Techno Vinyl New Releases - News

I am very excited to present you the new release on Terminal M by Julian Wassermann and Florian Kruse. This 3 track ep stands out big time with its unique production, spacey techno to create a special vibe on the dancefloor! Enoyyy! (Monika Kruse)

Clear Vinyl Repress!

Debuting on Rekids, Laurent Garnier & Chambray collaborate for a colossal single entitled ‘Feelin’ Good’ featuring two outstanding remixes from label owner Radio Slave.

Having supported Rekids for many years in his sets across the globe, it only made sense for Laurent Garnier to drop one of his finest productions to date on the label. Although the legendary Frenchman has kept busy producing movie soundtracks (‘Paris Est A Nous’) and remixes in recent years, this is his first full release since 2017. He’s joined in the studio by Chambray, a Berlin-based producer known for releasing on Figure, Unknown To The Unknown and Jimmy Edgar’s Ultramajic.

Opening with sporadic battle cries, stabbing claps and powerful bass sequences before rapturous piano melodies come into effect – ‘Feelin’ Good’ is undoubtedly one of this year’s biggest tracks. On the flip, Radio Slave assembles two contrasting remixes that do just as much damage: the first is an atmospheric
number that marches forward using precision kicks, rattling percussion and rising pads, whilst the ‘Revenge Mix’ cranks things up a notch with its crunchy breaks before introducing the original’s blissful keys.

immensely effective DJ tool Techno bomb

Schmer is excited to share our latest compilation of bidness techno with you.
Techno is "Serious Bidness" and this release provides six solid examples why this is true
We start off with an old 1990s hardware jam from Selway ( John Selway ). See? There was a time when even he was Schmer....

CMD ( Corina MacDonald ) is from Montreal and in addition to being a phenomenal DJ, Producer, live performer she curates "Modular Systems" on CKUT. The radio show heard around the world, via the interwebs...

Closing side A from Chiba Japan is modular madman Hisashi Saito aka Hisacid, Rapeman aka the husband behind the sounds of Schmer sister Galcid/Lenacid.
B opens with New York ( via Illnoize ) and Modular producer, as in he produces Modules ( SnazzyFX ) and produces using modules as Dan Snazelle. He's had releases on real labels like JackTone and Trip but wastes his time with us lot out of pity...

Carrying on the '80s revival is Limon Sebon (Matt Vrazo), who has released bassy things as Sinister R and will soon be releasing white labels so you will have no idea who it is or where its coming from. The Reflux is a lonely child who's waiting for their parents to come back from the free party.

And no compilation is ever complete Bizzness without a remix from Bizz OD ( Kahn Oral ) , just look up his discography when you have an afternoon free...
Schmer gives you the Bidness for 2020 and beyond. Fo SERIOUS!

I am excited to present the first full release from Balthazar & JackRock on Terminal M. I am playing all three tracks since a few month and always had a huge response. Also I got some goosebumbs when Adam Beyer played „Nymph“ at his set at Awakenings x Drumcode at the Gashouder. I hope you enjoy this release as much as I do! (Monika Kruse)

2x12"

Having made initial waves on Cold Recordings and Osiris, Eric Baldwin returns now to Tectonic to release his eponymous album ’Cocktail Party Effect’, bringing his South London roots to Berlin for an all-weekender, under strobe lights.

Drawn by his appetite for powerful rhythmical forms and inspired by the likes of Daphne Oram, The Residents and Captain Beefheart - Eric takes uses background in sound design, knowledge of hacking VST software and adapted spring reverbs and other hardware, to create a truly unique vision of contemporary electronic music. It sits somewhere between Jeff Mills, Aphex Twin & Squarepusher - held together by a connective UK Bass Music spinal chord. A weird but intriguing beast.

We open the track with Japanese cocktail recipes, before moving into the only vocal track of the album, ‘Talking To Bricks’ featuring Bristol vocalist Redders on fine form - charged with disjointed energy and run ragged across a technologically charged dancehall style beat. The LP progresses through the rolling breaks and bleeps of ‘For The Memory Exchange’, into an IDM side-step in the shape of ‘Brutalism’, moving into the gentle, beautiful flickering glitches of ‘PDA’, before we get to the hyperactive twitching alien charge of ‘War On Codex’.

Taking a leap in another direction, we reach ‘Cause For Bad Shelving’, which sounds a bit like Squarepusher when he was on late 90s, immaculate form - taking the tempo up a few notches, while building melancholy. ‘Lack Of Wrong Format’ then gives us a moment to breathe, before diving into ‘Deerhorn’ which brings us right back to the dancefloor. Things are then turned inside out with the jittery wonder of ‘I Get It (Lost Banknote)’, redirected via the industrial clangs of ‘Low_Rise’, before rounding off our sonic adventure with the ponderous tones of ‘Loner’ - which leave you glowing and drifting off into space.

A bold album that’s just brim with a strong sense of originality, direction and grand narrative. From international dancefloors to post-clubbing ear-worms, Cocktail Party Effect is just getting started and you’ll be hearing his name more and more now.

As Juno so nicely put it. “There is little to nothing that we know about the enigmatic Facket Strejkar, but what we're hearing is certainly placing the producers firmly onto our radars, and we expect plenty of imitators to come busting through real soon”.

Here they are once again with no shame attached. You can call it what you want but they put out everything from synth-pop to proper techno bangers in their own way. This time they deliver a tune that is more ebm than ebm should be. Proper basslines with killer vocals and a twisted “Brighton techno” riff. Old meets old meets something new.

On top off that they have scored some brilliant remixes. First off is the legendary green haircut guy from the Depeche101 movie who we call Oliver Chesler aka The Horrorist. Bringing the 909 hardcore back to where it always should have been.

Second up is the magnificent diva Bizz O.D. whom we haven’t seen since the mid 90´s when she got lost in new york running the classic Temple Records shop. But she keeps on sending us lost DAT tapes and come and play for our parties from time to time. Diva funk.

Last but not least we have the wonderful Blush Response from the Aufnahme + Widergabe and Sonic Groove fame and lately also been working as a part of Front Line Assembly. Mental Cuban industtrial digital punk, yes its a genre from now on, at its best.

Enjoy or don’t. it is something else.

An opinion is better than silence.

Banging hardtek... and the Masks falls !

Alien planets come in all shapes and dimensions. We know these planets as exoplanets or extrasolar planets orbiting around the stars outside our solar system, but there are few unknown planets out there. "From Planet To Planet" is our handbook signed by Mike Storm, a guide to the outside space, an unknown territory related and transposed in pure sound, a trip among the astronomical objects deed to discover the identity of the observable universe.

Already played and supported by:

Jeff Mills

Ben Sims:
'Planet Sub-072 is my fave here, will def use. rarely get decent 'loop' tracks these days. thx!'

Jonas Kopp:
'Outstanding ! thanks.'




Drumcell:
'im a sucker for anything with a space theme... i dig this'




Audio Injection/Truncate:
'Cool Mills vibe, will give em a spin thanks'




Raffaele Attanasio:
'simply a bomb!!'




Jeroen Search:
'go storm go!'




Dimi Angelis:
'dope ep from mike! as usual of course. didn,t have all the planets yet from this

ep, only 2, so now i can play them all 4 :)'




Samuli Kemppi:
'HOT! BOOM!'




Arnaud Le Texier:
'All tracks are great as usual with Mike... :) I will play & chart . Thx'




Brendon Moeller/ beat pharmacy/ echologist:
'solid EP. thx'




Dave Miller/Abstract Division:
'Planet SIBI is the one for me!'




Kwartz:
'Good work as always from Mr. Storm. Will play the whole EP, thanks'



Submerge:
'Planet Metroskim for me.'




Juho Kusti/Deep Space Helsinki:
'thanks for the Milssian vibes!'




Milton Bradley:
'nice stuff'




Juan Pablo Pfirter:
'Will play, thanks!'




Lakker:
"Digging Planet Metroskim. Thanks."




Mental Resonance:
"Planet SilBI and Planet Metroskim are insane man, great work here, my favs will

play and chart."




Cisco Ferreira "THE ADVENT":
'analogue Techno nice bleeps to mills action here..'




Industrialyzer:
'nice dark waves in here thanks'




Kaelan:
'dope release! thanks for the music..'




Darren Quail/Soma Records:
'great stuff. great rhythms at work'




Leghau:
'Great release, thx'




A.Trebor/The Plant Worker:
'great release, support'




Synthek:
'cool stuff! will test all the track. tnx :)'




Speedy J:
'Thanks, will test.'




Marcel Dettmann:
"thx" 5/5

Chris Liebing:
'downloading thx' 4/5

Luke Slater:
"thanks" 3/5

pa¨r grindvik:
'thanks' 4/5

Deepbass:
'Great! Planet SilBI is best for me'

and many more..

Nkod OQP open the dance with a techno-tribe sweet banger, not far from the Pumpin sound... But still techno enough.. Enjoy the Galopp.

Klowd Blackflag then gives a loud downtempo hardtekno tune with a serious bassline.

Klark open the flip with a cool electro-tribe swinger Ixindamix DJ friendly sound.

Viper from Kernel Panic finished the job with an electro-tribe big-up

Tight well produced Berlin techno by Oleg Mass and Mike Dehnert. Oleg, the ideological representative of Ukrainian techno-flow from Donetsk makes his label debut (incl.Mike Dehnert Remix) on Fachwerk Records with a heavy rotation EP

It's almost hard to believe that the original series of "Planetary Funk" 12"s by Planetary Assault Systems dates back to the early 1990s, given the continued relevance of this hard-edged suite of tracks, and their ease of integration into present-day techno sets. Characterized by their unflagging momentum and by almost militaristic deployment of techno's atomic particles - submachine-gun handclaps, acid-soaked bass patterns, the icy chatter of ride and hi-hat cymbals - the spirit of these tracks has never really vacated the club scene. The 21st century re-activation of the Planetary Funk moniker isn't a nostalgic look backwards so much as an expansion of its original mission.

Leading off the proceedings on this first volume is "Dungeon," a 1997 original from P.A.S. which already shows this unit transitioning from the fierce, frantic atmosphere of the earlier Planetary Funk EPs into something more akin to the project's present-day approach: not more "laid back" by a long shot, but more mesmerizing and loaded with anticipation. The repeated slow fade-in and detuned drop-out of a wasp-like hum is just one fascinating feature of this eerie track, which also includes other ephemeral activities occurring on the perimeter and a glassy rhythmic figure which snares your concentration and refuses to let go.

The Ø (Phase) remix of "Dungeon" also takes the listener to a dark place of uncertainty and possible hidden dangers, but with more vigor and percussive intensity added to the mix: with an extra (over)dose of vibrato added to the signature hum from the original, with more force added to the kick drums, and more variety in the dialogue between other percussive strikes, listening to this paint-peeling, stomping creation is an exhilarating man-machine experience like snaking a motorbike at high speed through gridlocked traffic.

Not to be outdone, Ben Sims appears on the scene as well with a re-envisioning of "Gated," from the first Planetary Funk A-side. Retaining all the controlled chaos which made this track a classic, Sims adds more of his own fuel to the fire by downtuning the bass, re-adjusting the tempo and adding extra distortion on the slamming kicks. Utilizing a full complement of additional tension-building techniques, Sims doesn't try to upstage the original but does try to show a definite evolutionary process at work. In fact, the whole record is a celebration of this evolution, showing how Planetary Funk has naturally adapted to strange new times, but has kept its soul and character intact.

Techno partisan #1 Sev Dah comes back with another trio of trademark no-nonsense techno tools. 1999 takes you back to 1998 with its subtly funky, bleepy groove, the kind of track that will just always work. Rumble adds a playful touch with its ever changing patterns, and Numbers rounds out the EP with yet another powerful tool, aided by a hypnotic vocal loop.

With 25 years of mercurial electronics under his belt, it's a joy to welcome Edinburgh's Dave Paton for Dream Ticket's fourth release. This is a clear-cut case of big things coming in small packages: on the A, both slices of elegant pressure level up mid-track into their evolved forms; while on the B, Miami bass and Texan electro continually mutate into ever more extravagant versions of themselves. 2-for-1 never sounded so expensive.

Ninurta" is a combination of classic deep house vibes & contemporary sounds that transport you directly to a typically hot summer night on a Barcelonian dancefloor driven forward by a irresistible groove.

The B side "Enkimdu" is a slowed down techno burner with a powerful electric bassline designed to get that party started.

The Norwegian duo Trulz & Robin (Full Pupp, Eskimo, Cymasonic / Cymawax) has remixed "Ninurta", converting it to a of more than ten minute dub techno journey with a groove that invites you to move.

On the other hand, Pablo Bolivar has made his particular vision of "Enkimdu" bringing the issue to the center of the dance floor with his deeply personal mix of house and techno.

I have been releasing (Techno) music since 1992 and I still love the feeling when the promotion of a new release starts.

There is this unique energy, a special form of excitement that surrounds the promo phase. From the first time you play the tracks out to the reactions of friends and colleagues, its a memorable time that I savour and that I am looking forward to. Still.

I am fired up to present my second collaboration with Victor Ruiz. Two tracks full of passion, intensity and spirit. Now lets let the music do the talking. (Thomas Schumacher)

"Höga Nord Rekords" proudly presents 'Frak'. He was formed in the southern coastal town of Karlskrona by Jan ”Zwarre” Svensson,
Björn Isgren and Johan Sturesson in 1987. Zwarre is also founder of the legendary experimental electro label “Börft” which through the years has gained both national and international recognintion.

From the beginning, Frak stood for an alternative to the hair metal hegemony of their hometown Karlskrona where they, in the early
days got chased from venues by the locals. “The rednecks hated us” Isgren told Resident Advisor in an interview made some years ago. However, unlike Poison, Fraks sound is still appealing and “Ternary Fission EP”, as well as all their earlier releases has all the elements necessary for a sophisticated electronic act: dark and suggestive electro and techno!

If you need musical compositions for the stranded atomic submarine U-137, test flights of the Swedish fighter jet JAS 39-Gripen, the Soviet space programme, the first manned mission to Mars or the transition to the bunker society, Frak is a strong and valid option!

This Decemeber sees Marc Miroir release his second album entitled 'Identity Kit' on Paso Music,
featuring Elif Bicer, Adam Schilling and Hard Ton for eight immersive originals.

Berlin based artist Marc Miroir has garnered much praise over the years as a DJ, producer and label boss.
As a DJ, he has ranked highly in annual DJ polls, leading to bookings by Frankfurt's Cocoon Club and
Space Ibiza and as a producer he's featured on labels such as aras, Enough! and Bondage. All the while,
Marc Miroir has kept himself busy at the helm of his own label too, Paso Music, which he launched in 2005
with Sebrok & Jo Spallek, featuring seminal releases like David Mayer's 'Fortune', Distale's 'Freee' and
Marc Mirior's own 'Kraft'.

The bouncing 'Love Me Again' featuring Elif Bicer kick starts the album in style with sultry vocals and
dizzying synths alongside stabbing chords, getting the album off the an energetic start. Next Up, it's Adam
Schilling who features for 'Comfort Zone', a laid back number with circling synth stabs that nod to prime
time in the club, while 'Hypnotized' sees Elif Bicer make another appearance, this time her vocals blend
with spacious atmospherics to create a celestial mood.

'Tenacity' marks the half way point with a hypnotic bass line and eerie vocal triggers kept in place by driven
909 rhythms before 'Intakt' offers up a robotic sounding, techno tinted slow burner. 'Persis Dance' fills
grooving atmospheres with off-kilter chords to create a feeling of emotional suspense, then 'Integrity'
presents firing 4/4 beats submerged by dark and deep underwater textures. To conclude this lucid and
visceral album is 'Action Painting' featuring Hard Ton, which trades in aquatic sounds for a heady acidic
feel.

Release number 3 for the techno side of WHERE WE MET, SPAZIOTEMPO. The Italian crew invites an iconic duo, the lovely Elisa and Gary aka Station Rose from Vienna.

The mini LP starts with 3 avant-garde bangers restored from the past. Gunafa 2000 merges early '90ies techno with psy elements and irresistible grooves, then Telepresence kicks in with its trance ish melodies and tunneling grooves. The third one on the side is Moto Tataete, a pure acid banger!

The B side contains 4 new tracks that marks the evolution of Station Rose. Tacke is an hypnotic techno tool, followed by the mesmerizing dub grooves of Alto. The trip continues with 809, that takes your mind to further places, and ends with OTreggae, an electro ride that brings you back to planet earth.

... Are you Gunafed?

Between the vast flatlands of Western Ukraine and the Pacific shores of Vladivostok, a new quirky techno underground has been racking up hefty grid rhythms below the radar. Initially free from the weekend routines of the established club circuit, producers from Etapp Kyle to Stanislav Tolkachev have been experimenting with the possibilities of shifting grids in their post-socialist bedroom studios. The interconnecting conduit of these geographically isolated minds has often been the radio show of Nikita Zabelin, a Moscow-based DJ mining the local torrents for treasures. Vladimir Dubyshkin is one premier example of how this culture yields wildly exciting finds. Listening to how sweepingly effective his de-centered vision of techno is, it's hard to believe that this actually is his first fully fledged vinyl release. Hailing from Tambov, a city of 280.000 souls 460 km southeast of Moscow, Vladimir Dubyshkin is a regular of Zabelin's show and has contributed tracks to two compilations on Nina Kraviz's TRIP label - another major force in bringing great techno from the fringes of the former Soviet Union to the attention of the world. The "For Various Reasons EP", coming in two separate installments, now shows the full picture of Dubyshkin's special talents. Highly energetic, rave-infested analog techno with de-tuned melodies rubbing against take-no-prisoners basslines. There is an intense emotional component present at all times, typically missing in Western grayscale techno. And once again, the great promise of participation of techno has been proved alive and well, with the freshest contribution coming from the least expected of places.

Her return was imminent. Now she's back, and like her current rise among the industries elite, Amelie Lens delivers an astonishing three tracker of her signature pulse pounding expeditions. Pair that with a massive remix from the legendary Perc and you've got 'Stay With Me', an EP headed straight for the charts. Right from the start Lens dives into the ethereal with 'Follow Me' which could be her deepest cut to date.

As atmospheric shimmers dance around endless spaces, her smooth and seductive voice coax you to follow her, close your eyes and give your trust before a booming low end and relentless percussion forge a dreamy trek into the unknown. Following 'Follow Me' is the perfect response as Amelie embraces her affinity for the heavy with 'Stay With Me' where swirling acid lines and gargantuan drums lead you into a trance like state of absolute frenzy.

Flipping to the B-Side we see the fabled Perc deliver an absolute monster remix of 'Stay With Me' as he tightly loops the vocal & lays it over a pleasantly brutal beat and dazzling rises of white noise to create a track that will demolish dance floors for eternity. Wrapping things up is 'Winter' named after Amelie's mischievous little feline who most know via social media as her 'studio partner'.

Like a cat 'Winter' retains a playful and energetic pace with a dash of frisky trouble all while maintaining the seriousness of Amelie's signature sound. All in all, this release is a monumental attest to
Lens' meteoric rise as one of Techno's most promising new faces.

We're glad she's back and we know you are too.

UK-inspired hypnotism from Arkajo on his own imprint.

Next Libertine featuring Madrid talented artist Do Or Die who delivers a very interesting album with various shades of his style from techno to acid and italo-disco influenced tracks.

Repress

"I and Donato always send each others the tracks we make and exchange feedbacks on what we do, but when He sent me this music for the first time for me it's been love at first listen in a way i had never experienced before with his music. i wasn't even thinking i would be the one to release it back then...i just totally fell in love with these tracks when i heard them and was overly excited to the idea of playing them out, that's it. The funny thing is that till now i have been the only one on this planet to play them, Donato himself hasn't played out any and i was reporting to him on a regular basis and almost in real time the reactions of the people on the dancefloor when i would drop Cleo as last track on my sets and on how people would fall in a state of total ecstasy (not the drug, but the state of mind) while listening and dancing to it...i would tell him: "Donato...i don't think you quite realise what you have done...this stuff is just something else, it's beyond...the people are just melting when i play it!". So these tracks have grown in me in a very personal and deep way, and despite the fact that they are of course made 100% by Donato i almost developed a sense of emotional ownership towards this music, not in a way that i claimed the right to release them...(i have actually never asked him to give them to me) but in a way that i was feeling these tracks so much, that my love for them almost became an extension of the tracks themselves...and i think at some stage he felt this himself and one day this summer after that, again, for maybe the 20th time, i told him how amazing it was when i played them in my last set at the time he just told me "I think it is right that you release them, Marco. they are for you, they belong to you"...so as far as i'm concerned these will always be forever my very own Dozzy tracks, and it's a real honor and and a landmark for me and for my label to be able to release this record." Marco Shuttle

Once in a while, music with such profound audio spiritual healing qualities, combined with the essence of funk, arrive from the cosmos.. This time round, Helen Copnall becomes the conduit for AER, delivering a deeply powerful set of emotive, moving frequencies that are unrivalled in their honesty & integrity. "Lotuses in a sea of fire" delivers an enlightened compelling message, full of drive & cosmic musicality, soaring through the clouds, that resonate through the soul. "Cedars" takes us on a groove laden workout, with intricate patterns and lashings of spirit. British Artist Helen Copnall is a musical genius, A DJ/Producer who runs the 50Arc collective in London, including the Arcmix studios, with fellow artist partner Charlie Tear. Tip!

The return of my 10" of pink madness. There was only one man who could help me bring this sub-label back to life... Ilya Santana.

Japanese artist Kosei Fukuda is back with his new series from his own platform. compilation of tracks with different approach towards experimental field in texture of sounds and beats. 5/5

Montreal booty-house provocateur, Martyn Bootyspoon is back with his new EP, No. 1 Crush via Model Future. Over the course of four tracks, Bootyspoon takes listeners on a sultry journey that explores everything from deep house, to tribal grooves and techno rhythms. As irreverent as he is innovative, Bootyspoon's campiness and attention to detail shines on No. 1 Crush, whether it be through themes of acid-laced romance or modular synth ear-licking riffs.

New asset on the granted Future Me Records: up-to-date hostile trio project, nomads from the unknown suburb. 4 grungy ritualistic tunes building up a hedonistic code for the dancefloor.
Spectral fog on “Tuxedo” opening the EP, increasing the voodoo environment with “Lebabon”. It falls to the slow-erosion beat “Ancient Prog” to shut the A side. 

An obscure timbre marks the B side: it’s the stabbed rough track “Torpedo”!
Ending with the very radical Kluentah’s imprint assaulting “Torpedo” — crafting a nasty remix which whips out the deranged flesh of the original track.

Of all the Network treasured relics set to be released this year to celebrate the 30th Anniversary of the label there’s nothing as appropriate as the Nexus 21 “Made In Detroit” EP - it was recorded in the 1990 starter year and has been stuck In the vaults gathering dust ever since.

Why the 4 tracks on the EP never got issued is partially shrouded in mystery as explained later on,

I first met Mark Archer at one of the infamous Thursday night House Music sessions at No 7’s Wine Bar in Burntwood. It was my local haunt,and I used to turn up with acetates and test pressings of just recorded Techno tracks from my regular trips to Detroit for DJ Neil Macey to give them their first UK plays.

Neil, who later came to work at Network, introduced me to Mark and we got talking about his partner, Chris Peat, and their recording project Nexus 21. They had released a pioneering U.K. Techno meets B-Boy album “The Rhythm Of Life” on Stafford label Blue Chip which had gone out of business. I was intrigued by the idea of working with fellow Midlanders making music I was used to going to Detroit to find for the Kool Kat label I co-owned.

For their part, Mark and Chris were beguiled by my Detroit connections. especiallythe fact I was managing their Techno idols Derrick May, Kevin Saunderso and Juan Atkins. A brief courtship was consummated when they signed to was to become our new label, Network, and our music publishing outfit Kool Kat Music.

Network bought the rights to the Blue Chip recordings, and tapes of the standout track “(Still) Life Keeps Moving were instantly despatched to Detroit where Kevin Saunderson conjured up a magical remix - at mates rates compared to what I was charging the majors record label majors for a rework by him -
and he also threw in the first remix ever done by an unknown kid called Carl Craig!

This Stafford-Detroit connection seemed such a winner that my Netwotk partner Dave Barker and myself agreed we should send our new signings to Detroit to record. Not surprisingly there were no objections from Mark or Chris! Our bank manager would have probably had a view, but we never asked him anything.

We flew over in April 1990 and tracks were recorded at Kevin’s KMS Sudiio. Derrick May’s Transmat set up was upstairs in the same building, and Juan Atkins Metroplex operation next door. Mark and Chris were in Techno heaven. Four tracks were recorded “Don’t Do It Like That”, “Nexus”, “No Statues” and “Together” with a young Marc Kichen supplying percussion. Jay Denham added bits too, and Kevin supplied his engineer Chris Andrews working the desk where Inner City’s mega hit “Good Life” has been recorded a few months earlier.
For good measure you can hear Kevin talking on the outro to the instrumental mix of “Don’t Do It Like That.”

The stay also involved Mark and Chris hanging out with Detroit Techno royalty Derrick May’ Juan Atkins, Ann Saunderson, Chez Damier and Octave One plus for good measure overcoming “but we’re British” trepidation and performing at revered Motor City Techno venue Club Taboo.

All in all an epic trip. I can remember flying back to the UK with the guys absolutely delighted with the recordings and planning World domination. So why didn’t the recordings - apart from “Together”- never get released? I would love to give you a detailed explanation but I can’t!
I vaguely remember a plan to add “Nexus” and “No Statues” to the Nexus 21 tracks later released on the excellent “Progressive Logic” Network EP, the idea being that this would be the basis of an LP which we believed would establish Nexus 21 as electronica giants.

As for “Don’t Do It Like That” with those beguiling sassy vocals by Donna Black, we had hopes of a Pop crossover hit once the (never released) album came out. In the middle of all this not very well defined but optimistic plotting, our World turned upside down when Mark and Chris turned up at the Network office one day with what ended up as the first Altern 8 tracks, We all went on a Rave mission, and the Detroit tracks were put aside for another day.

We never thought that day would take 30 days. . .

Killer new label from Norwegian festival Sommeroya!

Libertine turns 10! An Outstanding compilations that showcase all the shades of Libertine music concept, from electro to techno and trance inlfuenced tracks. Future classic!