Techno Vinyl Neuheiten & Releases - News

Back with its tenth iteration in near half a decade of intense activity, the Rotterdam-via-Berlin based outlet is set to enter a new aesthetic cycle, sloughing its old skin for a brighter, all the more edgy one. Not content with counting some of the finest names in today's techno landscape on board in the persons of Oscar Mulero, Psyk, Sterac and Dimi Angelis, 'RYCL010 - Amsterdam/Madrid' is the occasion for Reclaim Your City to take a new breath and explore deeper the intrinsic values and key-words that make for the label's characteristic motive: music, energy, action, city, quality, art, underground, activism, rebellion, global community.

This time, Tadeo explore the behavior of one of the most iconic element of anicent gods 'Pazuzu'. Approaching to the idea of the wind and what it offer to the world in different cultures; Good and bad news, illness, health, fortune and misfortune. These are some reactions offered by Pazuzu to his followers.
New sounds in the Tadeo´s palette, more analog and raw that continue with different digital experiments and expressions.

Three Years After Releasing His Debut 'mute' On Code Is Law, Under Black Helmet Is Back On The Label With A Solo Ep 'juvenile Moral'. Displaying Total Artistic Freedom This Ep Takes Us On A Journey Through 4 Diverse Tracks Each Opening Up A Sonic World Of Their Own.

Pushmaster Discs presents a new various artists series called “Pattern”,with old and new artists signed on the label.
On the A side you can find a new artist italian producer V111,who released for label as LNDN White/EartoGround with a raw techno track, 909 infected rhythm and nice arp. The other track on the same side is a big hard groove tune by the label boss Mattia Trani, ”Centaurus” is a groovy beast with minimalistic detroit chord.

On the B side new artists AADJA from toronto,canada and e11011 from buenos aires,argentina with 2 killer dancefloor tracks. Last but not least a crazy Track by Milan based producer Grienkho,150 bpm powerful track “T-E-X” with rave/gabber influencer and hypnotic melodies.

This release comes out with transparent vinyl and limited copies of 150. Don’t miss this strictly limited project!

‘Wild Slide’ is the debut album from techno supergroup, Better Lost Than Stupid, aka 3 of the world’s finest producers and DJs - Martin Buttrich, Davide Squillace, and Matthias Tanzmann.

Released on 13 September by Skint/BMG, the 11 track album follows a slew of singles - ‘Back From The Desert’, ‘The Sky Is Too Low’, and ‘Inside’ – which have won praise from the likes of Mixmag, Dancing Astronaut, RA, Radio 1 (Pete Tong and Danny Howard), Marco Carola, Dubfire, Nicole Moudaber, Kolsch, Joris Voorn, Claptone, Eats Everything, Adam Beyer, and many more.

Electronic music underpins ‘Wild Slide’, but Better Lost’ look beyond it with a varied collection of song ‘Wild Slide’ is the debut album from techno supergroup, Better Lost Than Stupid, aka 3 of the world’s finest producers and DJs - Martin Buttrich, Davide Squillace, and Matthias Tanzmann.

Released on 13 September by Skint/BMG, the 11 track album follows a slew of singles - ‘Back From The Desert’, ‘The Sky Is Too Low’, and ‘Inside’ – which have won praise from the likes of Mixmag, Dancing Astronaut, RA, Radio 1 (Pete Tong and Danny Howard), Marco Carola, Dubfire, Nicole Moudaber, Kolsch, Joris Voorn, Claptone, Eats Everything, Adam Beyer, and many more.

Electronic music underpins ‘Wild Slide’, but Better Lost’ look beyond it with a varied collection of songs that combine synth-pop (‘Inside’, ‘Wild Slide’), electronica (‘Boys & Girls’, ‘Harder Than Gold’), indie rock (‘Back From The Desert’), and downtempo (‘Without The Feeling’, ‘Bender’), with the kind of euphoric techno moments they’re individually known for (‘Inside’, ‘Right Now’).

‘Wild Slide’ shows that the comparisons made between Better Lost’ and stadium techno acts like The Chemical Brothers, and Underworld, stand up. The production quality is every bit as good as you’d expect from Buttrich and co, and the songs have been crafted and written by three people who’ve spent their lives making music and then playing it to hundreds of thousands of people.

*PRESSED IN DETROIT - OFFICIAL* Next in the string of Metroplex reissues is 'Nature of the Beast' - a total classic by duo Mike Grant and Damon Peterson as Black Noise. Another techno essential. BIG TIP!

CVBOX´ second ep on LUNATIC appears with a very epic approach to form a complete statement of his art: beginning calm and rhythmically broken, HITCHHIKE THE PLAIN takes it´s time before it get´s more driving in the end. Now after getting on the trip, APOLDA13 lets you float in the vacuum with it´s polyrhythmic bleeps before TP-ONE dives deeper in the abyss as a straight and spinning techno tool. happy end: something well known shows up with that version of DRIVE BY CIRCLE.
short description: on his second ep on LUNATIC, CVBOX presents 4 stripped down, deep stories with his analog pulsating style, on the edge of darkness and daylight. record comes in a sealed cover with an art print inside.

13th Skudge White release, and a welcome return of Daniel Andréasson. Going a different route than his previous 12" for the label, this time it's four melodic/braindance tracks. Tip!

Following up his pair of cryptically luminous EPs for Northern Electronics in the past years, Evigt Morker presents his debut album, Krona. With a shuffling atmosphere that's hard to pin down, the album chronically fixates on the degradation and construction of rhythmic drills with finely rendered parts and patterns. Spiralling the listener through a set of stormy soundscapes, Krona keeps placing the horizon just ahead, and just out of reach. The unease that Evigt Morker invites us into is electrically charged and threatening to crack. For all its syncopation we are relentlessly swerving through the works, afraid of teasing an arcing static shock from the blistering commotion. The album's propulsive tracks are settled against a pair of stunning ambient compositions that capture some of the tension from a distance. Technical dexterity and perfectly pitched intensity stakes out Evigt Morker's debut album as an impressive statement.

Repress

Huge remix package of one of the Exium classic tracks, Expect Nothing, recorded in 2003 and reviewed 15 years later by Regis, Oscar Mulero and Reeko.

Special 15 Years Anniversary Edition with a new Exium's version of the original track mixed and remastered plus 6 remixes (three on vinyl + three on the digital version).

On the second chapter of the KOOAAD Muzik saga, obscure composer Filippo Diana shakes hand with Cronenberg, Carpenter and Detroit's finest electro pioneers and delivers a masterful soundtrack to the never released sci-fi movie NEMESI.
'A neuro scientist synthesizes a protein that amplifies sensory perceptions. Using himself as test subject, in an attempt to establish the right dosage, he takes too many shots that will quickly and inevitably plunge him into the depths of insanity.'
All tracks are filled with a tension that ranges from fear and mystery to arousal and ecstasy, accompanying a vision that never became cellulose yet entrains our brain like a stroboscopic dream.
Music to play on a monochromatic screen with oscillating brightness at theta frequencies.
Seven tracks mini album selection of the original sound score.

We're happy to announce the return of Dublin-based Will Kinsella, better known as Hybrasil, with his first full EP release for Break New Soil!

Will's 2017 contribution to Gregor Tresher's Breaking New Soil series in the form of the floorfiller - Flexo was definitely a highlight, so was only a matter of time for Will to return to BNS, and so we're happy to announce the release of these four razor-sharp dancefloor weapons: Ladies and Gentlemen, this is Hybrasil's - Ascended EP! Enjoy!

NYC collective Sheik 'N' Beik continue to bolster their catalogue and add to a slew of cosmic cuts from Xamiga, Derek Marin, Voiski and Peter Corvaia with the next installment coming courtesy of NYC newcomer Jeffrey Scott.

Having been a mainstay at the Sheik 'N' Beik parties across NYC and Ibiza, Jeffrey Scott is a long term friend of the team. He is an artist who has patiently cultivated a methodical yet free-flowing form of production that melds live instrumentation, warped and celestial synthesis with a healthy sprinkling of oddity that lends him perfectly to a release with Sheik 'N' Beik.

This - his debut 12' - is built predominantly with Hardware, Software and modular gear and kicks off with 'Under Aqua' that drives flat, whetted kicks through flexing metallic tones and pellucid clicks and snaps. Distant, reverberated signals are gently pushed in and out of the mix as additive percussion pushes momentum forwards. Panned and mangled spoken word hops between languages which, alongside a soft and rueful chord change builds a striking soft / hard contrast.

Allegorical in its progression, 'Down To Art' then opens up with layered Boards Of Canada-esque synth tones sat atop a buoyant pulse. Passages of twisted spoken word and clever sound design builds disquieting tension that never quite boils over whilst keeping the listener pinned throughout.

'Drum Morphing' then sets sheets of glacial synth tones atop clipped analogue drums. Patient and natural in it's progression, it slowly renders the moon's landscape and closes with playful use of delay, pitch bending and panning that caps off an impressive and daring debut from Scott and another fine addition to the Sheik 'N' Beik series.

Pure worries from Leipzig — three club burners steeped in Detroit traditions, distilling the explorations in collective, nervy hypnosis of KM live sets. As the music slowly unfurls, there he is at every turn, subtly tweaking its parameters, redistributing its weight, pricking its grooves into a state of utterly infectious perpetual movement.
The two visions of Chilazon track opposite pathways: the first is twelve minutes of gorgeous, dubwise, aquatic techno, spattered with kicks and razor-sharp hi-hats, and smeared with ghostly echoes, then a terse mesh of broken drums, escalating to a quiet yet feverishly intense peak. Lanthanum is calligraphic swordplay, its toms and bass stabs warily circling one another in a graceful steppers' dance, spaced-out and fathoms-deep.

Jazz #3293 ... TIP!

D.K. and Low Jack.

After his comeback album on Morphine in 2014, Sote marks his return to rhythm by taking part in Repitch's 10inch series with a banging two tracker extracted from his more than 20 years old unreleased archive. Neuroenhancer produced in 1995 is a heavy duty techno drilling machine, pairing an oldschool Mills like groove with a throbbing mass of modular synths. On the other side In Music I Trust''s main engine is an incandescent hardcore/jungle beat, haunted by spaced out vocals in the darkness. The track was produced in 1997 with friend 'Safar' a San Francisco based DJ/Producer, shortly after Sote s initial experiments with Jungle and Drum n Bass pre his Warp EPin 2002.

Echovolt expands its remit with the launch of a new series of mini-albums with the first edition coming from Templeyard Studios, a recently formed project of Berlin-based Greek artists Miltiades and Goolyk. Met for the first time in Berlin in 2014 and pretty soon started sharing sonic ideas and researching how they could affect the human brain, using hardware sound equipment.

It's been some time since we've heard from Colin. Actually, not since that 'Fruits Of Zion' tape the put staff and shop regulars in a real spin back in 2015. Now the long wait is over, and we're now drip fed four new tracks from a source not specified. info as it comes.. small run, be quick!

White Visitation, who debuted on Blank Sate 006, returns with a full EP that showcases the vastness of his musical capability. The Mexico City native doesn't submit to the boundaries and limitations of genre to frame his musical identity. This ability inspires the conquering of differing styles of music without hesitation. The result is a pervasive sonic ngerprint evident in any of his creations. White Visitation begins with Maintain, a heavier-leaning track which evades abrasiveness while
remaining vigorous. The track, previously released on cassette, seems to smother a melancholic feeling desperately yearning for escape. CYEADOS is a ballad of distant war horns crying out in longing. It peaks with a barrage of brutalist ride cymbals which both pummel and soothe. Take it Again is an exercise in elegance and elation. White Visitation consummates an
atmosphere of sweetness without sacricing an ounce of depth. He balances layer upon layer until what stands is a house of cards constructed to resist the ever intrusive winds of monotony.

After released a track into pattern#1 various,Toronto’s rave enfant prodige AADJA is ready to release her solo debut EP on Pushmaster Discs Family.

On the side A the canadian producer shows his perfect Acid/Techno infected sound inspired by 90’s Rave style with the track “Interaction Sphere”,in the same side a minimalistic killer tool techno remix by the dutch “don dino” Deniro (трип) On the side B “Acidphoria” is another massive techno tune with acid melodies and 909 big rhythms, to complete the side an amazing funky and minimal speed remix by the berlin based producer Hector Oaks with his alias Cadency.

150 limited copies!

KETTAMA debuts on Dance Trax with 4 club smashers taking in Glitch-Hop, UKG and that sweet spot between techno & house. Tip!

PBR Streetgang return to their newly launched KURTZ imprint this October to deliver ‘Acid Tools’, accompanied by Wilde Renate residents Longhair on remix duties.

Founded in Leeds but now found touring the international scene week in, week out, Bonar Bradberry and Tom Thorpe, aka PBR Streetgang, have cemented their position as leading names within the current house and disco landscape via a slew of stand-out releases on imprints such as Skint, Crosstown Rebels and Futureboogie, plus appearances in 2019 alone at Glastonbury, Love International, Printworks and a summer residency at Pikes Ibiza to name just a few. Launched earlier this year, their new KURTZ imprint quickly found favour amongst a who’s who of the industry’s leading names, from Andrew Weatherall to Bicep, Hot Chip to Soul Clap, and here we see the duo step out again on home turf to deliver the second instalment as they reveal their Acid Tools’ EP, featuring three versions of the up-front ‘Ron’ - each of which have been doing damage in their sets across the summer months - backed by a remix from Wilde Renate residents Longhair.

Up first and delivering the ‘Full Fat’, version one sees Bradberry and Thorpe introduce punchy analogue percussion arrangements in tandem with a chunky, menacing acid line at the production’s core, whilst infectious vocal samples and hooks ebb in and out of the mix to guide the production as it chugs along, whilst the ‘Half Fat’ mix strips back the vocals to reveal a driving and warping journey across six-and-a-half minutes. Next up, Berlin duo Longhair’s remix welcomes a low-slung interpretation armed with delayed effects and sci-fi atmospherics to provide a combination of rich depth and space, before rounding out proceedings via the ‘Fully-Skimmed’ mix – a high-energy 909 fueled workout set to feature as a favourite for many across the months ahead.

The always on-point and culturally significant Tuskegee Music is back with more essential music, this time from venerated American producer D’Marc Cantu. Over the course of a distinguished career, Cantu has contributed to everything from jackbeat to acid, house to techno on labels like Creme Organisation and Les Disques De La Mort. Always serving up raw-edged, uncompromising sounds, he does so again here on another standout EP. Opener ‘Beat The Move’ is an urgent, high tech piece of slick and supple acid house with 303 undulations, dark vocal loops and the sort of hammering drums that get the club locked right in.
The sublime ‘In The Forest’ is a tripped out bit of restless electro with skittish hits and rueful pads that gets right to your heart. Last of all is the militant, marching ‘A Narrow Connection’ which closes things out with crisp kicks and scintillating sheet metal drums that straighten your back and get you stomping.
These are utilitarian yet wonderfully unique club tracks from a real master of the form.

Dizzy Tunes' latest drop - Ghetto Traxx puts your feet directly back to the dancefloor having it all set in wavering melodic tunes coming from a 303 combined with classy yet swinging drums produced with a 909.

All four tracks will convince your mind with ambitious, challenging sounds your body fills up with - two of them being Ghetto House Traxx, the other two Chicago House Dance Traxx.

Mastered at schatz mastering studio

Patrick Conway keeps a low profile and wobbles through the alleyways. This is his first offering for the ESP Institute. Side A’s Know The Future is properly moody, a UK rave track skirting the fringe of everything we hold dear from the days of our youth—big grey melancholy chords, mild shuffling breaks and anonymous diva cries peppered sparsely throughout—yet the artist manages to skillfully tick our nostalgia boxes whilst avoiding the road into full-blown pastiche. It's a versatile track, easily suitable for both the early hours in the warehouse or the tender drive home where your terrible Tuesday awaits. On the flip side, Patrick continues his plunge into emotional depths, summoning layers of ghostly sighs, chopping up the beats in half time and introducing a more prominent use of bass, but midway through Digital Warfare he jettisons the angelic pleasantries in favor a more deranged headspace. He’s had us swallow the wrong pills, sending us through a labyrinth of mirrors and echoes for the second half of the track, only to partially find our footing in the last minute. These two songs will send you to another time and place.

Second One

Spread out over two 12"vinyls - this is the result from a two day recording session in Brussels by the duo of Beau Wanzer & Maoupa Mazzocchetti. 25 minutes of dance floor perversions that tackle an array of rhythmic forms. Sludgy synths, serrated percussion and viscous distortion goops over leviathan rhythms

Beau says, “We hooked everything up and just pushed play. We didn’t really discuss much about the process….it was very ‘spur of the moment’.” The equipment set up included a Roland TR-808, TR-606, SH-101, CR-78, CR-8000, two Syncussions and effects. Each EP contains 25 minutes of dance floor perversions that tackle an array of rhythmic forms. Sludgy synths, serrated percussion and viscous distortion goops over leviathan rhythms

The relaunch starts with his classic release from 1999 called Rich Bitches and Superstuds"!

Mount Kimbie liefern ein grandioses Remix-Paket mit 4 verschiedenen Dancefloor-Lösungen für den treibenden Post-Punk-Sound ihres aktuellen Albums "Love What Survives". Als erstes mutiert Nina Kraviz den Albumfavoriten "Blue Train Lines" in einen ausgedehnten Techno-Trip mit Vocalfetzen von King Krule, und schiebt gleich noch zwei DJ-Tool-Versionen hinterher. EP 2 serviert zwei brettharte Techno-Monster von Marcel Dettmann und Ellen Allien, während Gerd Janson die Bassline des Originaltracks bis zum euphorisierenden Hands-in-the-Air-Acid-Höhepunkt zwickt.

Planet Euphorique continues to transcend boundaries and expectations with its lucky eighth release “Dream Portal”, a 4-track EP by Ronan.

The three tracks, plus a bonus remix from elusive, tech-wiz Reptant, were recorded over a two week period in Bogota, Colombia. Conjuring up vivid spectacles of a mysterious labyrinth; bodies unleashed and moving in unison.

The title track, Dream Portal, unlocks the gateway via a dank, sway-worthy roller, equally menacing and eclipsing, paving the way for the A2 “Crystal Viewer" where propelling snares layer across delicate harmonic tension and spatial delay. Springing sub bass filling the low ends to complete the fusion of trance-licked breakbeat and ethereal techno.

On the flip the situation continues to rise, Star Fissure delving into high-octane enlightened electro. Slick rolls and percussive fills make this a daring DJ’s dream. Kicks that feel like you’re being punched in the face, yet begging for more. Deep and driving, with delicate pads to take you into that elevated state. Meanwhile, the Reptant remix rolls up and lets you know it’s arrived. Attitude on tap, delivering lizard-tech to be teamed with a smoke machine on overdrive. Dripping bleeps and razored hi-hats to accentuate the originals’ naughty flair.

Calling Marcelle a DJ doesn’t wholly represent what she’s doing. (Three) turntables and a mixer is more the medium that she uses to create and share sounds, ideas and moments.

The same goes for her own productions. They don't have a fixed style, as can be heard on all five EP's released by the Munich label Jahmoni since 2016. They are free in attitude and music and cross boundaries between genres. Most tracks are a collision of ideas, a magically gritty, self-aware car crash as if Muslimgauze grew up in sunny Lisbon with the Principe crew as opposed to the grim North of England.

On her new LP 'One Place For The First Time' we find nine tracks brimming with ideas that ignore stale production norms. Sure, the pulsing drum 'n' bass-esque 'Hippies Use Side Door' is weirdly danceable, just like the cackling stomp of 'Respect Caged Animals', but can we dance to 'Technicians And Their Smoke Machines'? (Answer: We’d certainly enjoy trying). It's almost a jazz song, but like with everything Marcelle does, it's jazz from a different world and has proven to be a dancefloor smash when she’s played out the dubplate over recent months.

Marcelle's life-long love for far-out dub is clear in 'Dub (Dub)' and 'Respect My Snack Foods' is in the same 'educational' tradition as was the song about how to deal with constipation (olive oil!) from the 2018 'Psalm Tree' EP. Now we learn how to apologise. 'The Mother Of All Messes' (a UK newspaper headline about Brexit) introduces perhaps a more tender side, a comforting nursery rhyme plays while a muffled kick occasionally growls with distortion - as if it knows the importance of its place in the dance.

By the time the refrain of the intro track returns it seems to carry more significance, Marcelle has made her point quite clear. Defiant til the end… ‘Don’t touch the table!’ This particular sample is taken from Marcelle's legendary Boiler Room performance at 2018's Nyege Nyege Festival in Uganda where the MC of the event repeatedly declares that 'She Plays Vinyl' and therefore asks 'Don't Touch The Table!'. It goes without saying that the latter song is full of banging on the table noises.

The sleeve - as always with Marcelle - is very colourful and features photos of knitted egg cosies and images related to individual songs. It's a bit of a puzzle to find out which photo connects to which song, an enjoyable challenge, just like the LP itself.

Shining on lineups whether they’re cutting edge festivals, big clubs, touring circus shows or DIY garage venues comes naturally given she approaches all with the same mindset ('always the same, always different'), these causes are adopting her rather than the other way round.

Marcelle is a genuine innovator who remains inherently relevant by not following trends, not focusing on technicalities, having a sense of humour, dissolving obsolete structures, being excited, defying others rules while creating new ones, eschewing #tagline posers and ‘tasteless A&R wankers’, supporting artists that need it, supporting places that need it, supporting people who need it and not giving a fuck for as long as possible.

And HUGELY welcome living proof that you can excel in doing things differently and having a bloody good time n all.

James Marrs, London, March 2019

Djrum returns to R&S with two heavy hitting tracks on a double a-side release. This is his first original music to be released since the ‘Portrait With Firewood’ album in 2018. “A meticulous, moving electronic album.” Quietus “As audacious as anything in electronic music right now” Pitchfork Both tracks see him exploring his more dancefloor influences keeping the tempos high and the emotions heightened. While Tournesol takes in a characteristically broad set of influences - from braindance to Shaangan electro - Hard To Say focuses on the ambient-gabber sound that Djrum has pioneered. This is uncompromising music from a producer working at the top of his game.

Florian Meindl's third artist album "Time Illusion" marked another big milestone in his career. After several live act shows, where he
showcased his flair for live performance with some heavy equipment including his Eurorack ModularSystem, he has picked 3 artists who he admires for their own unique take on techno music to remix the album.

His choice fell on LUCY, who is responsible for the curation of the
highly respected Stroboscopic Artefacts imprint, on SIGHA who is
known and respected for his modular system performances and
production techniques on labels like Token or Blueprint. The third
choice fell on up and coming Netherlands based producer and DJ duo TWR72 who continually put out fresh and game-changing releases on their label FLOAT Rec.

The LUCY remix spans on a whole A side with 45 rotations per minute and opens a window in a yet unknown dimension of expanding effect drones which takes the listener on an extraordinary trip of its own. He took the opportunity and wove the breakbeat from the original composition into a straight-clocked rhythm while giving the harmonic content a new unheard surreal depth. This track has got the potential to suck the dancers minds into a strange journey and yet keep them on the tidy rhythm.

Fran Hartnett performs and records his tracks in one take. He is also a well known tattoo artist who operates out of Skin City in Dublin. He actually tattooed my wife's foot recently which is the most painful part of the body you can tattoo, apart from the genitals, but she wasn't up for that. Anyway I digress, so he makes techno, he's an artist, DJ, live act, he puts art on people's skin, he did the art for his release and the next 7 UX releases. He's a really nice guy, he's got great taste in music, so he's actually starting to piss me off, is there anything he's not good at He's making me look bad. I tried to outdo him with a remix of his track "Incisions, Decisions" but I think you'll agree the original is better so fuck you Fran, fuck you.

The latest vinyl release sees four diverse producers rework Manuel's original tracks from his last EP, which includes Endlec, Pacou, Aleja Sanchez, and Drafted.

Endlec is a Greek artist listing Mord, Children of Tomorrow, and Invite's Choice in his back catalogue.

Berlin based Pacou, has close ties with Tresor, also releasing on their imprint alongside Music Man, Indigo Aera, and Labrynth among others.

Aleja Sanchez from Colombia appears following outings on Illegal Alien, Northallsen, Nachtstrom Schallplatten and Planet Rhythm.

Drafted from Italy runs MM Audio and has credits for Soma, Balans, Affekt, and ETUI.

Expect to hear a great variety of styles such raw, analogue beats, deep Detroit influences, dubby ambience, and edgy, hypnotic sounds.