Techno Vinyl New Releases - News

Special edition loud cut of the 6 best tracks from Pantser Fabriek - Du Bist So Jung. Manifesto: Ihr Panzerfaust oder Ihr Mephisto, 'avec la tristesse d'une certaine charactere Wagnerienne', 'amor fati', gleich wie die Liebestod von 'Tristan und Isolde', eine ganz ominose kognitive Dissonanz im ekelhaften schwarzen Wahnfried des Gesamtkunstwerks der Philharmonie, 'l'esprit de corps de la Belle Epoque sans mercee' Ich weiss, mein liebe Prinz, ganz schwarz bist du, aber auch... so jung bist du! Mesdames, messieurs, je vous presente 'Pantser Fabriek - Du bist so jung'! Liebe Reichsgenossen (und liebe Reichsgenossinnen!), Ihr unbeendeter Sturm und Drang nach Westen wird vielleicht diesmals ein bisschen verfleischt! Denn wie schon doch versenkt am heissen Blutmeridian das Rot der alten, tragisch-verzornten Sonnengottheid immer wieder im Boreas' kalten Toten Meer, aber heute gibt's am Ende wurklich etwas neues von der Westfront, am Ende der alten Niederstrheinischen 'Limes' der 'Pax Romana', das Grenzegebiet der Friesen und Kananefaten zwischen die antike Munder von 'Rhenus' und 'Mosa', die meist bloden Hollander Ihrer alten Westergau, im Graflichen Haag, das AbfluSschen Europas, ehemaliges Epizentrum der 'V2' Westwall eines alten Titanenkriegs voll Feiglinge, 'Dietsch Alemannische Feindschaft', das 'Alles ist gut' von heroisch verlorenen Atlantidensohnen oder sadistischen Marquisen, ja, meine lieben Freunde (und lieben Freundinnen!), am Ende kommt, aus dem Westland 'Martyrium' voll Rosen und Dornen, Ihre Neueste Deutsche Welle: 'Pantser Fabriek', mit einer neuen Langspielplatte 'Du bist so jung', von 'Bunker' naturlich, jetzt diesmals leider nicht mit Riesenfarbposter, aber, vielleicht, mit dem Riesenstahl von grossartig fleischgetonten Visionen, die neuesten Leiden des jungen Werthers oder soll sonst auch der Heilige Sebastian einfach ungeheuer herreisen und wieder mit uns leider Lieder singen, wie 'Der Tod in Venedig', 'comme si c'etait la derniere fois', das Bild und Ihre Bildung im schonen Abendlandischen Licht, so unheimisch heimlich Und, ja, Ihr habt das alles schon gewusst! Denn hatte 'Der Alte', Tacitus, schon so lange her nicht gesagt: 'Hic Barbarorum Germania Inferior est' Nachricht von einem fremden Stern, Ihr Lieblingspropagandaministerium, Guy Tavares Guerra Roque

Sam went into an almost psychotic state when making music. He wasn’t himself. He was immersed in the creativity to such an extent that it was almost like a psychotic trance. Here’s an example. He found all this giant kelp down at Western Port bay and he would bathe himself in it for weeks. He would replenish the water and put salt in the bath, but leave the kelp in there. I used to ask Julie, his partner and wife, “How’s everything going?” and she’d say, “Just go and have a look at the bath.” - Tony Rogers

Sam Mallet could have pursued a career as a French literature professor in Paris, but decided his true calling was to remain in Australia, dedicate himself to his music and find the plateau; a word he used to describe the sensory worlds residing in music. Under the influence of Eno, Jon Hassell, Arvo Pärt, John Coltrane and Robert Fripp, Sam explored a wide variety of musical styles and put them to service soundtracking the time based works of his peers. He crafted spatial ambience, somber jazz, and drum computer driven rockers for short films and experimental video works, television shows (including the original Australian Wilfred series), feature films and live theatre. The avant garde Anthill Theatre, known for its departure from conventional staging practices and having a keen eye for talent, enlisted Mallet to provide soundtracks for approximately 40 productions throughout the 1980s and early 1990s.

Sadly, Sam passed away in 2014. A crucial piece of his legacy is undoubtedly the body of work he produced during his life, and the archive of recorded works is vast and deep. Sam seemingly saved everything, from fragments to finished pieces; and often repurposed previously released tracks by collaging them into new pieces. He self released a small number of cassettes and CDs from the mid 1980s onward, the contents of which were culled from soundtrack work and original pieces, but the majority of his music was experienced only within the ephemeral live performances.

Wetlands is the product of countless hours spent with this archive by Rowan Mason (Sanpo Disco/Recurring Dream) and Tony Remple (Musique Plastique), offering a dynamic survey of Sam’s work, and housed in a jacket evoking the minimal design and colour palette of his earliest cassette releases. Two selections of Sam Mallet’s music were featured on the compilation Midday Moon (also produced by Rowan), released last year by Bedroom Suck Records. Along with Left Ear Records’ Antipodean Anomalies, Midday Moon has served to highlight outlier musics and scenes from Australia and New Zealand, and Wetlands plunges deeper into the catalog of this obscure yet groundbreaking artist.

Silvia Trix is a DJ-producer grown up in Rome's underground scene, beginning her professional career in spring 2007.

In the last few years she started producing her own music which is now the backbone of her dj sets, Feb 2011 sees her first release for the roman label Stencil Recordings and from then on begins her journey into production for various labels,
including Black Sam Records of which she is the founder,
Her work as producer takes her around techno sound with progressive influences.

In her sets the powerful techno groove and the progressive contamination mix to generate a sound whose sole objective is that of setting the dancefloor on fire.

She played in the best clubs in Roma (Rashomon, Goa Club, radio londra, ex dogana etc. ) and international (Tresor, Mizk, Suicide Circus, About Blank, Kitkat). secret cinema Tough, melodic and fat! Big!!!!'
Petduo Altan 3 is a nice and hypnotic techno!'
Inxec crossings is super nice'
Bryan Zentz All really good here—Crossings is my fave! thanks'
LxS solid energy on this release,thanks for the music - L'
Dr. Motte Solid Techno package.'
Advamced Human Altan 3 for me, cheers !'
Paco Osuna Will try thanks ,)'
Dave Simon Intercity is a nice Track!'
Zakari&Blange Crossings is killa thx :)'
F.Akissi & M.Akissi Great tracks, love them !'
g-man akak gez varley nice big room techno ...full support from G_MAN/ LFO'
Superstrobe Solid Techno! Great EP'
wex10 Nice EP'
Dolby D full support by dolbyd'
Misoo nice ep, support!!'
Linus Quick Intercity for me... will play this for shure!'
Spec. cool !'
Loukas Pour-Hashemi Altan for me!'
Pascal Feos solid release, thx'
Pablo Discobar Amazing !!! Full Support !!!'
deKai Silvia Trix ist Wahnsinn!!'
Holgi Star solid Tracks..thnx for sending !'
marcel dettmann thx'
L.A.W. Crossings for us, support!'

Support by Nuria Ghia, Richie Hawtin, Danny Tenaglia, gabriele gilleri, Eddie Halliwell, Luciano, Marco Carola...

Decennium 1.1 is the first part of a 12' series celebrating Affin's 10th anniversary. Find 4 hypnotic deep techno cuts from Toki Fuko, Arnaud Le Texier, Cliche Morph & Svarog.

Decennium 1.2 is the second part of a 12' series celebrating Affin's 10th anniversary. Find 3 hypnotic deep techno cuts from Reggy Van Oers, Massa, Norbak and an ambient pearl by Markus Guentner.

When two dudes collide in a cosmic paradise, very special things happen. Black Spuma, otherwise known as regular transcendental misfits Phillip Lauer and Fabrizio Mammarella, come correct with a new EP of enchanted grooves for Futureboogie.
Breaking their run of EPs for the International Feel Recordings label, a trio of cuts are lined up on the ‘Crunch Level’ EP.
Title track, ‘Crunch Level’, is a throbbing, pulsating, bit-crunching beast of a track, a full mind and body workout that evokes the darker shades of early acid and new beat. ‘Agguato’ also packs a punch, with drums so big that Stock, Aitken & Waterman would most definitely approve, whilst a waves of hedonistic tones cut through feint melodicas and space invader tropes for a mind melting moment.
Never to end on a whimper, Adamantine goes out with a bang, with an ecstatically buoyant rhythm section and glacial melodies that’ll be transporting you back to the bright neon lights and dry ice of some long forgotten 80’s sweatbox.

NYC Synth master Steve Moore makes a welcome return to L.I.E.S. with his first ep on the label since 2012. Through these four tracks Moore creates a world with simplistic stripped down beauty, often using one synth and a drum machine to effectively construct alternate realities, as heard on the opener Broken Kills. This continues on the b-side opener Eigengrau, while Future 86 and Future 99 take a more dramatic komische influenced soaring arpeggiated approach. Unmissable.

Her polyrhythmic compositions integrate a wide array of musical genres, including Afrofuturistic electro and techno, classical solo piano and Detroit legacy house; all memorable journeys into deep, abstracted sound.
Hosting a monthly radio show on the renowned NTS, Afrodeutsche entrances listeners with her idiosyncratic combinations of dark electro, breaks, footwork, ghetto tech and jacking house.
Forever evolving a fully live hardware show, Afrodeutsche has already appeared alongside celebrated producers Dopplereffekt and Carl Craig, with many more to come.
Her remix of Montreal producer Marie Davidson’s ‘Day Dreaming’ was released earlier this year on Ninja Tune. 2019 sees her releasing genre-defying new material and touring across Europe, with appearances confirmed at Dekmantel (Amsterdam), SONAR (Barcelona), and Dimensions (Croatia).
Praised by the Guardian for enacting a new wave of club music, named by Dummy Mag as one of 2019’s most exciting artists, Afrodeutsche’s spectacular debut album ‘Break before Make’ will be released on all formats in the Autumn of 2019 on the legendary Skam label.

Another Cabarete Groove experiment that combines field recordings as the main source of sound design with analog Moog synthesis while keeping the intense Techno brutality defines their sound.

"The whole EP was inspired by this photography by Faisal Sultan: "It was the most incredible episode of synesthesia. I saw the picture and all the sounds immediately poured into my brain"

The tracks are accompanied by interpretations from The Automatic Message, Black Asteroid, Drumcell and Xhin!

After his successfull Internal Conversion LP on Polegroup, Christian Wunsch returns home to Tsunami Records with his third album Sadistic Rituals.

Wunsch has been an influential figure in the electronic music scene for over twenty years with an arsenal of unique sonic trademarks produced with high precision.

Sadistic Rituals is a mature labour from Wunsch's mesmerizing 11-track excursion into light and darkness, instantly recognizable as fitting with his own sonic identity.

The title hints at what to expect from the album.

Sadistic Rituals have been occurring for hundreds of years.
Allegations of sadistic rituals involved reports of physical and sexual abuse of people in the context of occult or satanic rituals. In their most extreme form, Sadistic Rituals and aspects of the occult involve a worldwide network organization within the world s most powerful and wealthy elite in which individuals are abducted for sacrifices, pornography and prostitution.

Hefty remix package of 'Carbone Master System' LP pressed on gold-coloured vinyl. Veterans and contemporary artists such as AnD, Ascion, CJ Bolland, Hypnoskull, and Umwelt have reshaped five different tracks of the infamous album.

Epic acidic intro version of 'Sonic is on Acid' by the hands of French electro master Umwelt, drives the blue hedgehog to an out-of-this-universe-acidic-experience. Obscure cinematic journey, flying in and out endless space battles, 'Astro Warrior' remix by Ascion is rich of attractive melodies and laser beams sequences on fine crafted heavy technoid rhythms. Powernoise legend Hypnoskull underlines 'Master Of Darkness' with his typical heavy signature. Destructive beats roll over the perfectly industrialized synths and screaming atmospheres.

AnD's version of 'Back To The Future' smells like an instant Techno Anthem. Bold kick, gritty voices, harsh rhythms and killer bassline ready to tear down any dancefloor. Closing the record there's one of the 90's techno gods CJ Bolland which revisits 'D. In a Miracle World'. It is Dark, Jumpy, Groovy and Noisy, an Absolute-Techno tune in a brilliant modern-key.

Being in a different place and a different studio context changed some things for Gilb’R. The Versatile boss and half of Château Flight selected these 8 tracks, some short, some longer, from his studio sessions in Amsterdam where he has been living for the past 5 years. Reflections of the mind of Gilb’R and thus exploring many sides, from late night techno to West Indies non sense vocals, from dubby/moody sounds to ambient scapes.

For the 12th installment of Jose Cabrera's self-titled imprint, Mario Castillo appears under his long running 'Kastil' moniker to deliver a four track EP of mechanical dance floor sounds. With 'Anemic Lust', the resident of Vitoria- Gasteiz, comes up with a worthy addition to his rapidly growing discography. After a period of DIY work through his own label STALE, Castillo returns to the imprint where he last released his collaboration album with J.C. in 2017.

Musically, Castillo's palette is ever expanding, threading into the murky waters of mechanical textures and balanced, hypnotic beats, Anemic Lust is showcasing Castillo's love for dubbed out chords, orchestrated string work and power driven drum programming. The opening track 'Submissive' is a firm work of dance floor techno which uses a drone-like scream as it's back bone. While the bass and drums alternate skillfully, the hats and percussive elements penetrate entire spectrum and act in a vanguard-like fashion.

'Omniscience' is a work of growling and low down dub chords that are supported by a vigorous kick drum, slabs of fx, and high spirited hi-hats that change throughout. 'Red River' is the first effort on the B side if Anemic Lust. Castillo changes the pace to introduce a more inky side to his music. The drum work and bass sounds are ominous but the mood is shifted by a more soothing ambiance around the two minute mark.

Also on the B side, label owner J.C. translates Red River into an experimental sounding work of wintry drums and notable sound additions.

Anemic Lust comes in a 12" vinyl package

Repressed !
We are very glad to welcome Mr. Lewis Fautzi to our team of producers. After having been part of our booking roster for a year, now it's time for this promising Portuguese producer to get physical on vinyl. Blood EP comprises two original tracks plus remixes by our very own duo Exium and our man Kwartz.
Four slices of futuristic, spacey, hypnotic techno, starting with 'Blood'. All the elements of this track are present from the beginning: synthetic bleeps, profound sub bass frequencies and percussive elements that come in and out of the arrangement subtly. Less than five minutes of mental therapy, and also a fabulous mixing tool.
Exium reinforces 'Blood', darkening the bleeps and modifying them, adding a fatter kick and a more dynamic arrangement.
On the B side, 'Skin' keeps the continuous sequences and a strong kick drum as a starting point, slowly adding hats and subtle drones that grow until taking more and more sonic frequencies. Hard and mental at the same time, it will explore the hidden territories of your mind, if played on the proper sound system.
Kwartz takes the obsessive elements of the original, filtering them to his own taste and giving more space to the bleeps, while putting the drones aside.
A great start in our label for this excellent studio wizard whose work has been previously released on labels like Soma Quality Recordings or Figure.

Max Duke's first LP “My Sins” is a journey between house and Techno via electronica, with a unique french house touch that forms an unusual and cohesive debut album. It’s the sound of the musical universe and the influences that have taken hold of the french artist. The album unfolds over the course of 11 tracks, each piece serving as a building block and the result of many months of Max’s work. It is the product of experimenting in the studio, seizing the mood of the moment and reflecting on life experiences. Each song has its own story and helps to complete and close the circle of this captivating musical journey. Guitar, piano and synths are his words in the story; the channel that perfectly transmits all the emotions and feelings bottled up in the album. The range of moods, tempos, impressions, sounds and rhythms oscillates between
downtempo and techno with hints of breaks and house.
Straight up dancefloor cuts like “Almost Done”, “Echoes” and title track “My Sins” rub shoulders with the closed-eye mind wandering soundtrack of “Covered”. “A New Reality” emerges as a tribute to 90s trance. The two sections of “Characters” explore an instrumental middle ground between almost orchestral and minimalism. “My Sins” is the work of an artist in constant movement and evolution who opens the door to his unique world in full. The album will be released 30th September on Redlight Music.

rRoxymore's long-anticipated debut album, Face To Phase, was born of her annual creative hibernation practice. Whereas her previous appearances for Don't Be Afraid - Thoughts Of An Introvert, Parts 1 & 2 - revealed inner worlds of saturated colour and natural expressiveness, she retreated into her studio at the turn of winter 2018 occupied with the idea of dismantling the dancefloor-centric pressure paradigm.


The resulting album, Face to Phase, finds rRoxymore methodically and mindfully stripping back to fundamentals: rumbling minimalist dub, sparse polymetric drums, boldy unpredictable melodic narratives and subtleties which hover out-of-reach or disappear into vapour. Forged by the spirit of club music cultures, Face To Phase favours deep listening; resisting the temptation to reflect on the past or project towards the future, it's an album that is firmly rooted in the contemporary.


Sparked by her own archive of field recordings, and produced primarily but not exclusively in the box, Face To Phase adds several facets to rRoxymore's already wide repertoire. The pensive and beatless opener "Home Is Where The Music Is" was inspired by her longtime friend Planningtorock, while "Forward Flamingo" is a spiraling dream-state of house music dissociation; elsewhere "Energy Points" remains anchored to the ocean floor, radiating heavy dub waves, "Passages" is a ghoulish skeleton of UK break beats, "What's The Plan" closes the album in a blissfully blunted fashion, while twisting, shape-shifting rhythms push and pulse "PPS21" into series of ever-evolving shapes and forms.


Through and in between the eight songs of Face To Phase, rRoxymore fortifies her status as a seasoned artist, grounded by over a decade of live performance and touring, collaboration, composition and experimentation. With a new live performance collaboration with a percussionist set to debut the LP at Atonal on 1st September, rRoxymore is primed to expand her reputation even further as one of the most vital and distinctive artists on the fringes of contemporary club culture.

Shkedul is back on his imprint NORD LTD with a powerful four track EP. Dynamic, intense and bleeping techno. 300 copies - no repress

Hand numbered and limited to 200 copies for the world
Once again Upwellings lead us into deepness with these four new tracks coming straight out his studio. As usual, all that music has been played live in the studio, convoking dub techniques to give life to an imaginary modular orchestra.
First track "Frozen" reminds old Rhythm & Sound grooves with extra low bassline and various delayed chords.
"Distant Lights" is more about a kind of journey into dub basics, playing with our perception of spaces and sounds, the illusion of a static loop, but it never sounds exactly the same...
"Dub Arena" shows us a more techno oriented dub with straight kicks and percussions. On top of that, sweet chords in constant evolution and finally the "real" bassline mash up the place.
And last but not least, "Blue Mountain" is a long walk between trees, a rough way to reach the top...

Fracture presents Turbo, a sound Astrophonica label boss has been pushing in his productions and sets over the last 18 months. 8 tracks of uncompromising dancefloor cuts that merge together the sounds of Techno, 160/Footwork, Jungle, Bass and Electro. Featuring Addison Groove, Sam Binga, Moresounds, Philip D Kick, Lewis James, Hyroglifics and ONHELL.

Future Times is very pleased to announce that our next release will be a 7" single from Oakland's Motoko & Myers! This duo is made up of Wonja & DJML, both of whom have blessed electronic music in numerous ways recently together and individually, via releases on Jacktone, DJing together for their Herzog Hideout radio transmissions, and their amazing album from 2018, Basis Key, released via Bass Clef's digital imprint Open Hand Real Flames.
M+M make music from a really special place, wild tones, drum-machine-breaths and weird, pitched synth space combine with a sense of rhythm that folds in on itself. B-Side "Whimbrel" represents this perhaps best of the two songs, with a loping, wandering-on-the-beach sense of synth space and not-quite-dancehall drums. "Plover", however, is a perfect set-starter for the techno freaks, with the lightest drums coming in halfway over a thick, shifting loop of perfect glass techno for the DJs. Tip!

Green Marbled Vinyl

AboutBlank produces here 3 magestic tunes...

Super positive state of mind style, not too happy through but really sunny and full of energy, with a repetitive serial music acid melody on the Cosmicology A side 45 RPM killer 180BPM harfloor track.

The flip open on a regular 160 BPM heavy kicker, trippy mental acid-pikes-of-ice more classic but bloody efficient...

Last track (same speed as A1) is a serious hard-kicker too... at the hardcore frontier with a crazy melody coming in, reminding the old school 90's transecore best-of...

This record was produced both by Brain Bending and Acid Night.

Visual by X.G.

Autre left the lab and brought his science to the people. This is his second offering for the ESP Institute. On side A we have a silky slice of electro aimed straight for our hearts, LA Funk, incorporating stanzas of jazz chords and Autre’s signature meandering string lines, all thickly layered atop an up-tempo more-bounce-to-the-ounce bassline that will receive the nod of approval from even the most serious funk heads. On the flip side, the artist uses a similar broad brush of synthetic strings, but ventures into an emotional sweet-spot built on glorious chord changes and cascading arpeggios, sprinkling delicate percussion throughout like a flurry of phosphorescent dust particles. Wig Teleportation is a complicated looping narrative that ebbs and flows, snaring the soul with melancholy yet keeping your interest piqued with intricate layers of rhythm. These two songs will heal through the power of bodywork.

measuring misery in importance
your silent reflection lingering
infected needs fading

truly yours
Janice

Detroit Acid master Jared Wilson with 4 fresh grooves that makes your ears melt...

Sawtooth Novel is a killer track, a special weapon intended for the dancefloor. The rest of the EP turns around powerful techno to more deeper and mysterious atmospheres. After his brilliant works on Token and Cocoon Records, Johannes Volk continues to impress us ! Some Johannes's words about his work for Artcub Records : "The title track Sawtooth Novel is my little hommage to the old Sägezahn sound. There was a Sägezahn renaissance in the Rhein Main area end of the 90's, which was a huge influence for me when I went to clubs during this time. Counterbalance has a rather subtle approach, the track lives from it's effects and filtering. For the others tracks I want to express the more darker and dramatic side of techno, which is also well-equipped for the more excessive dancefloor hours

The 7th Pi Electronics release hosts Chicago based producer, Jonathan Krohn, also known as Stave. It also includes a remix by Bristol based artist, known by the name Pessimist.
----------------------------------------------------
Some might be familiar with Stave s music from his involvement with the collaborative project Talker . Here on this solo take, he delivers 4 original tracks to showcase his varied approach to Techno. From fast, drone oriented broken beats, to emotional synth melodies and industrial leaning hypnotic techno, PI07 shows the artist at his most expressive. The release is topped up by the remix of Drum and Bass affiliated artist Pessimist, who reworks track PI07.4 in his methodically dark style.

180g black vinyl + A5 insert
All Tracks: Jonathan Krohn, W+P 2019. 4053 Studio A, Chicago.
Pessimist Remix included

***
Mord.
Morderstwo.
Rotterdam.
Herdersmat.
***

Bontan makes an eagerly anticipated return to Crosstown Rebels with 10 days, a scintillating two track release that features a stunning remix from Osunlade.

10 Days begins things in an emotive fashion, as rustling hi hats pave the way for featured vocalist Bengle to state, “ten more days”. This echoes before a bleepy yet similarly driving kick wobbles along, as the sample plays out, to form an emotional, dance-ready cut. Osunlade’s Yoruba Soul remix is a similarly moving piece, as warm pads are coupled with a dubby kick, before the same poignant vocal calls upon us in a heartrending manner.

UK native ​Bontan has produced a number of the scene’s standout tracks. A regular on the likes of Hot Creations, Circus Recordings and Crosstown Rebels, his releases ‘Call You Back’ and ‘The First Time’ furthered his worldwide reputation as a breaking act. Such an ear for the perfect dancefloor record has not relented, as he continues to push his melodic, acid driven sound in an ever-growing direction, one that traverses the many forms of house and techno alike. ​Osunlade ​is a musician and producer, an artist who has been releasing records for a decade now. Someone with many strings to his bow, he has produced eight albums and debuted on Innervisions in 2012 with a three-track remix package of his esteemed Envision vinyl release.

‘Captured Entities’ is the debut album of deeply raw house and psycho-jit-jazz by Detroit producer
and DJ, Howard Thomas aka H-Fusion. Spanning the breadth of Howard’s hands-on, tracky style -
from beatless cosmic jazz audities to slamming 170bpm missiles and heart-grabbing house - it’s
arguably one of the most distinctive, dare-to-be-different albums from the 313 in recent memory
The fruit of more than 5 years of communication between Howard and The Death of Rave,
‘Captured Entities’ expands on the ruffneck, asymmetric slant of his killer 2005-2012 productions
for Sound Signature and Fit - as played by everyone from Kyle Hall to Kassem Mosse - across 11
unruly numbers united by an intuitive, jazz-wise approach to his synths and MPC2000. While
his sound may remind of many Detroit greats such as Omar-S, Damon Peterson/8088, and Urban
Tribe/DJ Stingray, Howard can’t help but sound like himself, and his debut album is best defined by
its classically driven yet singular Detroit soul clinamen.
Where too many producers’ lip-service to jazz is betrayed by their gridlocked uniformity,
Howard cuts the f*ck loose in real-time, improvised jams which have made it to the final
tracklist because of their unquantised cantankerousness and frictional quality. Sawn-off blasts
of hardcore warehouse rave give way to sultry, dream-away house jackers and a ruck of diesel-
fuelled bangers that sound like Nate Young doing Jit with DJ Stingray at a Detroit biker bar. When
combined with the curdled gob of beatless, cosmic noise and the cranky swaggering cyberpunk
on the LP’s closing side, ‘Captured Entities’ really comes into its own as a unique expression of
Michigan grit which, by design or chance, effectively splits the difference between Black Noise
and Wolf Eyes.
This kind of instinctively jazz-taught, stylistic and metric versatility is rare in Detroit-
manufactured techno albums beyond, say, the debut Omar-S album ‘Just Ask The Lonely’, or the
eponymous Urban Tribe LP for KDJ’s Mahogani Music, and the track sequencing of ‘Captured
Tracks’ aims to highlight the album’s strength in its diversity. Illuminated by an exceptional
mastering job from Anne at Berlin’s D&M which reveals all it’s dusty details and rewards cranked
volume in spades, ‘Captured Entities’ is a uniquely rude, thrilling and soulfully compelling album
from any angle, and a long overdue LP testament to one of Detroit’s most peculiar, instinctive, and
unsung artists.

With his ice-cold debut album Pessimist delivers a defining work which to us represents the culmination of nearly a decade of collective research and development in underground drum'n'bass. It is hard to think of any producer, past or present, who has so skilfully and successfully bridged the sonics and sensibilities of d'n'b and techno. In fact Pessimist makes drum 'n bass work as techno: combining the monotone, infinite-horizon quality of the latter with the rhythmic swerve and soundsystem heft of the former. The perfectly formed 'Balaklava' 12' for BEB's A14 sub-label in 2016 was his first work to attract serious attention outside of d'n'b circles, but the young Bristol producer's singular aesthetic had been honed across important records for the likes of Samurai and Ingredients, and as a member of the Ruffhouse crew, and since then the experimentation has continued across releases and remixes for UVB-76, Osiris Music and Ilian Tape. Cutting edge techno-dnb hybrids form the backbone of this, his first LP, but there's more to it than that. Out of its relentlessly noir, paranoid, smoked-out dubscape emerge fierce, Babylon-shall-fall jungle tear-outs ('Through The Fog'), zoned, acidic rave ('Peter Hitchens'), downtempo breakbeat excursions ('Glued'), sleek and rude 'Balaklava'-esque steppers ('Spirals'), and passages of bleak, bombed-out industrial ambience. At times it feels like the missing link between British Murder Boys and Source Direct, or what might have happened if late 90s UK junglists had listened more closely to Chain Reaction. But really, it sounds like Pessimist and Pessimist alone. The ruthless minimalism, and the tension which comes of that restraint, the swing and propulsion of the drum programming, the abyssal reverbs and long trails of delay, the deep and body-numbing sub-bass, the uncompromising palette of blacks and blues.

Radio Slave enlists two heavyweights remixes from Dixon and Underground Resistance, who reimagine 'Trans' - the twisted, bass-driven cut on Radio Slave's excellent inaugural album.

First up, Innervisions co-founder Dixon offers an inspired retouch containing an amalgamation of cosmic synth arpeggios, each one unfolding in a unique way as the track develops, supported by a prominent vacillating bassline.

On the flip, Detroit techno pioneers Underground Resistance provide a 'Hamtramck' remix features crunchy modulated synths and heavily delayed vocal slices that duck in and out before funk influenced guitar licks resonate alongside a plethora of dark effects.

Repress of long out of print Laurent Garnier 12” – originally released in 1992 on FNAC.