ will explore the concept of capturing moments in time.
Maybe Galaxy Lane can best summarise…

“I want people to really feel the mistakes in this music, the dirt, the rough and raw approach, the ‘sitting on the floor surrounded by wires at 3am messing with synths’ approach. That to me is the magic of this music, the interaction of man and machine, to hear the nuances, the tweaking of knobs and pushes of faders. I think we have lost that somewhat with digital technology, and have lost a lot of feeling in the process”

‘Night’ will propel the listener into ethereal textures layered over rough and raw beats, as outlined on opening track ‘Deep Space Nine’. If that sets you up for thinking this will be a dreamy ride, ‘Communication’ hits hard at the rear of the spaceship, coming at you with intergalactic bleeps, zaps and back cracking rhythms made for getting down.

Side 2 sets off on an exploration of wild eyed boundary flexing in the shape of ‘Enter The Light’. Pushing the machines to near breaking point whilst just hanging on, it’s a track that shows what can be done when the spaceship is left to drive itself, you can do nothing more than go with it and and see what happens.
‘Snow Day’ is perhaps the perfect way to round us back in. A more calmer, smoother ride, it’s unmistakable polyrhythms soothing the soul and setting us up for the next chapter…

Despite chiefly being known as an artist who moves dancefloors, Joris Voorn has always made clear his intentions to be known as more of a musician in the traditional sense. Steadily releasing three acclaimed studio albums that display his keen sense of musicality, mood and arrangement, he has proved that he is highly accomplished at providing more than just dancefloor fodder. His fourth album ‘\\\\’ four is now ready to be unleashed: the glorious pinnacle of his studio efforts to date. Where his first two albums ‘Future History’ and ‘From A Deep Place’ saw Voorn draw inspiration from Detroit Techno, this new album finds its inspiration in the European electronic scene of the mid-’90s. From the crossover success of acts like Underworld, The Prodigy and Orbital through to bastions of hard techno and ambient like R&S Records, it’s the fertile and rapidly-evolving sounds of his formative musical years that he has looked back on with such reverence for this majestic record. “I believe the mid-90s was the most inspiring time to be listening to electronic dance music” he says. “Artists were discovering new sounds and genres every single day, never again has there been so much innovation in such a short time. Where in the very early-’90s it sounds like most producers were still using their equipment in quite a basic way, around ’94/’95 the same artists mastered their instruments and studios to create masterpieces that still sound inspiring 25 years later. I’m glad to have entered my musical journey in just the right time.” states Joris. The backslashes of the title refer both to this being his fourth album experience and a nod to the design of the ‘V’ from Voorn in his logo. “Like my previous albums, it’s a collection of tracks that I’ve worked on over the last few years” says Voorn. “Some even date from before my last album ‘Nobody Knows’. As an electronic music artist, I’ve always worked on many different sounds, whether it’s dance music or more atmospheric or experimental melody driven music. ‘\\\\’ is no different in this.” Featuring collaborations with Voorn’s heroes Underworld, British trip-hop outfit HÆLOS, the South African poet Lazarusman and Dutch pianist Michiel Borstlap, the record exercises his wide variety of tastes. From tried-and-tested dancefloor workouts through to introspective, languid compositions, it’s a beautifully varied package. Guitar plucks rub up against delicate synth arpeggios, crashing breakbeats contrast soulful vocals, dulcet piano tones glide over ghostly hip-hop rhythms and classic techno stabs permeate among atmospheric pads. While texture and cadence vary, it’s the melodic content that ties the record together. “As always in my music, melodies are important on ‘\\\\’. They are what defines me as an electronic music artist the most. The album features some tracks I’ve played out in my sets for a long time — which represent my work as a DJ and dance music artist — tied together with tracks where the drums are less prominent and melodies or synth arpeggios are the driving force.”

Blumoog Music was created with the intent of bringing together experienced producers from all over the globe that are constantly moving forward, so it comes as no surprise that every release is highly regarded by most press and quality DJ’s.

blug 013 “Modular immersion” is a heavy, high intensity three tracker EP.
All from M.R.E.U.X on the a side. The opening a1 “dark mind” does exactly what it says on the tin. It’s dark, it messes your mind up and it’s done using modular machinery.

a2 “Liquid Gear” is different in construction, muffled kick and grinding bass lines are rubbing shoulders with sparse and effective hi hats.

This time Essex finest Ben Sims steps in with his magic sound palette. He takes the b side with a crisp techno cut. Filtered bass in sequence and smart stop-starts create a series of crescendos and boomy moments. Big room techno through and through.

Los Angeles native based out of Paris, ONYVAA is one of Europe's newest Techno imports. DJ, Producer and owner of her Parisian based underground label Passeport Records. Passeport is an outlet for her to release original productions with full creative musical freedom, gathering inspiration from around the globe. ONYVAA's sound consists of strong driving techno with Dub influences along with an abundance of analog touches.

Dread technicians Pact Infernal debut on their own Altar Label with 4 all new haunted constructions

Horse Time is the first release from Phonopsia's new label - Horse Category. As a statement of intent for the sounds to come, this debut record shows the breadth of Phonopsia's craft in the studio looking to not be limited by genre or tempo. Across the EP he delivers a slow techno track with housey leanings, a room shaking minimal techno track, up-tempo electro wigged out with oddball elements, and a down-tempo finale that abuses time. Phonopsia has been making and playing music for a good number of years and was Sud Electronic resident from 2007-2009 and regular guest for Bleep43 from 2002-2010.

Bursting through the vapour trails of previous Solar Phenomena pilot Antonio Ruscito, London's Roberto is invited to the take the controls of the forward-thrusting new label's third adventure.

With turbine pads raising hairs at 20 paces, opening track 'Into The Blue' is an alluring statement. Adorned with breathing atmospherics and stately kicks, it builds perfectly on Roberto's previous work both on his own highly respected label Fossil Archives and other eminent imprints such as Emmanuel's Arts and Dehnert's Fachwerk as a fusion of contrasts and shades.

'DX Waves' takes us up a gear as it heads nose-first into a techno vortex. Relentless, driving and hypnotic, there's a pneumatic funk to the drums while the riff ripples and stimulates with a warmth and fluidity that instantly recalls the legacy of Motor City while remaining plotted to a path of its own.

This sense of unbridled drive and energy continues on Roberto's final original of the EP: 'Chord Recall'. Here the drums take more of a central position on the stage as the warped, melting tones and textures wrap themselves around the punctuated kicks and occasional deep-splash cymbals. Laced with a deep sense of space and a bewildering sensation of an unknown destination, it s another innovative voyage for Solar Phenomena that's brought home with an exciting revision conclusion from the one and only Peverelist.

A Bristol beat explorer who needs no introduction, Peverelist's take on 'Chord Recall' takes off where his recent album 'Tessellations' left us at the start of the summer. With his loose broken drum signature, Peverelist provides space for Roberto's original textured elements to take place at the centre of the stage and roam and evolve freely and hypnotically. A fitting end to another exceptional and innovative exploration, both Roberto's originals and Peverelist's remix set us up eagerly for the next Solar Phenomena chapter

SC-164 is a new project based out of Brooklyn, NY. The Channel series will include music exclusively by Greg Schappert aka Donor, under his SC-164 alias, and will be focused around Electro and Experimental music.