Techno Vinyl New Releases - News

New from the ever discerning Nous camp comes AYLN's RehtomEP, a 25 minute exploration of the kind of unrelenting machine music for which both artist and label have come to prominenc
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Side A is a journey through sparse syncopated rhythms, industrial noise motifs and the kind of buzz and hum that the heroes of the second wave of techno music championed, culminating in the EP's title track 'Rehtom' which is an exercise in analogue techno mastery.

Side B's delivery is subtly more dulcet, kicking off with Digital Memories, which has a more classical techno structure than anything that came before, building intricate melodies into an otherwise taut and tightly woven electronic landscape while the closing Impulsive Sheit is a gentle downbeat number, exploring the space within the music and creating an atmospheric ambient discourse to outro the heady charge of the EP as a whole.

The hotly tipped UK artist makes his debut for Drumcode's vinyl only off-shoot. Focused on showcasing cutting-edge underground techno, Adam Beyer's always got an eye on the future when curating Drumcode Ltd. Taking inspiration from the likes of Marcel Dettmann, Truncate and Planetary Assault Systems, Turner's four-track debut 'Don't Talk To Me About Style' was birthed in his home studio throughout 2017. The industrious Brit delivers a powerful peak-time EP of nocturnal techno that moves between different moods. The title track pops with a thick grinding bassline and trippy synth effects, before 'Escape' envelopes you into a subterranean world. 'Diodes' follows, a fantastic slice of electrifying techno that bucks like a rodeo bull. The EP concludes with the blazing 'Tunnel', that makes its mark with deft drum arrangements and a piercing call-to-arms siren.

Spiritual/industrial cyberpunk techno tracks for the dystopian age. No pain, no gain. For all Bunker etc. heads. 300 hand-stamped copies - vinyl only!

Four intricate, sub-heavy, broken Techno and Electro excursions into imaginary worlds.

Recommended if you like anything from Conforce to Echospace, and you like things deeper than the Mariana Trench.
A return to form for Bokhari, who always provide interesting & off-kilter dance floor moments...

Celldod is Swedish producer Anders Karlsson. Anders has been active in the music scene for some time working on different musical projects, always with a strong DIY ethic His Celldod project has released several cassettes under his own label Brutal Disciplin and has also released records on Suction Records, Kess Kill and Femur Records. In 2017 Anders released an album under the name Vargdd on Opal Tapes together with Swedish techno artist Varg. Anders hardware driven sound has evolved over time now personifying finely sharpened EBM and techno crossover of the highest calibre. With a nod to the greats but with a forward thinking direction, we have four new cuts to destroy the darkest dance floors. Relentless, bass-heavy and blown-out bangers. Fans of DAF and maybe 242 meets Silent Servant will be blown away. Mastered by Martin Bowes at the Cage, UK.

The second release in Endless Illusion's series of Split EPs comes from Marcos Cabral & Daniel Araya and features two tracks from each artist. New York's Cabral is known for his experimental IDM and techno on labels like L.I.E.S. while Daniel Araya has recently released an album of acid, techno and industrial on the Classicworks label. Araya's 'We Almost Lost Detroit' is first and is a truly haunted deep techno cut with sparse acid undulations and a real sense of manic in the rasping synth lines. Softer pads in the background only add to the spooky nature of the track. 'Ghost Bass' is the other Araya cut and this one is more up on its toes, with mid tempo kicks down low and wonky chords up top. It's a mind melting tune that trips deep into the night. 'Live At The Egg' is Cabral's first effort and is a lonely and icy techno track that is supple and seductive in its long lines and paddy drums. After getting you into a state of hypnosis, some freaky vocal sounds only add to the unsettling nature of it all later on. 'Cuts & Bruises' rounds things out in squelchy and depraved techno territory. Muted acid stabs are off in the distance as swampy drums suck you in from the front. It's a brilliantly odd tune that close out a fine EP.

Dustin Zahn makes his album debut in March 2014 with the release of Monoliths on Adam Beyer's Drumcode label. Gestating over a period of a four years during break from releasing original solo material, Monoliths sees the Minneapolis native capturing the full breadth of his production style in the long-player format for the first time. Having become a mainstay of the Drumcode line-ups for their Berghain residency and beyond, the challenge was set for the Berlin-based Zahn to build upon the reputation he has established in the past decade-and-a-half since he first arrived on the scene, during which time he has also given a platform to artists such as DVS1, Minilogue, Psyk and Truncate via his Enemy Records imprint.

"Adam Beyer has supported me since day one and almost all of my output has found its' way into his sets since the beginning. Aside from being a champion of my music, he has also become a good friend and has been a big help to me when times were tough. Drumcode was a major influence on me when I first started getting into techno. Getting the opportunity to do an album for an inspirational label with a massive following made choosing them an easy decision."

The bracing retro-futurist synths of 1984 tease what's to follow: epic, ambitious, raw real techno - as imperious as the album title implies and impeccably designed for the tallest speaker stacks. When the record is at its most dancefloor-focused each cut is an amalgamation of classic techno elements that encapsulate the genre at its most uncompromising, though Zahn's skill as a producer shines through in his ability to demonstrate the range contained within this aesthetic. Whilst embodying the genre's purity of purpose, Monoliths is still able to find and explore different sonic palettes.

"The overall tone is noticeably a bit more industrial and colder since it was written over a brutal winter in Berlin. It also marks my return to a heavy emphasis on hardware for a more raw sound. A lot of producers try to show their range on albums by writing music that isn't necessarily their strong point. In result, you get a lot of albums with mediocre 'listening' tracks and a couple of token 'club bangers' that should have just been destined for an EP anyway. I decided that I was going to focus on my strengths and write a full-on techno album that sums up my career so far."

LIMITED PURPLE VINYL EDITION (200 COPIES)

Essential Electro from 1996 the mighty Thomas P. Heckmann aka Electro Nation!

At night, things get a lot more unpredictable. A stranger can become a friend, you suddenly become intimate with a woman or a man who's name you will never find out, while darkness also allows you to conceal your true identity - even become someone else. Inspiration for this album emanates from the fascination towards the intensity of what nightlife has to offer ; euphoria and melancholy, spotlights or incognito, sexual contact or lonely voyeurism... Francois X entertains the listener with playful ambiguity and unsettling, yet sensual atmospheres.

Repress

Part I - Operated under extreme psychosis, performed live in the dead of night at the studio of The Hague's pirate 'Radio Tonka', these two records contain an apocalyptic selection of the very darkest moments of its maker, an Anglo-French 'Bruxellois' driftwood expat washed ashore on the West Holland wasteland just to get even more lost in its empty shadow chessboard grid of luscious ghost town smoke screen structures built on nothing but loose sand, to get even more entangled in its reef-like vortex of the fleetwood parkland dune estates' artifice of ugly evergreen high-tech verdure of 'Rose and Thorn', oh, yes, its many, many flowers 'sans Mercee', red and white Carnation, Asphodel, or 'Fleur de Lys' and 'Fleur du Mal', all awaiting, lurking gentle softness of the flesh, perfumed for luring prey, yet strikingly hard-wired through the courtly appearance and the troubling foliage of the Count's many hidden pleasures, His many secret palace garden hedges, His Royal Seal concealed behind, oh, yes, its many, many spines, all hiding midst the ticket, like cloak and dagger, that poisoned slip of tongue, or poisoned tip of blade, and all's so easy to slip away and disappear into the vine and creeper, to make one trip and fall in smear of mud or was it blood And then how swift and sudden one may hear the ominous approach, of tainted fearful hooves, of painful stainless steel, yet steadily encroaching, by mad design, this harsh and grinning, eerily certain sound of mind-breaking, body-slicing, brain-crushing, meat-cutting, soul-shattering Gargantua of industrial machines, this constant dissonant harmony, distant yet distinct, with certain paranoid unspeakable voices of deepest Hades' underworld despairs, this Abysmal flood of uttering words of God knows what madness, or God knows what truth This one-way Path, this one-man War, this one-track Fate, this endless Road to hit Rock Bottom, I'm terribly afraid it's going to be a very, very lonely place out there...

Part II - Operated under extreme psychosis, performed live in the dead of night at the studio of The Hague's pirate 'Radio Tonka', these two records contain an apocalyptic selection of the very darkest moments of its maker, an Anglo-French 'Bruxellois' driftwood expat washed ashore on the West Holland wasteland just to get even more lost in its empty shadow chessboard grid of luscious ghost town smoke screen structures built on nothing but loose sand, to get even more entangled in its reef-like vortex of the fleetwood parkland dune estates' artifice of ugly evergreen high-tech verdure of 'Rose and Thorn', oh, yes, its many, many flowers 'sans Mercee', red and white Carnation, Asphodel, or 'Fleur de Lys' and 'Fleur du Mal', all awaiting, lurking gentle softness of the flesh, perfumed for luring prey, yet strikingly hard-wired through the courtly appearance and the troubling foliage of the Count's many hidden pleasures, His many secret palace garden hedges, His Royal Seal concealed behind, oh, yes, its many, many spines, all hiding midst the ticket, like cloak and dagger, that poisoned slip of tongue, or poisoned tip of blade, and all's so easy to slip away and disappear into the vine and creeper, to make one trip and fall in smear of mud or was it blood And then how swift and sudden one may hear the ominous approach, of tainted fearful hooves, of painful stainless steel, yet steadily encroaching, by mad design, this harsh and grinning, eerily certain sound of mind-breaking, body-slicing, brain-crushing, meat-cutting, soul-shattering Gargantua of industrial machines, this constant dissonant harmony, distant yet distinct, with certain paranoid unspeakable voices of deepest Hades' underworld despairs, this Abysmal flood of uttering words of God knows what madness, or God knows what truth This one-way Path, this one-man War, this one-track Fate, this endless Road to hit Rock Bottom, I'm terribly afraid it's going to be a very, very lonely place out there...

As Hudd Traxx approach their 15th anniversary year, Iron Curtis steps up for a mini album split in 2 parts. As a long-time label collaborator and friend, it’s no surprise that Curtis delivers his 5th and 6th EP for the label. Total Art Of Living contains straight up house jams, hints of techno, nods to broken beat, references to Detroit and a few interludes for good measure. These new cuts are further proof that Iron Curtis music has always celebrated the deepest foundations of house and all its varieties, whilst resolutely refusing to get nostalgic. Curtis’ previous 4 Hudd EPs have gone on to be classics, Total Art Of Living has all the ingredients to become a future classic too.

The sustainably ascending Lockertmatik imprint is back with another electronic four-hole punch in which each incision makes a deeper dystopian impact on feet and brain as well.

Kyle Geiger returns to Droid Recordings for a three-track suite of techno and rhythmic experiments, Jupiter Storm.
A1 (Jupiter, Hydrogen Edit) builds from a rumbling kick, slowly constructing a space of delayed tones and filtered noisse pressure aimed at the dancefloor.
B1 (Mars) takes things for a truly unexpected turn, borrowing some of Jupiter's sonic language and reformulating a triple-metered groove with waves of noise and distortion.
The title track, Jupiter Storm(B2) brings the full kick back into the picture riding the Mars rhythms against the standard kick for a track that's driving and infectious

Mark Van Hoen (prior jaunts in Seefeel, Scala, Autocreation among others) as Locust emerges with the first of a series of EPs for Transfusions that dive into unadulterated techno spaces that you were clearly not prepared for. Four powerful weapons start this series with sounds and textures that clearly incorporate Locust's indescribable signature that we have all fallen in love with but take the dance floor to an undisclosed locale where deep vibes transfix our minds into pure bliss. Armed with a new razor sharp identity and vision, we are in for an adventure. Completely new Locust logo and extra special sleeve artwork masterminded by Paul Nicholson (OG Aphex Twin artwork visionary). This is serious.

Techno from a new Argentine producer. 4 cuts of grooves and moods for the heads and deeper dance floors. The 4th cut Releasing Ourselves shows Luis Luchetti to be willing to push the boundaries of a dance track in ways few producers could or would. When Your Smile Reaches Me is emotive Techno of the highest order.

Very industrial and heavy, certainly no manierism of 'techno music' anymore, but rather transcended into 'phenomenai' of the fearful 'Kosmos', tragic Ouranos' 'Pankration', all that seems to manifest both wave and particle properties, as apparantly the right block of 'Parian marble' had been provided, already containing the very statue itself inside it, for the old, yet merciless tape and tube mastering machines that simply generate 'Xaos', this elusive and inscrutable 'quantum-engineering' process of 'Natura ex Machina', and that, guided by Providence herself, 'chiseled away like old Praxiteles the soft flesh of the 'kouros' until the bare shapes, 'ideai' of things finally came discovered and exposed' to the human ear and body, simply allowing the sound to 'fall right into its proper natural space form' or, perhaps, like in 'La Divina Commedia' our sad Poet Laureate in Purgatory did wonder: 'Poi s'ascose nel foco che li affina', 'Then hid him in the Fire that purifies them'.

The Manic Brothers EP begins with 'Praying Mantis'; a deep techno offering using a swelling bass line that rumbles under the track whilst the distinctive synth phrase shifts the groove of the track. 'Life After Life' is a more euphoric and delicate take on techno and uses subtle percussion and melodies to create an ethereal felt track.

part three of three!

MIKE ASH'S NEW ACID TECHNO EP SOUNDS LIKE IT WAS MADE SOME TIME IN THE DISTANT PHUTURE, LONG AFTER THE FINAL HUMAN DOWNFALL BUT AT THE HANDS OF ARTIFICIALLY INTELLIGENT ROBOTS FROM A DISTANT GALAXY ROAMING THE EARTH DESTROYING THE MEGA CITIES AND ITS INHABITANTS WITH SONIC DEATH RAYS.

'Believe' delivers a consummate body of work with which Nicole's considerable abilities in the studio are clear for all to hear. A wide-range of sounds that is sure to appeal to the idiosyncratic tastes of the various sub-sections of electronic music community. Furthermore, it lives up to the high-standards of previous Drumcode long-players and is an engrossing and impressive debut; and one that offers a smooth segue into the next chapter of an already exciting career.

Sampler 3 kicks off with 'Liberum Spirita' with its mazy ethereal breakdown on the flipside is the rhythmically entrancing yet uplifting 'Fly With You'.

The Death of Rave is honoured to plate up the vinyl debut by NYZ, the cult, algorithmic/ generative music project of award-winning artist/scientist Dave Burraston (Bryen Telko, Noyzelab).
The A-side revolves 14 succinct blatz ranging from cranky percussive pieces to queered microtonal dissonance and SAW II-like atmospheres - notably including one track made on a
Sequentix Cirklon sequencer and PreenFM2 synth gifted him by Richard D. James - while the B-side contains a steeply immersive spectral drone tract that (never) ends in a locked groove,
especially cut at D&M, Berlin.
The results are wholly unique and speak to the endless, playfully experimental variation of NYZ's art/research. They reveal visceral, alien microcosms of curdled microtonal tunings and
proprioceptive chicanery bound to thrill and induce strange, new sensations in even the most hard-to-please fiend of electronic music. It's strongly recommended to followers of Russell
Haswell's kaotic gnash, the mind-bending tunings of Aphex Twin, the visionary algorithmic scapes of Roland Kayn, and Eliane Radigue's microtonal meditations.
In Dave's own words: SHFTR FRQ is a series of experimental studies into simple synth setups controlled by varying levels of generative complex systems (MANIAC cellular automata). Recorded over the last 6 years on an ever changing hybrid of equipment encompassing the domains of modular & MIDI based microtonal sound synthesis (analogue & digital). Setups were always ultra-minimalist, often with just the MANIAC cellular automata sequencer and 1 or 2 modules/synths to provide a consistent sensory focus. The studies range from ultra-short sequences, micro-ditties, investigatory motifs, to a full length high spectral drone meditation.
Dave Burraston has previously collaborated with Alan Lamb on recordings of a mile-long telephone wire in the Australian outback, and more recently he issued nearly a dozen NYZ tapes and CDs
with some of the most crucial modern music labels, as well as a number of releases under the Noyzelab and Bryen Telko aliases. In 2014, Dave self-published 'SYROBONKERS!', the most technical and in-depth interview ever given by Aphex Twin.

After several acclaimed EPs, including Risk in a New Age(Desire Records 2014), License To Desire (Desire Records 2015, reissued by Aurora Borealis recordings in 2017) andWeehawken (Clan Destine Records 2016) – Orphan Swords’ debut LP, Ascent, finally arrives. In recording the album, the duo took the radical decision to interchange their usual respective input in the creative process, which resulted in a revelatory piece of music, one that functions as an initiatory narrative summarized as follows:

Ascent is the story of an enigma vanishing into a mountain, somewhere undefined. You left your home long ago but still you endeavor to solve this mystery. At last, today you reach the highest town in the mountains, the ultimate refuge before the loftiest peak. You prepare yourself for the culmination of your search, the ascent.
As you climb, the path gets steeper and steeper, the air thinner and thinner. Exhausted and out of breath, you push on. Surrounded by clouds and ice-cold stone, through the haze of your confusion, you’re struck by the thought that the object of your obsession, the missing entity you’re driven to find, is a part of you. It was lost long ago along with every memory you had of its form and shape. Nevertheless you know for sure it’s what you seek.

Ascent is the story of that search for inner unity, through transience, emptiness, and finally, acceptance. Through profound introspection we ascend.’

Ascent is the first part of a diptych. Breach – also recorded during the same period – will follow and conclude the two-part conceptual series at a later date.

Single-sided 12" with etched B-side.

Shifted and Damon Wild kick off a series of remixes for tracks by Swedish techno boss Pär Grindvik ov the Aasthma fame alongside Peder Mannerfelt.

Shifted applies his patented greyscale texturing to ’Tide Us Part’ from Grindvik’s ‘Isle Of Real’ LP with gritty, forceful traction, while ‘Folium’ from 2013’s ‘Air’ 12” comes reworked as a percolated deep space techno mission by NYC’s Damon Wild.

Single-sided 12" with etched B-side.

Solid Blake and Art Alfie exert rude and moody remixes on Pär Grindvik’s catalogue in the 4th of five remix 12” for the boss of Stockholm Ltd and half of the Aasthma duo with Peder Mannerfelt

CPH resident Solid Blake resets ‘Silent below deck’ as a corkscrewing electro mutation pinned into place with jabbing drums and dry claps, contrasting with the arid, grumbling bass and dry-mouthed hi-hats of Art Alfie rolling techno spin of ‘The Marlton’.

The now long running and still essential RZONE series hits release number 18 with four more busy and bristling cuts of club focussed weaponry. 01 has huge and coarse claps and skittish drums, frazzled synth lines and a rising sense of sci-fi tension throughout. It's a blizzard of sound that is unrelenting. 02 is much less full, and instead its menace comes from a dark, gurgling bassline and razor sharp hi hats. Stomping drums drive it along and at various points things pull back to a creepy, paranoid synth line. 03 is a mix of intergalactic sonar pulses, roaming and writhing synth lines and clattering drums and perc that push and pull you in many different directions at once. It's intense and mind melting before 04 takes a step back and layers up the sound of uncontrollable machines with pained synths. It's an unusual yet tender track that sounds like little else.

Hailing from Spain, we are pleased to welcome Ramiro Lopez to take the reigns for our next release. The in-form producer has already released music on the likes of Bedrock, Intec, Suara and Diymanic in a relatively short space of time and garnered major support from Adam Beyer, Carl Cox and Monika Kruse.
Coming out on 15th May, his 'Pretending' release comprises of 4 tracks that have been a mainstay of Adam Beyer's sets during the latter part of 2016 and now full force in to 2017.

The release opens with 'September'; Atmospheric to its very core, the crunching drums and low end rumbles make this one a sure fire weapon of choice. Next we jump into 'Loving You' with a haunting vocal that compliments the stripped back yet refined approach of this track. 'Come Closer' featuring Juliet Fox is a dark, rumbling number that screams building percussion that lends itself to become a peak time choice, whether it's a club or festival. The release closes with 'Pretending feat. KnowKontrol'; An 8-minute piece of work that is destined for unadulterated dancefloor destruction, whilst maintaining that melodic element that Ramiro Lopez is fast making his signature style.

Tenth 12" on Skatebård's imprint narrows the inspirational-arrow directly to Italian dance music. For each of the three artists involved Italian phenomenas Italo Disco, Italian House Music and Cosmic-Afro are undoubtedly strong influences. DJ Sotofett & Skatebård lowers eyebrows with narcotic synth patterns alongside classic TR-909 and tamburine rhythms, only paused by a cosmic & futuristic string break (almost same equipment used here as on Sotofett's Dritfett EP). Lauer collaborates with Sotofett on a sunny, warm B-side. Keyboard hooks and driving dubs of various sparkly synths and solos layer a driving arrangement and persistently alive house beats. It is not a copy, nor only an inspiration – it is a cue source of Italian Underground Clubs.

Tendts are two brothers that make "music that you can da nce to, or not". It seems an odd phrase, but aptly explains the duality of the Greek duo. The compositions of Christos and Fotis Papadakis are both emotive and movement inducing, even though they are written and structured with disparate elements that refuse to fall into obvious patterns. They consist of palpitating beats, imaginative textures, seductive melodies and sporadic bursts of treated vocals.

'It's Everywhere' is a concept EP soundtracking Tendts' intergalatic encounter with The Pleiadians (dimension traversing Nordic aliens to the unenlightened ) at the far edge of the universe. Upon their journey home they brought with them not only costumes, masks and relics of extraterrestrial civilizations, they brought with them the spirits of two great celestial beings, Momongo and Floflolo. Fotis and Christos were the reincarnation of these two and the main purpose of their return was to enlighten the people of Earth about the beginning of the era of the Cosmic Swimmer.

Bonzai Compilation – Chapter One was our very first curation from 1993. In a pioneering move, the original Chapter One would become the very first CD compilation to bring the sound of the Belgian underground outside of the club and into your everyday life. In less than one year, Bonzai Records had stamped its mark on the scene and, laden with tracks, the logical thing to do was to get those tracks into the hands of dedicated ravers across Belgium, Europe and the world.

Chapter One marked the beginning of a string of compilations which featured full-length cuts from a burgeoning catalogue. Originally with 14 tracks including … Animals, Short Circuit, Soushkin, Plasma, El Punto Final, Fantasy, E-Mission and more found their way to the CD, but it was never released on vinyl before.

We have not only remastered & repackaged this compilation for CD, but also gave it a new lease of life on freshly pressed wax, a first for one of our original compilations. This gatefold sleeve 2 x 12” black vinyl limited edition features a selection of 13 tracks taken from the newly remastered 2CD pack, and includes tracks such as Filler, Let’s Go, Twilight Creatures, Fantasy, Guess Who?, The Bountyhunter, El Punto Final, Rediscovert, Sleepless and more. A real collector’s item because with only 800 copies being made, this one is for the trainspotters.

Enjoy this special remastered limited numbered vinyl edition of Bonzai Compilation - Chapter One.

After ANNA & KITTIN’s monstrous “Forever Ravers” which is already deemed as one of 2019’s biggest tracks SPEICHER is back with 3-tracker brimming with raw energy from three hotly tipped up and comers. BLACKRACHAS commands the A-side with his immersive late night tune “Giorno Di Pioggia”. It’s pure trance (not trance) of a darker kind with ecstatic melodic outbursts that’ll tingle all the right places. Stockholm’s CHRISTIAN NIELSEN is making his welcome return and he’s out to kill. Imagine a chimera made of brute early 90s Belgian proto-techno and uplifting hard house beats that recalls Jason Nevins at his prime. Last but not least, ODD OSWALD & STEPHAN BARNEM deliver a smart industrial banger complete with unexpected twists and turns that’ll certainly do the right kind of damage on any trusted main floor.

Nach ANNA & KITTINs Überbrett “Forever Ravers”, welches hier und da schon als einer der Hits des Jahres 2019 kolportiert wird, übernehmen auf SPEICHER 113 direkt drei heissgehandelte Newcomer das Kommando. BLACKRACHAS hat letztes Jahr mit “Rotary” sein KOMPAKT Debut gegeben und liefert mit “Giorno Di Pioggia” einen dark-trippiges Trance-not-Trance Brett ab. Stockholm’s CHRISTIAN NIELSEN beschwört mit “Gold” furztrockene Frühneunziger-Belgientechno-Vibes und paart diese mit einem knalligen Hardhousebeat, der den Halbgöttern dieses Sounds (Todd Terry und Jason Nevins) alle Ehre macht. Schlussendlich zaubern ODD OSWALD & STEPHAN BARNEM mit “Follow You” einen smarten Industrial-Kracher, der so lange Haken schlägt, bis sich keiner mehr so richtig auskennt. Ein manchmal durchaus wünschenswerter Zustand.

The world-renowned Crosstown Rebels add the third instalment to their annual Spirits compilation, an album which has become established for delivering some of the biggest hits that have been heard in Damian Lazarus’ sets over the past year, from some of the most esteemed artists in electronic music. Let your mind become absorbed in this collection of diverse and exciting tracks.

The man himself Damian Lazarus opens the release, setting the tone with the haunting hypnosis of Ergot which contains snippets of an ancient Chilean revolution song, relevant to the current political climate. Next up Guti & Fosky collaborate once again in fine style to produce a smoky, late-night atmosphere, with the moody bassline and expertly crafted beat of Da Drumz. Side B and legendary producer Martin Buttrich combines driving tripped out rhythms with warm surging pads, creating a great musical tonic during Slow Down. Denney & James Dexter then deliver a peak time monster in the form of Transcend.

Next up Harry Romero adds a touch of romance on It’s You with an unravelling rhythm of heartfelt synth. Dennis Cruz’s Mother Earth follows up with striking vocals playing off one another with soaring brass and strings. More DJ ammunition is provided by Piem on Freak Out where a familiar looped sample is manipulated to ignite dance floor euphoria. Finally the bounce of Adonis Rivera’s XX Acid will have you hooked from the outset, as you would expect from the title, razor-sharp acid awakens every sense in this heady piece. Another great Spirits compilation to add to the esteemed series.

Pivot. Run by Rotterdam rooted / Berlin based artist Versho. Aimed to release music by Versho and other like-minded artists. Techno with a street mentality!!

"Very Urgent" is the second EP for the label is coming in March 2018. It features one original track and remixes from M.E.S.H., Peder Mannerfelt, and Kangding Ray. The label Refined Productions was launched by Aleksandra Grünholz, graphic designer and producer as We Will Fail, and Jakub Mikolajczyk, head of MonotypeRec label and MonotypePressing.

Landing 10 years after his first concept album, Wehbba’s drops his debut full-length on Drumcode, featuring collaborations with David Caretta, Thomas Gandey and Brazilian vocalist L-cio.

Following a series of globally adored EPs and inclusions within the imprint’s esteemed A-Sides compilation series, the chart-dominating São Paulo native now reflects upon his life as ‘the artist’, offering an immersive montage of stories that echo a tenacious dedication to his craft. Enlisting the talents of multi-instrumentalist Thomas Gandey, Electroclash pioneer David Carretta and fellow Brazilian L-cio, with his unparalleled flute mastery, Wehbba’s synergetic cuts span the breadth of electronic music’s sonic landscape, as he challenges the notion of genres with seasoned voices.

Birthed from the purest inspiration, the album’s 13 cuts represent a myriad of musical references close to Wehbba’s heart, running parallel with the organic sensibilities of his field recordings. An ode to eternal growth, the LP highlights a cycle of perception and projection, as Wehbba studies the morphing of genres through his own musical filter. Discussing the upcoming album, Wehbba commented: "The musical references on these works trace back to the 90s, when I started listening to electronic music and had no judgement of what was cool - when I was totally free. So they represent, without any filter, what touched me, ranging from braindance to goa trance, from ambient to hard house, and from drum n’ bass through every single mutation of techno and house music."

As a key ambassador for Brazil’s dance music community on a global scale, Wehbba’s long-standing career has seen him affiliate with many of the industry greats on both remix and collaborative projects; testament to his flourishing reputation. Following on from the geometric-led titles of his first two albums, Straight Lines and Sharp Corners alludes to the difficult decisions and blunt shifts he has faced in his career, and their capacity to shape his identity over time. Studying the great Antoni Gaudi, Wehbba’s third LP title takes reference from his perceptive quote: "There are no straight lines or sharp corners in nature, therefore buildings must have no straight lines or sharp corners. Anything created by human beings is already in the great book of nature."