Techno Vinyl New Releases - News

Repress

Drawing from a strong history of electronic influence, Tomashevsky has created his own underworld of foreboding techno. We enter this EP with Incoherent, which exudes ominous sounds - reminiscent of murky radar blips that may be heard deep underwater in the metallic bowels of a submarine. Bubbling electronic delays remain adjoined to these metronomic blips and oer lateral, spontaneous movement around an otherwise sturdy song structure. Jittery melodies scatter nervously under lead elements, remaining disjointed and resulting in increased energy and a darkened excitement.

As we move through the EP, we face ups and downs, both in tempo and mood. Leading on from the first, Rollback is destabilizing, energetic and mean in all the right ways. Wobbling low ends open into a mood of uncertainty, held in place only by the stability of the drums. Rollback suits a peak-time club atmosphere thanks to the gritty synth leads and fast-paced feel.

Ending with the two tracks on the B-side, Tomashevsky still seeks to surprise. Rejected seems to be a distant relative of the Incoherent, following the synthetic blip structure but allowing snares and other percussions to build more prominently. Finally, we arrive at the closing track which marks itself as more obscure. Leaning on kick drum patterns initially reminiscent of electro/breaks, the use of half-time tempo gives a change of pace and a platform for a slightly different song structure and mixing potential.

Mesmeric and entrancing, these songs give any DJ or listener to chance to turn mind chatter o and lock into a hypnotic groove. Drawing on classically techno foundations, Tomashevsky has tipped his hat to the founders of the genre whilst adding his own flavour and subtle techniques that make this EP shine.

Boomstraat has just released the latest Detroit techno various ep. Tracks by Bertran, FWS, Dj Surgeles, Stroef, Br!nk, Tanzklänge and Mike Storm.

Baby Ford perfected the minimal sound with his impeccable early run of releases. Now, one of them gets reissued many years on and it still sounds as strikingly new as ever, not least because it has been remastered by the legendary Dubplates & Mastering in Berlin. The sought-after EP from Peter Adshead emerged during his shift toward stripped-back techno and tech-house and captures a deeper, more hypnotic side of his craft. 'Serpentine Tale' coils through hissing rhythms and shadowy bass pressure, while 'Night D3 Died' pairs crunchy drums with mournful synth chords. Closing cut 'The Introducer' drifts into warm, spacious territory.

2025 Repress

Sirocco is the second EP by Bruxas, the psychedelic, beat-driven, tropical, house group consisting of Jacco Gardner and Nic Mauskovic, featuring the percussive talents of Jungle By Night's Tienson Smeets. Sirocco features the combined talents of cult retro artist Gardner, and the percussive fortitude of Mauskovic, delving into the world of exotic, cinematic, Balearic-sunshine, that cruises leisurely throughout, and is layered with phazed-out, tropical synths. It's a sound for the summer. Good vibes only please.Following up from last year's Más Profundo EP, Bruxas return with Sirocco, an EP named after the Mediterranean wind warmed up by the sun drenched Saharan sands. Lead track 'Sirocco' washes over like a sea current of dreamy, tribal, synth-wave, flowing and ebbing in mixed colours of a psychedelic haze. It teases of something grandiose, which later appears in the form of a club version. Remixed for some secret island hideaway orchestrated by DJ Harvey, 'Sirocco (Club Version)' builds on the resplendent melodies and driving percussion of the original, adding some foot-tapping, devilish keys and retro-progressive synth lines to add subtle, summery tension and flare. 'Hermes' meanwhile drives along at a casual 100bpm, with a cumbia-styled Casio line, and a jaunty, leisure-like, Latin-groove, and fiesta feel. The final track on the EP, 'Maria's Holiday' has another up-beat, Casio-styled groove, set alongside a poolside party, with bongo-beat rumblings and a disco rhythm. It's the soundtrack to a summer cocktail party, to watch the sun slowly set on a tropical fiesta.Bruxas is the collaborative project between Jacco Gardner and Nic Mauskovic who joined forces while playing in the support band for the 70s James Brown-meets-Black Sabbath act, Witch. Gardner — having firmly established himself as a credible force within the psych-rock community with two solo LPs and a psych-rock sound — and Mauskovic — whose catalogue includes acts such as Altin Gün, and The Mauskovic Dance Band — teamed up in Portugal with their shared love for library music, and 70s psychedelia, naming their new creation Bruxas — Portuguese for Witch. With a featured appearance booked in at Dekmantel Festival, also featuring Tienson on percussive duties, be sure to note that this will be a big year for the retro-party boys.

Dutch psych-musicians Jacco Gardner and Nic Mauskovic create a new take on no-wave, post-disco with their debut LP as Bruxas, Muscle Memory. It’s their third work for the Dekmantel label, following up earlier EPs Mas Profundo (2017) and Sirocco (2018). Immersing themselves in a world of bohemian synth, the duo ex periment with vintage machines and cosmic effects, swimming in rhythmic grooves and psychedelic tones. It’s a style that reflects their respective musical backgrounds, and long partnership, one in which that has strengthened their collaborative, musical muscle memory. After playing together in the revival tour for Zamrock band WITCH, Gardner and Mauskovic struck up a partnership centred around poolside antics, cocktail hours, and a mutual love for late-60s, German kosmische musik. Through their particular style of alchemy, the duo embarked on a quest to craft soundtracks to imaginary, forgotten moments.

‘Cógelo, Rápido’ plays out like a pseudo-disco-noire thriller, while ‘Mountain Cruise’ strums to an upbeat Jodorowsky beat, and then ‘Minitrip’ accompanies the listener through psychedelic planes of existence. Unsurprising then that there is a little bit of Patrick Cowley in this record. A pioneer whose own Muscle Up soundtracks also lent themselves to leftfield synth explorations.

Outside of Bruxas, Gardner and Mauskovic have both found success with their respective careers. Gardner, with his unique take on experimental synth work, and Mauskovic’s rhythmic post-punk, solo-project The Mauskovic Dance Band. Together as Bruxas, they found a synergy full of youthful exuberance that looks to recapture a vintage left-of-centre, wave-scene aesthietc. Recorded on a minimalist setup, Muscle Memory is full of improvisation and psychedelic sound experimentation, proving that with time the subconscious can take over, creating patterns within music that the conscious mind would have otherwise been unable to perform. What one would call, true Muscle Memory.

art by the excellent Mr Stefan Glerum

Techno legend Cari Lekebusch debuts on Mind Medizin with an 8-track double pack of underground Techno.

Stockholm-based sound architect Cari Lekebusch has helped to shape the sound of the underground over the last two-plus decades. He has long been at the heart of his native scene alongside peers such as Adam Beyer and Joel Mull and heads up his own H. Productions label while also serving up his timeless sounds on cultured outlets such as Drumcode and Planet Rhythm.

Opener 'Mind and Matter' opens with quick, compelling drum programming and trippy synth details peeling off thebeats. Muttered vocals bring a dark intensity as the percussion also adds layers of tension. The fantastic 'Freakout' isanother classically inclined and linear techno banger with thudding kicks and futuristic synth lines weaving in and outof the beats. There is no let-up in the pressure with the excellent 'Ninguno es Uno' keeping it deep, driving and late night, this time with squelchy acid lines adding character. 'Heritage' shuts down with a hypnotic blend of shimmering
cosmic synth lines and pulsing deep techno drums that keep the mind and body fully locked in.

This second half kicks off with 'Cause and Effect', a bustling blend of scuffed-up kicks and snares, glitchy hits and jangling synth sounds that bring great looseness to the driving grooves. The funky 'Handkante' delivers flailing percussive patterns and wisps of synths that spit out of the mix next to a drunken synth lead. 'Strulgubbe' keeps the pressure on with more muscular drums, this time underpinned by darker bass and unsettling synth twangs. The fantastic closer 'Tuli Taivaalla' offers up a serene sound that is backed with sustained chords and marbled with edgy vocals.

Repress!

Belgian tastemaker Charlotte de Witte returns to her own KNTXT to serve up the well regarded label's seventh EP. Rave On Time is about reminding us of the joys of being lost on the dance floor and is another hard hitting EP filled with her distinctive techno energy.

Charlotte is at the centre of her own musical movement, with a hard hitting, no frills style. Her powerful grooves, whether solo or in collaboration with the likes of Chris Liebing, come laced with ambient and synth beauty. She has mesmerised crowds all over the world as well as at her own special KNTXT events, and has been as creative as ever during lockdown, as this new EP shows.

Says the artist herself of this latest offering, "Rave On Time. Three words that probably have never been more relevant. In a time where raving feels like a distant memory, it seems increasingly important to bring music back in our lives, in reverse. Let's not forget where we came from and let's not lose hope. We'll be together again soon. Rave On Time."

Opener Rave On Time is built on hammering, distorted kicks that bend you to their whim. Freaky vocals and monstrous hits add extra pressure and ensure you stay locked before shooting laser synths and retro hoover sounds bring the rave. There's No One Left To Trust keeps up the energy with scintillating synths rattling over rock solid drum programming that never lets up. The World Inside is brain frying material, with serrated synths firing out and growing ever more acid as the groove pounds on. Common Era is brilliant hands in the air acid-trance-techno that froths with energy and flashing strobes. Finally, vinyl only track 'Wahr Ist Sie Dann’ is a distorted, brain melting techno workout with brutalist kicks and vast walls of synths that are hugely powerful.

As ever from de Witte, this is pure, unadulterated club music that makes a gargantuan impact.

Propelling Down Under techno and house into the world's clubs with classics such as Phreakin', LSD and 6AM in the mid-90s, djhmc (Cam Bianchetti) is rightly hailed as the 'godfather of Australian techno'.

Now with more than 30 years experience of transcendentally moving dancefloors - and 20 years with his productions, remixes and edits; djhmc is back with a new label - reflector.

This will be an all new platform to showcase totally remastered versions of his back catalogue as well as to provide a vehicle to bring his current and previously unreleased
work to his already loyal following and to new believers.
Cam Bianchetti is a man of many talents who is very much in demand as a DJ and a producer, and he applies the same meticulous attention to detail and knowledge of what works a dancefloor across both disciplines. Under his djhmc alias, it isa very broad church that covers disco, house and techno, whilst his other monikor, Late Nite Tuff Guy focuses more on his love of Funk & Soul. When it comes to giving a classic sound a new contemporary twist, there is simply no-one better.

With the arrival of the 'reflector' label the world is his, and he has embraced it whole-heartedly as in the past the world embraced djhmc; once again its time to prove why he is one of the most talented techno and house producers and DJs to ever grace the turntables....the Godfather is back!

For the eleventh release on their main catalogue Haven are excited to invite French king of spooky crunched-up rollers and Wrongnotes member Draugr to the label for the first time, alongside some half-time madness from Headless Horseman on the remix.

The A1 gets us moving with Gjöll, where creepy atmospheres, disembodied vocal hits and noisey drum rhythms crash together in a concoction of hard techno destruction. The A2 continues this formula in Völva, with rolling synth lines and demonic ambient textures leading in to an infernal animalistic wail breaking in to the mix following the breakdown.

The B1 continues the destruction on the flip with Vigrid - a hectic drum rhythm work out buttressed with spiky metallic patterns and further ghoulish sound design and sampling. Headless Horseman closes out the record with his remix of Gjöll, transforming it into sinister half-time stepper ripe with droning atmospheres and powerful drum hits to finalise another offering of club ready mania from Haven.

The Minneapolis-raised DJ/Producer’s second album following 2014’s ‘Monoliths’ lands on Radio Slave’s Rekids imprint in November.

Although based in Berlin for several years, Dustin Zahn has continued to exert influence over the fertile but steadfastly underground Minneapolis techno scene as part of the Intellephunk collective whilst cultivating a worldwide rep via releases for Blueprint, Token and his own Enemy Records. The ‘Gain of Function’ LP sees Zahn channelling the groove-fuelled techno of the late ’90s and early ’00s and shaping eight powerful but funky contemporary techno tracks that display the decades of experience under his belt.

Forged from a series of live jams with two drum machines and two synths, the album is a refined collection of raw, purist techno brilliance. Across the A-side ‘Tell Me About Paradise’ brings shimmering staccato chops under bright and airy percussion before ‘Tangie Groove’ picks up the pace with floating pads, vocal slices, and a rumbling bassline. On ‘Lucid Dreams’, scattered percussion plays with hypnotic synth licks, while ‘Smoking in Silence’ sees off-kilter leads dancing between emotive vocals and evolving drum loops.

Opening the second disc is the deep and shuffling ‘Crimson Cheeks’, with trance-inducing samples nestled between sharp drum hits and rolling synthesis, and ‘Days Like These’ takes a darker turn as twinkling arps and droning pads carry the track. ‘Shark Rodeo’ featuring Jeremy Black mangles samples into a dense rolling affair, before closing number ‘Next Level Looseness’ drops the 4/4 pattern for a raucous club track, combining oddball sound sources and unruly production techniques for a trippy finish to the album.

Since the late ’90s, Zahn’s hypnotic and driving techno has consistently caught the ears of top DJs and labels worldwide, with anyone catching his marathon sets at the likes of Berghain exposed to expansive sets. In addition to his techno-heavy catalogue and DJing prowess, Zahn has lent production and engineering skills to bands and singers, recently working with Poliça and on Carm’s Pitchfork approved eponymous album. Beyond this, his vital work with Intellephunk includes the nearly two decades long running Communion after-hours events, cementing his invaluable contributions to the scene.

E-bony returns to Distant Gaze with a full 6-track EP, diving deep into the unfiltered world of acid and Detroit, where roots meet modern.

This release delivers a range of moods and intensities through analog textures, heavy-hitting kicks, and gritty basslines that have become synonymous with E-bony’s distinct sound. As the EP unfolds, PRZ shifts gears into a futuristic electro soundscape, a glimpse into a sci-fi utopia. Clouzer wraps up the EP with a crushing rendition of ‘Let it Be’—a hard-hitting rave anthem.

2025 Repress

B2 track ends in a 4 beat locked groove.

Surrrealism label boss EdOne returns to HABITAT with the ‘Show Me Love’ EP, following the release of his track ‘Madness Diary’ on the ‘METAFLORA III’ compilation in April 2025. Dropping on 26th February,
‘Show Me Love’ is a striking four-track EP that captures the full emotional range of his meticulously crafted sound. With multiple top ten Beatport chartings and releases on respected imprints such as Innervisions, Bedrock, Global Underground, and Renaissance, EdOne now brings his signature intensity, tension, and melodic precision into one of his most complete and expressive works to date, with the package featuring a collaboration from Rotterdam’s Beswerda.

Title track ‘Show Me Love’ opens the EP, delivering a backbeat-driven, clap-heavy groove, with soothing maracas, sundrenched synths, and warm pads creating an inviting, melodic house cut. ‘DTS’ serves as a moodier counterpart; its thudding bassline, rattling central synthline, and atmospheric low-end strings build a deep, cinematic tension. On the flip side, ‘The Next Men’ leans into EdOne’s progressive, hypnotic sound, featuring preaching vocals, minor-key progressions, and steadily building emotional weight. Closing with ‘Lahn’ , EdOne and Dutch mainstay Beswerda descend into a raw aesthetic, blending industrial grit with dub-like textures for a brooding final statement.

Connecticut's Jon Beall, recording as Entro Senestre, has gained critical acclaim thanks to brilliant releases on labels like W.T. Records, Echovolt and L.I.E.S..
On his debut for Dekmantel, Beall has taken his signature vintage flavors of techno and electro and pushed them into news spheres of the frightening, combining chalky, continuous drum tracks with an ear for emotionally challenging melodies. Championing timeless electro-techno that breathes real soul, this four tracker does Senestre proud and alters a dynamic EP that is ear-piercing and contemplative, nifty and evocative.

1x each customer !
Surprise re-issue of this near mythical 12"! It seems nearly everybody missed it the first time round... DEKMANTEL & MAGNETRON team up and do the right thing and polish up the old girl to 2015 standards. Expect to hear this absolutely everywhere this summer!

Experimental work from Mathew Jonson (Cobblestone Jazz)
"Worthwhile albums tend to be as much about the process of making them as they are about the end products themselves. One can almost hear formal, technical, even philosophical questions being asked and answered on them in order to arrive at something personally and politically new for the artist. "A Box Full of Magic," at once sprawling, cosmic, and psychedelic in the best of ways, follows in this album-making tradition. It is a record steeped in off kilter percussive time, live recording, occasionally summer cloud-paced tempos, and lush, emotional, melodic instrumentation. "A Sunrise On the Front," the final track of the record (and a composition crushing in its beauty), encapsulates much of this: recorded live on a Rhodes, the melody gives voice to the paradoxical sense of hope even during the pathology of war. Such conceptual ambition fits perfectly well within the capacious vision of Mathew Jonson's Freedom Engine, a project whose very name seems to explore and allow for the conceptual paradox and complexity of approaching freedom through the engine of technology. In a fundamental sense this tension between freedom and machine informs much of the album proper. Desiring to break out of his old ways of production and the boxes that went with it, the album abounds with fresh fascinations in things like the sound of mathematical equations, quirky time signatures, and experimental phrasing through intuitive timings to unlock a sense of magic, play, and spontaneity. There is, likewise, an interest in the liberating potential of deconstructing old sounds to make new ones, as Jonson applies techniques like innovative noise gating on classic drum samples to create space age percussion. At other moments, on "The Very Strange," for instance, air itself is sampled in field recordings to create unnatural percussive patterns. As is often the case with Jonson's work, an encyclopedia of machines and synths are employed in the making of 'A Box Full of Magic," but what is perhaps new here, and in keeping with the dialectic he traces between freedom/engine, is that there is a non-mechanistic, spontaneous impulse at work in the recordings. While it is not a live album, it has an at times spiritual and organic inclination despite or perhaps because of the way his panoply of gear--Prophet 5, cs60, VCS3, et al--attempts to capture dream-like tonalities that can reach poetic heights on a track like the aforesaid "Sunrise" or morph into an almost diabolical, Lynchian dimension on "An Evil Charm (Where Is the Forest)." But while it is tempting to get lost in the trees of synth-arcana with Jonson's work, we should not lose sight of the forest here: With its openness to new ideas which in turn generate an album teeming with them, "Box Full of Magic" helps to expand the sonic vocabulary of contemporary dance music.

Mathew Jonson lives and works in Berlin. He has been experimenting with electronic music since 1986. "

It is often said that the best art comes out of adversity, and so it is that producer Frits Wentink, photographer Erik Madigan Heck and actress Tilda Swinton have collaborated on Safe Passage, a fascinating audio-visual project born out of loss. Consisting of classical, choral, and electronic music in three movements, the gatefold album will be presented by Dekmantel with a 40 page booklet of additional photographs and paintings, as well as digital only remixes from Matthew Herbert, The Soft Pink Truth, BvDub, and East of Oceans.

Dutch producer and renowned innovator Frits Wentink helms the Will & Ink and Bobby Donny labels, builds synthesizers and beautiful controllers, and puts out always experimental, left of centre house music that pushes at the boundaries. This project initially started out as him attempting to musically illustrate the photography of American visual artist Erik Madigan Heck. The internationally renowned Heck is known for a lavish and experimental use of colour that has won him the prestigious International Center of Photography’s Infinity Award as well as make him a regular contributor to high profile media such as The New York Times Magazine, Vanity Fair, and Harper’s Bazaar.

Midway through the project, Eriks mother was hospitalised due to breast cancer complications before also contracting Covid-19. By her bedsides and as a means to ease her passage, he repetitively played the first portion of the score, and then, once she passed, he decided to commemorate the music's function as a soundtrack for her transition to afterlife by naming it Safe Passage. The involvement of Academy Award–winning Scottish actress Tilda Swinton has lent the music an extra dimension of spirituality: throughout the album, she interjects whispered fragments of Heck’s poetry, blurring the lines between one phase of music and the next.

The music has three movements across two sides: Side A, Safe, has a sense of hope and reflection as it undulates from minimalist string and brass arrangements to ambient and dissonant classical piano. Side B, Passage, then depicts the start of the transition into the afterlife as the voices of a choral madrigal ensemble gradually diverge, then break down entirely before a grand tonal expansion leads into a frenzied crescendo of choral vocals, hardened dub techno and anxious rhythms that convey the violence of the soul’s exit from this world. Finally, a cathartic Epilogue resets and bids farewell with the gentle sounds of a piano.

Because of the global on-going loss of life as a result of Covid-19, Safe Passage has become a soundtrack in which many people will find solace as they remember the sad transitions made from this life to the next during this unprecedented time in history.

EVPHORIA is not just a record. It’s a trigger.
140 BPM of tension, ascent and release — engineered to push the dancefloor into collective hypnosis.

Balancing power house propulsion, techno pulse and large-scale emotional lift, the track transforms a strangely familiar sensation into something raw, direct and uncompromising. No nostalgia — only forward motion. A rise that refuses to come down.

The original version unfolds as a sustained euphoric surge: driving percussion, insistent hooks and controlled repetition built for peak-time unity.
The edit version distills that energy into a tighter DJ weapon — immediate, sharp, floor-focused.

On the B-side, Inflammable Noise appears in its instrumental form — pure club mechanics, no vocals, no distraction. A stripped version that amplifies tension and turns the track into a true dancefloor weapon. Already tested in demanding environments, it notably detonated a peak-time moment when Chloé Caillet played it at Berghain — a point where the room tipped over.

EVPHORIA moves freely across scenes — from house floors pushing tempo to techno basements and high-intensity dance spaces — built for DJs chasing the rupture point.

Pressed in a strict limited edition.
Vinyl only — no digital release.

Created under the EVPHORIA imprint by Hardrock Striker — dancefloor architect and driving force behind the Skylax universe — this release stands as a physical, autonomous club statement.
Sleeve artwork by H5 (Daft Punk, Air, Étienne de Crécy, Logorama, Kanye West / Adidas), reinforcing EVPHORIA as both a sonic and visual manifesto.

EVPHORIA doesn’t ask permission.
EVPHORIA triggers.
A record for the moment the room tips over.

Strong international support from Richie Hawtin, Arnaud Rebotini (Black Strobe), Kristian Beyer (Âme / Innervisions), Dax J, Ilario Alicante, Chris Fortier, Michel Gaubert, DJ Mag, KEXP Seattle, Byte FM, Tsugi, Waveform Transmitter and many more.

Outstanding reactions included: "This is just perfect... one of the best things I've heard in recent weeks. Supported!" (Club Furies), "Great release! Adding to Waveform Recommended." (Ste Knight), "Excellent work here! Will play on my show." (Fly Radio 104 FM), "Great – will play." (Radio Reverb), "Energetic and ethereal club energy." (CJSW Canada)

If heavy industry is a thing of the past, no-one told Identified Patient. For the past few years, he has been a one-man factory: by day, assembling component parts of acid, techno and all varieties of wave (dark, cold, minimal) on the production line; by night, a DJ dynamo pulsing with so much energy he could power a small city. His style is the kind of churning, lithe, fractured machine funk that could make Trent Reznor weep with envy – mean but clean, sinister and stomping but crucially, never overconfident or overblown. After two show-stopping performances at the parent festival last year, Signals In Snakes marks Identified Patient’s first Dekmantel release, for the technoid UFO sub-label.

Opener “The Drip” lives up to its namesake, slowly lowering elements into the field of play with partner in crime Sophie Du Palais. No prizes for guessing what exactly might be dripping through this fetishistic slow burner, so we’ll let your sordid imagination run wild. “Let Me Do It” takes the pent-up anguish and lets rip with the mood of unearthed electrical wires sending sparks flying, an upscaling of intensity that continues on “Chantal Chant.” Envisioned as the moments of tension before a gladiator fight in ancient Greece, the acidysound is that of barely restrained militant chaos. Our battered fighter’s swan-song, “Lucy’s Comeback,” marshals the dark undercurrents of bass and brings us to a close. Giving a new lick of shiny paint to a well-weathered industrial exoskeleton, Signals In Snakes is one to unify the cold-blooded villains and hot-blooded lovers all summer long.

Nerve Deposit is the new EP from Identified Patient on Dekmantel’s sub-label UFO. The record is a lysergic stew of industrial, electro, breakbeat hardcore and synth-rock, with the purpose to get under your skin and set your nerves tingling. While extending his signature sound, the Dutch producer upgrades his process and marshals a new complexity from his machines. The result is five tracks which stalk shadowy hallways but never lean too far into the darkness, at once menacing and lively. With a laboratory’s worth of sleazy synths, bubbling effects, raking textures, plunging bass and rhythmic left-turns, Nerve Deposit suggests we are in the court of a Professor, not a Patient. Tantalisingly, the best feels yet to come.

Ismael Pinkler lives in Buenos Aires. Belly Dance Services head Nick Hanzo in Vienna. Turns out the exact midpoint between the two is somewhere in open ocean. So they abandoned the plan to meet on Earth at all, and met on planet 126 in outer space.

It turned out to be a strange, hospitable little world — spinning at its own pulse, 126 beats per minute, changing landscape every few kilometers, as if it couldn't decide what kind of planet it wanted to be either. Ismael and Nick wandered it together, letting each new terrain talk them into a different song, until ten tracks had quietly assembled themselves. What they brought back drifts somewhere between shoegaze, techno, ambient, trippy tribal house and pop — grounded and gravitational, emotional and mental, to put it in terms Earthlings might understand.

Now, speaking seriously: Ismael and Nick built Planet 126 by passing sounds and ideas back and forth across the ocean, night after night, for eight months. The entire process — composition, vocal recording, production and mixing — took just eight months, a dream scenario for any electronic musician. The collaboration stayed positive, proactive and fresh throughout, letting the project move forward effortlessly. All tracks were written and produced by both musicians together; Nick wrote the lyrics and recorded the vocals, Ismael handled the mix. No samples, no references — just two people building a world from scratch.

Planet 126 also marks a milestone for Belly Dance Services: the label's 30th release, and likely its last. BDS began with BDS001, a vinyl EP by label founders Hanzo & Yaman, and has been solely helmed by Nick Hanzo for the past five years. Now it comes full circle — laid to rest with a big bang: a double vinyl gatefold album co-produced by Ismael Pinkler and label head Nick Hanzo.

Electro, disco-chic, doused in gooey pop, sultry silk, and retro synth-boogie. Dekmantel welcomes the good time vibes of Canadian selector, and retrotastic, vibe-poppin’ producer Jex Opolis. Cult figure, obsessive Discog-er and Good Timin’ boss, the Brooklyn-based, Canadian has etched out a global reputation with his exotic taste of lo-fi, party productions, with this — his Dekmantel debut — not straying far from the formula. On Earth Boy, the hit making powerhouse turns up the synth furore to maximum, with electro and Italo all blending together, in a powerful melee of beachtime house, and crushing sunset disco. Leftfield soul that’s not just for the diggers, and the perfect introduction for his summertime debut at Dekmantel’s galant showcase festival in Amsterdam later on this summer.

Title track 'Earth Boy' pays homage to the classic electro of the early 80s, with its 123bpm rolling breaks, and throbbing synth basslines. It’s as if Drexciya has a disco-baby with Spacer Woman. With its cliquey stomps and robot pulses, and nods to the wave-style records that empties so many of Jex’s sets, 'Earth Boy' is classic future disco. 'Desolation' is bridled with greater depth and emotion, with Italo-pomp and a certain rhythms digitales flare. Braver souls may embrace the vocal mix when it comes to playing out, with its compassionate overtones and soft celled-bassline. Its time to brush aside the winter hue, and say hello to those good-time blues, and frolic along to the jetset, neo-Balaeric house stylings of Jex Opolis.

One NYC's brightest drops a beauty of a double LP on Dekmantel. Awesomely dope! TIP!
Spring 2014 will see Dutch label Dekmantel release the debut full-length album from New Jersey producer, DJ and Inimeg Records boss Joey Anderson. Entitled After Forever, the album is the natural next step for a producer who has turned out plenty of deep and intriguing techno EPs for labels like Latency, Deconstruct Music and Syncrophone over the last couple of years.

Having been championed by the connoisseur likes of Levon Vincent and DJ Qu before the rest of the world cottoned on, Anderson's style has proved to be truly idiosyncratic, where near bottomless techno grooves get run through with haunted piano lines, shadowy synth work or elegant drones. There are barely ever any claps or snares, instead just plenty of deeply hypnotic kicks and plenty of noir tension.

'Every track on the album has its own take on my personality, my mentality musically and my vision of off-dancefloor music,' says Joey. 'I find it very difficult to create something for people just to like. I'd rather pay attention to making them get close to the album and uncover the ideas within it. Being my first LP, it's dedicated to my two daughters, Akatriel and Auset.'

As well as two tracks that were released on Anderson's previous Dekmantel EP, the album offers nine new cuts and kicks off with 'Space Between Curtains'. Haunting, saddened piano keys linger in the air above metallic synth sounds for the emotive duration of the track. Then there's the teary eyed, end-of-the-world yet optimistic vibe of 'Space Colors Ideas'. After that various intimate moods are explored, from heavy and ominous on 'Maidens Response' to celestial and cautiously uplifting on 'Archer's Ceremony' via 'Amp Me Up', which sees Anderson's spacious and atmospheric style suck you in with its weird, gurgling machine noises unravelling above an unchanging drum track.

It's an album that demands and indeed warrants close inspection, and is the sort of work that really transports you deep into another world far away from here. With After Forever, then, Joey Anderson confirms he crafts moody and atmospheric techno like few others.

Mr Anderson taking a fresh twist and releasing more excellence on Dekmantel. Big TIP!

Limited Edition including a bonus 7".
The art of omission is a craft New Jersey native Joey Anderson masters like few others.
After releasing his acclaimed debut album After Forever in 2014 and the 1974 EP earlier this year, Anderson returns to the Dekmantel label serving up the signature sound we love him for. Invisible Switch is the perfect example of what Anderson can do with very little, catapulting him to one of the finest and most original techno and house producers to date.

What's left to explain about Juju & Jordash The longtime Dekmantel affiliated duo (Gal Aner, Jordan Czamanski) helped shape our club nights, festivals, label and other music endeavors to what they stand for today.
In other words: without these jazz trained cats, there wouldn't be a Dekmantel. It's with great anticipation that we announce Dekmantel release #8 (!) from these utterly talented musicians. DKMNTL026 is a club friendly yet sophisticated four tracker that is as abstract as it is deep, and as elegant as it is effective. Raw, energetic stuff for your peak time bag!

Well, what about Tuesday Israeli hybrid house and techno masters Juju & Jordash return to Dekmantel Records with yet another outstanding release. Their relentless work ethos makes you wonder if these guys sleep at all. Maybe that's what Tuesdays are for DKMNTL 043 is a three-tracker and a fine display of Gal Aner's and Jordan Czamanski's next-level, improv based way of painting records. 'Monday Mellow' is a dubbed out, twisted and subtly emerging house groover, while 'Wednesday Something' continues the journey with a dense electronic jazz-tinged stomper. 'Thursday, Heavy.' demonstrates their full range, combining eerie melodic synth excursions with a jagged bassline - an out of this world, destructive yet classy house bomb. As always their intergalactic excursions are superbly executed. Let's give them some rest on those Tuesdays.

After a five year hiatus Luke Slater reanimates his L.B. Dub Corp alias for a dynamic, vocal-led ode to the club featuring Robert Owens, Paul St. Hilaire, Miss Kittin and more.

Slater is responsible for some of the most enduring electronic music of the past 30 years, including his grandiose ambient techno project The 7th Plain and the trailblazing machine funk of Planetary Assault Systems. He debuted the L.B. Dub Corp alias in 2006 as an outlet for a broader, looser kind of club music. His third LP the name, ‘Saturn To Home’ also marks his first appearance on Dekmantel.

The result of more than a year’s exacting work, here we find Slater reflecting on his formative influences and funnelling them into eight incisive tracks that range from the feverish passion of ‘Your Love’s infectious chord stabs to the star-scraping breakbeat techno of ‘Only The Good Times’ via the smoky soundsystem tendrils of ‘Golden Star’ and the elastic drums and mutant synth funk of ‘Krank’. As well as celebrating the intersectionality of club culture and the vibrant vocals of his invited guests, it’s also the first time Slater has committed his life-long love of playing drums onto a record — just listen to the sizzling rhythmic tension of ‘Cloak And Dagger’ and you’ll instantly understand where he’s coming from.

From every syncopated groove to the spine-tingling rush of the melodic hooks, Slater tells the story of his life in music, which means his life overall, without ever being stuck in the past.

Dopplereffekt, L.B. Dub Corp, JASSS, SHERELLE and Interstellar Funk on remix duty...

Dekmantel return to Marcel Dettmann's celebrated 2022 LP Fear Of Programming for a remix package featuring five of the biggest names in contemporary club music. Dettmann's unmistakably sleek, focused production style is the perfect springboard for all kinds of imaginative interpretations that touch on techno, footwork, electro and ambient.

Donning his L.B. Dub Corp alias, Luke Slater kicks off the A side by paring 'Suffice To Predict' down to its fundamentals and rebuilds a taut, punchy version out of the component parts. SHERELLE explores a sweet spot between techno and footwork in her natural 160 BPM zone on her angular, reverb-heavy version of 'x12'.

On the B side, Dopplereffekt supplement the cascading arpeggios of album closer 'Fear Of Programming' with their inimitable strain of dystopian electro. Interstellar Funk turns album centrepiece 'Water' into an atmospheric techno voyage shaped out by melancholic pads and fluttering leads. JASSS takes 'Fear Of Programming' further out through billowing clouds of ambience and dislocated vocal impressions, arriving at a bold and pensive closing statement to this heavyweight clutch of remixes.

San Francisco's Matrixxman back on Dekmantel...full info to follow

Synergising their respective studio prowesses and harnessing their accomplished hardware artistry has helped establish Neon Chambers as a modern symbiosis of atmospheric, contemporary club sounds, and multi-rhythmic machine-driven sonics, the two producers have set out on the beginning of a new era of electrifying, astute sound design, and breathtaking modern electronic music.

The duo’s debut EP, One is a whirlwind of crushing modern sonics, that is equal parts jagged rave, progressive dub-fuelled two-step and night time-ethereal IDM. Throughout all five-tracks, the producers wield a wicked awareness of state-of-the-art sound design, that makes each kick cerebral, every bass-sound an epic vibration, and every synth a futuristic cacophony of finely-tuned noise. The sounds are an amalgamation of everything that has made each artistic unique in their own right, while correspondingly helping create something new. ‘Apollo’ is a prodigious working of melodic synthesis, with delicate, and rolling breaks, while ‘Cascade’ moves into a more grandiose, heavenly territory, befit with trance-like, precision synthesis. ‘What it takes’ brings on board a more UK, post-dubstep sound, albeit one with more craft, and sonic mastership. ‘Your Touch’ toys once more with atmospheric rolling breaks and solemn vocal samples, while ‘Helles’, the closing track, is an excursion into more compelling, auditory realms.

Neon Chambers is the new project of UK producer Sigha, and French artist Kangding Ray. Sigha, aka. techno producer James Shaw comes from a steadfast background in abstract and grounded techno, with previous works on Token Blueprint, Avian and his own Our Circular Sound imprint. Kangding Ray, aka. David Letellier, has made a career for himself with genre-breaking and experimental sonic adventures that have taken him across such era-defying labels such as Raster-Noton, and Stroboscopic Artefacts. In 2019, he also started his own imprint ara for more bespoke, avant-garde releases. The duo came together to create Neon Chambers to further extend their analogous ambitions, and create bigger, and more daring live and audiovisual performances.

Berlin-based Palms Trax continues adding to his run of quality efforts with the forthcoming release of his High Point On Low Ground EP: impressive effort number two for the Dekmantel imprint.
Serving up three retro-futuristic killers, Donaldson parades his ability to touch on the many different corners of contemporary house music, whilst delivering heavyweight dancefloor standards. The title track blazes a beaten-up vocal snippet over stanked-out synths, stretched to a breaking point across a low-riding bass line. A stabbing Moroder-esque bass line dominates 'Cloud City', whilst 'Paws' equals pure and raw broken-beat bliss with a pinch of acid.

Berlin-based Palms Trax continues adding to his run of quality efforts with the forthcoming release of his High Point On Low Ground EP: impressive effort number two for the Dekmantel imprint.
Serving up three retro-futuristic killers, Donaldson parades his ability to touch on the many different corners of contemporary house music, whilst delivering heavyweight dancefloor standards. The title track blazes a beaten-up vocal snippet over stanked-out synths, stretched to a breaking point across a low-riding bass line. A stabbing Moroder-esque bass line dominates 'Cloud City', whilst 'Paws' equals pure and raw broken-beat bliss with a pinch of acid.

A cybernetic rush of non-conformist techno from Italian maverick Piezo.

Milan-based Piezo is usually found at the helm of his Ansia label, exploring a versatile spectrum of experimental club music grounded in soundsystem presence and non-linear structures. On Ecstatic Nostalgia he edges his sound into a more driving, techno-spirited framework which lends itself to the energy of the UFO series beautifully. From tightly wound, artfully fractured 150 rumble and elegant sci-fi breakbeat on to needlepoint electronica and subtly trance-brushed atmospherics, Piezo's broad palette fuels an ear-snagging EP which balances visceral impact with a deft touch.

Anyone familiar with Dekmantel's flagship festival will know the UFO stages showcase spikier strains of modernist body music, and the label series serves to push these sounds forwards in the hands of consistently visionary producers. After a what could be seen as a brief pause in the UFO series - it's with a fresh wave of releases.