Techno Vinyl New Releases - News

After a decade wandering away from the Dance music scene, Julien Jabre returns with an emotional voyage through "Samana". The A side opens on the Levant mix where a nostalgic yet hopeful theme takes a ride on solid minimal drums. The horizon sucks the swell and the fleet fades away with "Far at Sea" on A2. The B side plays a more drums/beats oriented edit of "Samana" infused by clubhead friend Lazare Hoche. Julien relaunches his own imprint with this release and many others to follow.

Salford's Cong Burn drop the latest in their ongoing 12" series feating entries from regulars Chekov, Perfume Advert & Lack, with newcomer Tonto making their debut. At A1 Lack provides a low key roller subtely flashing glimpses of their studio sleight of hand and their ability to craft rhythms with real momentum. Tonto's 'Rust' slows things down with a sub 110bpm DJ tool that pings splashy springs, bird calls and ascending sine tones - made for long blends and layering!

Leeds' own Chekov continues to intricately weave interlocking melodies in their most finely sculpted effort to date - with some
Idiots Are Winning indications which are more than welcome. Salford/Teeside's Perfume Advert wear their heart on their sleeve
for an emotional 130bpm+ closer.

Adeen Records with another spectacular release. This time, they're offering up a double lp re-release of remixed classics of the imperial Lee "Scratch" Perry 1997dub techno infused album "TECHNOMAJIKAL. With stellar remixes from Camille and DJ Boring giving it an updated futuristic sound while keeping it still techno at heart.

Ben Sims's Hardgroove imprint hits its 30th release and 20th year of operations with the beginning of a new split EP series entitled 'Toe to Toe', with Vol.1 provided by Mella Dee and Subradeon. The UK's Mella Dee has developed a strong rep for robust club sounds via his aptly titled Warehouse Music imprint in recent years while the Berlin-based Subradeon duo have been dropping slick Detroit influenced sounds for Motech, Rekids and their own eponymous imprint.

Calypso is back with a new instalment of their world exploration in the search for new sounds. This time and with the help of Nicola Cruz they choose to showcase the city of Quito. In Nicola's own words: "From the highlands of the Equator, an eclectic sound develops in multiples forms: tension, gravity, drums...un-dusted elements from old records, retranslated to tape in order to revive the emotion. All the tracks in this compilation have been assembled through different experimental methods, as this is something that characterizes our creation around here. The work of FE, Quixosis, NTFL (from the city of Ibarra) and my self represent in this record some of the underground fields that this city offers". Indeed an experimental way to experience this city through the sounds of this 4 amazing producers.

Celebrated record label and events brand Renaissance announce the next release in their acclaimed The ReMix Collection series – a stunning reworking of Pete Lazonby’s 1994 classic ‘Sacred Cycles’ from one of the biggest names in techno - Drumcode boss Adam Beyer, who teams up with fellow Drumcode alumnae, Bart Skils and Layton Giordani.

The spectacular and atmospheric remix is set to be a huge track this summer. The three Drumcode titans give Pete Lazonby’s sumptuous trance and progressive house classic ‘Sacred Cycles’ a tougher, harder edge that is perfect for peak-time dance-floors. The trio cleverly intertwine the swooping synths and spoken word sample from Genesis’ ‘The Fountain Of Salmacis’ in Pete Lazonby’s original ‘Sacred Cycles’ and inject a heart-pumping bassline and bring in a powerful drop to give it the signature Drumcode sound.

On the remix, Adam Beyer, Bart Skils and Layton Giordani said: “Our main goal was to keep the rolling, hypnotising flow of the track and transform it into a contemporary piece of music that remains timeless like the original. The end result is a strong piece of melodic music that leans on the
progressive ‘90s tip, without losing the power to move the dancefloor. Renaissance boss Geoff Oakes said: “The ReMix Collection has been a real labour of love. Selecting the right track and the right remixer is the biggest part of the challenge and as with the previous releases in the series we landed the perfect combination. It’s always difficult to remix such an iconic classic but the guys have really delivered. Amazing update on a track that’s very close to my heart!"

The ReMix Collection celebrates Renaissance’s proud heritage which has seen the brand at the forefront of electronic music since its inception in 1992. The concept behind the collection is to put a fresh and exciting take on seminal tracks that are closely connected with Renaissance’s heritage.
Previous releases in The ReMix Collection saw Solomun remix ‘The Age of Love’ (2017), Tale of Us remix Energy 52’s ‘Café Del Mar’ (2018), and Maceo Plex remix Remake’s ‘Blade Runner’ (2018).

15 years ago in a basement in the Bronx, I attended a bunch of sessions with my long time collaborator and friend, Ray West. Ray is a lifelong DJ and home producer, and only in 2012 did he begin to release music via his well-respected underground label, Red Apples 45. He had a main studio but also this much smaller room in the back which I dubbed “Studio B” in the tradition of any multi-room recording facility who would have a second “B” or third “C” room, and the name stuck. Despite the much lower-level quality equipment in that room, like a Yamaha MiniDisc board burning mixes realtime to CD-R, there was a certain vibe to it that inspired creativity, and a simplicity that encouraged faster working methods. One of the groups that worked there was called Results. Their philosophy was whatever happened in the moment was meant to be on tape and they didn’t spend hours perfecting it. This is rather opposite to how I work in the studio and especially on my own material, of which I can be thorough to the point of finishing less than I’d like. Through working there I realized the potential of having a smaller, simpler second setup, one that was not related to my work as an engineer, or my artist career as a performing electronic musician and techno producer.


Fast forward to 2016 and I would have both a professional studio outside of the home and enough spare gear to make a smaller studio based around a 4-track cassette recorder in my living room. This was a place where I could make whatever I wanted, whenever I wanted, without the disturbances of clients, the chaos of 30th St., or any genre restrictions that I might place on myself in the big studio. I spent some time tracking down a functioning Akai MG614, the holy grail of 4-track recorders. It’s a large machine, making even the MPC3000 look small on the table next to it. With no computer, things were focused. I went through a couple of variations of the setup in my living room beginning with an MPC1000, DSI Evolver, Sonic Potions LXR, Bastl Microgranny, and a variety of classic effects that I didn’t keep in the rack at Butcha Sound like the Yamaha SPX90 and Ensoniq DP-4, plus a bunch of pedals and eventually a Korg Karma keyboard. Then I had the good sense to bring home the Emu SP1200 I was borrowing from The Martinez Brothers. Eventually I brought home the MPC3000 as well. Another thing I kept connected was a Zoom field recorder that captured sirens, street noises, and me playing the upright piano in my apartment live to tape. Results. These recordings were made in Hell’s Kitchen from July 2016 - May 2017 with the window open and the sounds of my Manhattan block inspiring the takes. — Phil Moffa 2019

12". LP pressed on 140g Vinyl.
Stealth Mission returns for it's fourth drop with four tracks of red-raw cuts from Postbhuman, Naked Eye People, HVL pres. Kiyadama and Do the Du. Also fearturing a Ben Sims edit, this is essential dancefloor weaponry.

"Created as an experiment to play at the Amsterdam Dance Event in 2018 Raw Trax is a return to the pure essence of techno.

Recorded live in the studio using only a PIN Electronics Portabella synthesiser and a Roland TR-909 drum machine direct to DAT tape.

Road tested for months in Surgeon’s DJ sets these tracks have a huge impact on the dancefloor. Pure and Honest Raw Trax”

"In his long career as a pioneer of sound, The Advent has become a legend in every sense of the word. Back with a new offering for our revamping of Thema Recordings, ""Dorian Blue"" is the sound of an artist who truly hasn't lost their stride. Never afraid to bend around genres and cliches, he throws the whole of dance music history into a blender. As he is known for, The Advent breathes new life into different versions of his tracks, with back-splitting electro to 909 workouts that will leave your feet throbbing for more. We here at Thema are honored to work with such a master to help get us in touch with our roots. Play it loud, play it fast." - Text by: Nathan Levenson

Limited to 250 units.
DJ Support: Rebekah, AnD, Manu Le Malin, D. Carbone, Parrish Smith, Ayarcana...

Here is something we've been all waiting for! With some timeless releases on his back catalogue, Perlon and Hartchef Discos to name a few, Audio Werner is joining the mighty Sushitech family and finally releases his debut album!

There's always something brilliant and hypnotic about the groove of Audio Werner and this album takes the brilliant sound of the master even further, crossing between proper deep techno and the more shuffled rhythms that we love.

On A Different Note is a triple gatefold 12" with eight fresh and well produced tracks. Extreme quality from both Sushitech and Audio Werner, per usual... Essential release!

DJ Hell is known for pulling together disparate corners of the music universe, digging through history to pave a way forward, and the latest Gigolo Records release is a shining case in point: Hell revisits new wave vaudevillian (and fellow Bavarian) Klaus Nomi, now getting awoken thirty years after his tragic premature death.

But the song goes back further than that. "Cold Song" was actually written by 17th century Baroque composer Henry Purcell and poet John Dryden for their opera King Arthur. Nomi recorded a version for his self-titled album from 1981—engineered by electro pioneer Man Parrish—and it was also the last piece he performed publicly during his lifetime.

The 2013 Remake adds a totally new dimension to the original, tailored unapologetically for the dancefloor with an Italo-disco edge. Augmented by crisp, icy arpeggiation to contrast Klaus Nomi's warm, glowing voice, "Cold Song" now offers a completely different type of intensity, more kinetic than sublime. On the flip side, the DJ Hell Remix re-envisions the piece as a house track, with African polyrhythms and synthetic bleeps dancing around Nomi's sky-high countertenor. Two interpretations that differ as drastically from one another as they do from the operatic original. Watch for the forthcoming remixes from Hrdvision and DJ QQ as well!

Opening with a lumbering half-tempo bass anthem, Dreamlogicc returns for a third excursion on Kimochi Sound. Slow Goin resets the mood with a frustrated tape delay and hexagonal layers of chord. On the flip side, the artist employs Zui Quan style and a depraved schaffel on Bells In Their Hair... before closing out the record with the placid hypnosis of Sleepers Drone. Immense.

Spanish Dj/producer HD SUBSTANCE brings timeless techno elements in original tracks. Juho Kahilainen,Korben Nice and Albert Williams offer own and different vibes and elements to this EP.

"In 2013, the For Those That Knoe imprint burst into record shops with a release from one of the UK's unsung heroes, Jaime Read under his LHAS alias. 5 years later, we're proud to present a reissue of a selection of Jaime's music from his 1997 album ""The End of the Beginning"".

Jaime's take on futuristic chi-town influenced house is present across the selections. Written 21 years ago, the music is more relevant that ever. Serene galactic themes and time travel optimism permeate the collection: the music tells tales of optimism rather than the bleak images carved by other similar compositions of the time. Originally pressed in finite numbers, this is an opportunity to get a copy of the key material on vinyl again, split across two 180g 12"" EPs with a free digitial download code."

ALTER is proud to present ‘Tendrils’, the first LP release from London based artist & musician Malvern Brume. After gathering some hushed praise from the UK underground for a couple of excellent cassette releases and strong local live performances, ‘Tendrils’ is the first definitive document of the Malvern Brume sound world. His instrumentation and sound sources would be considered familiar staples in the world of “experimental” music, but Salter does an admirable job of making them his own. Comprised of 8 pieces, this is electronic music at its core but a kind that sounds as if it’s being played through fog. Like spores growing on a damp surface. Densely composed and thick with an almost asphyxiating atmosphere - even during the record’s more minimal moments - track titles like ‘Caught In The Exhaust Trails’ and ‘Sunk Into Plastics’ only heighten the tone further.

Salter was originally born in the countryside and since relocated to London, a place he finds “over stimulating in every sense”. Much of ‘Tendrils’ could be taken as a response to the city and a means of equating the two. Camberwell is listed as the location for composition, but field recordings are attributed to rural landmarks. The Rollright Stones on the Oxfordshire / Warwickshire border and Seven Sisters Cliffs by the English Channel are two in case, but despite their picturesque origins Salter renders them into abstract clatter. As if dubbed from the private tape archive of an old eccentric. In addition, synthesised electronic tones hum and buzz, occasionally giving away to strange, slurring sequences that sound like lost transmissions from the radiophonic workshop. Despite the nod to this electronic music institution, it’s lacking the sincere level of esteem that can turn one into a heritage act. There is a strangeness and distant other worldliness to the music that feels unselfconscious and keeps Malvern Brume from being easy to define by contemporary terms.

Salter says the album is defined by movement and the environments that have inspired him over the years. In his own words, “each of these tracks is inspired by a journey or moving through a space, not in a wishy-washy cosmic sense but more as a practical A to B.” With that in mind, ‘Tendrils’ is perfect music for solitary inner-city marshland walks and urban bike rides to forgotten local suburbs.

Following on from Mr.C's Stand Up single & full length Incidents album comes the second single from his album entitled Ripple Effect, which comes with 3 stunning remixes. The single kicks off with Marc Houle's remix & in typical Marc Houle fashion is a wonderful slice of electronic techno in which a funky bass-line, tight rubber beats & atmospheric effects work around the original 303 acid line. Next Noel Jackson ups the tempo, reworks the bass-line, the pads & effects of the original into a real Detroit workout that's an immediate dancefloor winner. Lastly on the flip side Chloe again uses the original parts to perfect affect to take her mix deeper. The bass-line has the most infectious bounce, which makes this remix perfect for either late night heads down darkness or peak time action. This single once again demonstrates why both Mr.C & Superfreq are creating tsunamis in the clubs right now.

Nuova Musica Ostinata is the new Ep by Nordic/Mediterranean duo N.M.O.

This new Ep follows the N.M.O. heritage of merging acoustic drums with synthetic sounds in their self-called Military Space Music, as heard on past releases on labels such as Diagonal,The Death Of Rave and Anòmia, exploring fresh and undiscovered territories.

All three tracks are a lysergic caleidoscope of sound collage, dancehall, militaristic marches and kuduro, in a playful superimposition of patterns at 160 bpm and 128 bpm at the same time.

Nuova Musica Ostinata does exactly what it promises in its title, going head down into new directions, where white galleries and dark sweaty dancefloors coincide.

Scanning Backwards, das zweite Soloalbum von Phase Fatale nach seinem 2017er-Debüt auf Hospital Productions, ist Musik über Kontrolle. Mittels der Verbindung von Klang als Waffe und psychologischer Manipulation als konzeptuelles Fundament, erforscht Hayden Payne Wege, auf denen Musik – und besonders Subbassfrequenzen – benutzt werden, das Denken zu beeinflussen als auch Emotionen und Verhalten zu synchronisieren: von Militärtechnologie zu Sound Systems zur Körperlichkeit und Sexualität queerer Technokultur.

Ausgehend von seinem innovativen Post-Punk-Ansatz zu Dance Music – nachzuhören auf seinen EPs für unterton und Ostgut Ton – bezieht sich der Berghain-Resident auf seinen Hintergrund als Gitarrist und Toningenieur. Daraus entstand auf Scanning Backwards eine berauschende Mischung aus gebrochener Rhythmik, Noise- und Shoegaze-beeinflussten Technos, oft mit langsamerer Gangart. Am Ende steht Musik mit Platz und Tempo zur weiteren Ausdehnung, das intensive Brausen von Frequenzen hervorhebend, die sowohl in der sonischen Kriegsführung und funktionaler Dance Music vorherrschen. Im Verlauf der acht Stücke, die eine Kombination aus historischen und fiktionalen Narrativen aus Literatur und Science Fiction im Titel tragen, ergründen Paynes rhythmische Exkursionen unterschiedliche Manifestationen von Klang als Macht – spezifisch im Sinne des Berghains als musikalisches Instrument. Dies reflektiert auch das Artwork des Albums: einem frühen Flyer der Partyreihe SNAX entnommen und offensichtliche Hommage an die Fetischisierung von Machtdynamiken.

In seinen eigenen Worten: „Alle Stücke dieses Albums, gleich welcher Stil, habe ich zugeschnitten, um auf ganz bestimmte Weise im Berghain zu klingen. Im Laufe der vielen Jahre als Tänzer inmitten des Dancefloors und auch während meiner DJ-Sets als Resident bemerkte ich, welche Frequenzen den Körper so richtig penetrieren. Das beinhaltet Sprache, Hochfrequenz- und Hirn-penetrierende Instrumentierung, Sägezahn- und Schlagbohrhammerästhetiken – die hatte ich bis dahin noch nicht so oft benutzt, denke aber, dass sie Einfluss auf das Denken und Gedächtnis haben. Das trifft besonders zu auf einen Ort, der schwule und Fetisch-Geschichte auf unerwartete Weise mit Musik kombiniert, auf fast kultische Art. Eine musikalische und physische Deinstallation und Neuprogrammierung, Psychic Driving und De-patterning, das Löschen und Ersetzen von Erinnerungen.“

Scanning Backwards wacht über die manipulativen Eigenschaften elektronischer Musik (Mantras, Loops, unterschwellige Botschaften) und wie Rhythmus sowohl Bewegung als auch das Denken in Einklang bringt. Ein Puls koordinierter Klang- und Hirnwellen.

Scanning Backwards, Phase Fatale’s second full-length album following his 2017 debut album for Hospital Productions, is music about control. Using the connection between weaponized sound and psychological manipulation as a conceptual foundation, Hayden Payne explores the ways in which music – and sub frequencies in particular – are used to influence thinking and to synchronize emotions and behavior: from military technology to sound systems and the physicality and sexuality of queer techno culture.

Known for his innovative post-punk takes of dance music as featured on EPs for unterton and Ostgut Ton, the Berghain resident draws on his background as both a guitarist and sound engineer to create a heady mix of broken rhythms, noise-, and shoegaze-inflected techno, often at slower tempos. The result is music with space and pace to expand, highlighting the intense rushes of frequencies found in both sonic warfare and functional dance music. Over eight tracks named after a combination of historical and fictional narratives from literature and science fiction, Payne’s rhythmic excursions explore different manifestations of sound as power – specifically within the context of seeing Berghain as an instrument itself. This is also reflected in the album artwork, taken from an early flyer for the SNAX party series and an obvious ode to the fetishization of power dynamics.

In his own words: “All tracks on the album, no matter the style, were tailored to sound a certain way in Berghain – something I figured out through years of dancing in the middle of the floor, DJing as a resident and investigating what frequencies really penetrate the body. This includes speech and high-frequency, brain-penetrating instrumentation and drilling textures that I had not utilized so often before, but which I think also have an effect on thought and memory. It's especially true in a space where gay and fetish roots combine with music in unexpected ways, almost in a cultish manner. A musical and physical deprogramming and reprogramming, psychic driving and de-patterning, the erasing and replacing of memories.”

Ultimately, Scanning Backwards surveys not only the manipulative properties of electronic music (mantras, loops, subliminal messages) but also how rhythm facilitates both moving and thinking in synchrony; a pulse of coordinated sound- and brainwaves.

Belgian artist Philippe Petit joins Radio Slave’s imprint with four analogue techno cuts on his Rekids debut. The Chamonix based DJ and producer Philippe Petit is widely respected amongst the techno community for his plethora of rumbling releases such as ‘Venus’ on EarToGround and ‘Scrape’ on his own imprint Decision Making Theory as well as releasing on Involve and Figure SPC to name a few. With a wealth of experience playing at the likes of Tresor, Suicide Circus, La Graviere, Batofar, Weetamix, Corsica Studios, and Berghain, the sophisticated production he showcases was a natural fit for the Rekids’ Special Projects series. ‘Anger’ rolls in with force and bumping sub frequencies, rattling percussion and jarring keys, then ‘Crystal Clear’ keeps things murky with evolving pads, fleeting highs and rolling low-end. On the flip, ‘When We Meet’ jumps in with climbing stabs, tight hi-hats and galloping kicks, when finally, ‘La Floria’ cuts through with chopped highs, washing chords, snappy cymbals and dreamy harp-esque patterns.

Following his release on Twin Turbo, British artist R.O.S.H. debuts on Rekids with four imaginative cuts entitled ‘Thanks For Keeping It Real EP’.
Real name Roshan Chauhan, UK artist and mix engineer R.O.S.H. has a knack for blending an array of different styles resulting in a refreshing approach to club music and his next release on Radio Slave’s respected Rekids imprint demonstrates exactly that.
With its raw melodies and rough, syncopated percussion, ‘AMG (CLA45 Mix)’ is a monster destined to shake warehouses. ‘In Roll’ then combines a frenetic rhythm with a deep and atmospheric aesthetic before R.O.S.H. takes us into even murkier territories with ‘PACE’ using metallic snares, shadowy reverb and whirring synths. Tying everything together, rattling drums and echoing stabs lay the foundations for ‘Thanks For Keeping It Real’ whilst a moody bassline and soothing chords ebb into the mix. of house music littered with breathy samples and oscillating atmospherics.

Vinyl Only

Splice is the a.k.a. of Elias Landberg from Skudge. The fact that he released already on Skudge, Arsenik and Non Series... is a perfect picture of his taste. Repetitive, trippy and groovy, the perfect combination for dancers or dreamers. Close your eyes and start the journey.

SPECIAL EDITION 2 Years Compilation SOIL Records with Cassette + Digital Download +Wood Box + Stickers + Print Card numbered and signed by Mimusa.

For his second contribution to Knotweed Records, Mode_1 delivers four perfectly crafted dance floor scorchers. Fast, intense, hard-hitting and hypnotic are the adjectives directly coming to mind.

The continent spanning Ozzy / Berlin label Potatoheadz are showing a certain flair with their curation that is rare to see. Launching 2020 with a split EP that continues the labels thematic approach with all tracks based around the concept of biophilia. Whilst packing the kind of dance floor punch that only the heart of nature can supply.

On the A side Fibre Optixxx kicks off our (re)connection with esoteric environs with a patient dose of intelligent electronics in “Hive Activity”. A mid tempo Drum and Bass piece that is versatile, raw, and straight to the point.

Next up, “Hibiscus” presents a more dubbed, subtle sound that is just as addictively danceable. In essence a post-modern reconstruction of Kotton the Cutie - think Baltimore club muzik but in planetary orbit.

The B side comes from Melbourne resident DJ Life. His first “Lightning Ridge” is delivered with bags of attitude and is truly club certified as it twists into almost progressive territory, with it's quasi hypnotic nu-era electronics. Finishing off the EP “Butterfly” is classy, patient and beautiful with flashes of early Detroit.

Another killer from Potatoheadz, a label carving it's name into the global scene. Musically deep and utterly fresh. A statement of intent for what's to come from them in 2020.

TRULE presents its first release and the latest from Deadboy, the Klint EP. Four swung out club focused tracks exploring the meeting point between techno and UK garage music. Deadboy uses a stripped back percussive sound palette with shuffling drums and a hands on hardware approach to create four individual, jacking, crisp joints for the dancers.

Klint is the first release on TRULE, a label operated by Al Wootton aka Deadboy to release straight up dance floor club tracks from across the spectrum.

Berlin-based modular performer and industrial techno craftsman Hartbrand spearheads newly launched Safeword Records imprint with a dark and driving release entitled 'Brunst'.

Taking inspiration from the likes of Gesaffelstein, Daniel Avery and Black Asteroid, Hartbrand fuels his production by creating soundscapes that reflect the feeling of a divided society and uniformed workers in the digital age of capitalism. Now, Hartbrand brings his energy-heavy and dark beats to Safeword Records, resonating with the label's intent to communicate thought-provoking messages through sound.

'Brunst' opens with full-frontal synth stabs, rumbling bass and driving percussion until 'Vater' propels forward with shooting analogue patterns, heavily saturated kicks and haunting sirens. Next, 'Dynast' dives further into dystopia with swinging beat programming, distant vocal shots and harrowing keys before 'Utopia' returns the senses to a warehouse atmosphere with chattering plucks, snappy hi-hats and thunder-like sub frequencies.

repressed !

It was in 2014 when a mutual friend introduced me to Victor Ruiz while he was staying here in Berlin. I invited Victor to my studio where we had a fantastic session, playing our music to each other, listening to stuff we like and simply talkin and connecting. Since then, we became close friends as well as starting to work together. Victor has released two outstanding EPs on Electric Ballroom by now. This summer we met again and recorded three tracks. The result is our first joint EP, of which I am very proud.

The inaugural release of Animalia....a label dedicated to exploring the lesser known artists of Melbourne. The first release comprises of psychedelic, bass driven music, all produced in the northern suburbs of Melbourne, providing a small window into the studios of the city's deeper side. This is the vinyl debut for Menage, Sam & Jack Brickel, Dashiell & Iota, introducing their trademark sound with trippy vocals, rolling basslines and breaky percussion.

Versalife's second release for 20/20 Vision sees Dutch producer Boris Bunnik aka Conforce return with another slab of signature electro. 'Clandestine Development' serves up dark tones and melodies layered within insistent electro beats and growling bass, that sounds huge on big room systems. 'Aegis' delivers a double dose of mechanical funk, played over atmospheric strings and auditory acid delights. On the B side 'Lamba' continues to impress with a moody laidback bass line holding the groove down over a solid rhythm & dystopian keys. Wrapping things up the title track 'Asimov's Code' plays out like war drums from space pounding away after a blissful intro of building synths.

Pounding Techno with EBM and Electronic turns including a classy RVDE remix.

Starting 2020 on a high note, and following a surprise charity EP along with a collaborative EP with Turnstile, Jordon Alexander returns as Mall Grab for the “Sunflower” EP.

Sunflower serves as a representation of what’s to come for 2020, and how 2019 and every aspect of it influenced my world and the world around me. Recorded in Tokyo and New York, two of my favourite and most inspirational places (to me), Sunflower comprises 4 tracks which are a stand alone project, but an introduction to the debut Mall Grab album slated for a late 2020 release.

The title track, Sunflower, was composed in New York, looking out at the skyline on an incredibly sunny day and feeling a sense of positivity and energy wash over me. Daydreams of love, fun, ecstasy, love and the people who are special to you. Above all, the desire to share how I felt and feel coming into 2020. Something undefinable - I hope Sunflower can share that with you.

The second track, Hidden Worlds, is an amalgamation for a euphoric dark room - sweaty, throbbing and uncompromising. Recorded in New York several hours before a show at Knockdown Center as a draft, and finished in London a week or so later.

Switchblade is a return to the spoken word layering of early MG tunes, set to an electro-esque, broken beat club beat. High energy, not to be taken too seriously, but locked and loaded.

Leaving Tokyo, the closing track was recorded the day before leaving japan, late 2018.
It, for me, represents the melancholy of leaving somewhere special, full of fantastic memories and people but optimism for the next stop and next adventure.

In a world where everything seems a bit chaotic and bleak, I hope I can share the love a little with you... Positive energy forever.

The third long player on Night Defined Recordings sees SUED affiliate SW. presenting his new mini LP ‘Night’ and walking a tightrope between jazz and club music. The tracks manifest and dematerialize themselves almost in a non-tangible and floating way, which can be seen as more than just a musical approach but rather shows the artist referring to issues of volatility and evanescence. While listening, some may find themselves in the dark and dusty atmosphere of a jazz club, where the band in the corner at the other end of the room is playing their instruments just when the beat kicks in and puts you right into the club atmosphere.

Written & produced by SW. at SUEDstudio Mastering by Mattias Fridell

Artwork by Studio Belser

Following the Stardancer EP and his remix for All I Need To Get High by Damian Lazarus & The Ancient Moons, Ae:ther unveils his most accomplished and daring work yet on the highly anticipated debut album Me released on Crosstown Rebels. Blazing a trail with his natural aptitude for crafting emotive, captivating compositions that have landed him releases on Crosstown Rebels Afterlife and Fabric, Ae:ther presents his debut LP. The album is a painstakingly produced collection of haunting melodies and narcotic rhythms that display his love and inspiration for ambient electronica, deep underground music and introspective atmospheres, culminating in dreamlike soundscapes programmed with taut percussion. The album begins on Stardancer, setting the tone with gentle keys and space influenced licks that portray a cosmonaut ascending into the stratosphere. This moves into the glistening, atmospheric Finferli, where synths depict aliens conversing in a distant, just-discovered world. Sub-aquatic ambient fills We’ll be Together, boosts of energy and intricate melodies weave in and out of the vocal, locked to the dubby groove. Ice cold subtlety and the otherworldly electronics of Costes drip slowly like water down a pane of glass. A mood of relaxation and weightlessness continues on Tina, a tender beat combined with pattering echoed chimes. N.62, a special ethereal piece, features warm chords and reduced percussion, gradually developing like the morning sun rising. Mysterious, playful charm unfurls on Elf, progressive harmony teases towards a crescendo before dropping back into the hypnotic beat. Clark is light and airy, funky melody constructing an interplanetary anthem. Stimulating a brooding mood, fuzzy clicks and glitches dance on the deep bass of Spektre II, conveying dust spraying off the surface of a moon landing. The shimmering ripples of electronica on title track Me fuse with delicate human vocals creating a heart-warming, personal account of Ae:ther’s relationship with his instruments. Trademark bleeps and blips wash over natural broken beats in one last final call to his utopia in the album outro.

For its 6th release, Bjarki and Johnny Chrome Silver's bbbbbb Records welcome new signing EOD (aka Stian Gjevik) to their unholy alliance with his 'Swurlk EP'. The Norwegian born, strictly analog producer takes the label off-roading with four outstanding productions channeling ambient, electro and hard bloody techno.
Having released on imprints including Rephlex and WeMe Records, it was actually on Soundcloud that Bjarki discovered EOD's music. After getting in touch, the scale of his work emerged as gigabytes of unheard music dating back to 2002 were exchanged, all of which was made without the use of a PC - an approach which speaks for itself through his instinctive, playful melodies.
'Swurlk EP' boasts an impeccable sense of arrangement, more like that of a composer, and even more impressive considering the absence of any computer. The title track opens with a velvety smooth synth melody building with bass textures. 'Evenhark' uses a broken beat framework to carry floating harmonies. 'Swarm' uses layer upon layer of stuttered percussion to build into a relentless techno cut. 'ELCASET_TESTGROOVE' pairs catchy, interacting melodies with pensive harmonies.
'Swurlk EP' is a must listen for fans of melodic electro and an exciting move from a label that continues to challenge all our fucking expectations