Techno Vinyl New Releases - News

LF RMX 016 clearly splits its intention between the two sides. First going head-on and far out in Len Faki's trancey but fast-shoving Hardspace edit of Jesse Somfay's 2005 track ‚Can You See Me I'm Waving'. Then it's all about imagining the place suggested by 'Small Pebbled Forest', where water-like melody sprinkles over deep, progressives basses, and fireflies seem to be lighting up an enchanted scenery.

As usual with LFRMX releases, the proceeds of this record will be forwarded entirely to charity organization Straßenkinder e.V., who are working to offer help to the children living on the streets of Berlin.

Martin Eyerer is finally back on his main label and comes with a real biggie. 'Confident Journey' features no other than former Archive singer Craig Walker with his unique voice backed by Martin's epic production.

Berlin's Sascha Funke weighs in with a hard-hitting new four-tracker for Tiga's label. Hot off his comeback on Multi Culti, this latest EP for Turbo Recordings takes the hypnotic, progressive vibe and drives it a little bit harder, leaning into every snare with precise power, carefully administering tension over the duration of professionally-paced arrangements. Title-track 'IFA,' already a weapon in the crates of Funke-friends like Rebolledo, Michael Mayer and Tiga, sounds like the kind of peak-time party power you'd expect those dudes to pull out in the darker hours of their deepest sets, when the soundtrack calls for more than basic, visceral limb-pumping, but full disorientation, actual mind-losing. 'Robur' rolls out of that space with minimalistic-tribalism, sounding like a mental apocalyptic march, pushing forward with intractable force, an energy which eventually relents on 'MZ,' opening up dramatically with an epic chord progression that blooms into ecstatic, piano-house. Think 'old-school baby,' revisited with bittersweet self-awareness, taking us back to a place we know well, inspiring one last dance, accessing the naive rave-spirit all-too often forgotten in the 'industry'. Finally, 'Barkas' recalls the tones and timbres from 'In Relationen,' reflecting an emotionally placid state, a sound of radiant clarity, the sound of an artist at peace with his place in the cosmos, balancing past and future, energy and stillness, mind and body.

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Ansome returns to Perc Trax for his first original release since his debut album 'Stowaway' was released on the label in April 2016. Since then he has extensively toured Europe and North and South America with his ever changing modular live set as well as further establishing his South London Analogue Material imprint with a run of uncompromising releases.

Despite decamping to Berlin last year 'British Steel' shows there is still a no nonsense UK grittiness to Ansome's music. The frenetic rhythms reflect the pressure and paranoia of London life and for the first time his music incorporates vocals, thanks to the voice of occasional live collaborator Oliver Kohlenberg.

The four tracks take in everything from broken grooves to straight up dance floor face melters with a perfect balance of rhythm and texture. 'Poison Your Body' has been a highlight of Perc's recent DJ sets for months now, whilst 'Marching Powder' was featured on Rebekah's debut essential mix for BBC Radio.

Hide your kids! Ghost in the Machine is back and fully intent on setting fire to your pants with yet another quartet of their unique brand of techno. It's all really dark, heavy and pounding, yet you somehow really seem to like it. It's basically more of the same, which is great. The only real difference with their previous EPs is that this one is pressed on blue vinyl.

Disclaimer: digital copies may not all be the same shade of blue.

trippy travell thru space and time. Energic techno, raw and experimental!

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Super talent "Ancient Methods" lays down an incredible remix collection of the excellent "Luster & Beta Evers" track "Eternal"which was originally released on 7" through label "Zerohour Doom & Glamour" back in 2011.

Our loyal companion "Steve Parker" continues to raise awareness off what he can do in the scene. This "Interplanetary Dust LP" is another example of what he is capable of. A 2x12" containing 8 powerful tracks that fits right into the resume of our widely ranged techno collection.

Subjected unique style has touched many nerves of the Techno playground, he is back with a full-length Techno 4 Cut Ep.

While listeners are still reeling from the blistering EBM stylings of their previous release, Voitax returns to serve up a divergent dose of grimey, industrial-edged broken beats with the label's eight release "Hymn To Lust". Persistent in their disregard for showboating, the crew continues to stick to their music-before-names policy. No names are visible on the record, for an unbiased impression of the sound. Lo-fi, energetic and crammed with attitude, it combines a dusty, 90's Berlin punk aesthetic with primal tribal impulses. When the sweat is dripping off the ceiling, and the floor is filled with smoke and bodies, this EP will cut right through and set the place off.

DJ Support & Feedback:
Tomohiko Sagae - cool!! Bind the Wound, Feign for me!
I Hate Models - Heavy stuff, all the tracks are killers !
December - Feign is the one for me, half tempo cyber metal never disappoints.
Dax J - Bind the Wound is sick! thanks!
Ayarcana - Super release. Ultraviolence for me.
Umwelt: Another bomb !!! ThanksTruss - Sounding great, will play on next radio show. Thanks
Samuel Kerridge - Hymn to Lust is killer!!
Stepahnie Sykes - Bind the Wound!!
Bleaching Agent - Wicked!!!!
Domenico Crisci- Nice!
Ontal - So far, the best release on Voitax. Excellent work!
LAG - Loving all of it. Thanks!
I/Y - Another awesome Voitax !!!
Ryuji Takeuchi - Great hard stuff, Bind the Wound and Ultra Violence especially. i'll play them in my sets for sure.
Unhuman - Best VOITAX till now
Radio:
Samuel Kerridge was playing Hymn to Lust already in his recent NTS Radio Show with Talker:

Sebastian Mullaert and Kontra-Musik have been involved in a love affair for quite some time - an affair that even resulted in an offspring called The Dance that came out on Kontra-Musik last year. Sebastian Mullaert is of course first of all known as half of Minilogue, a duo so influential in the hypnotic field of Techno that Korg recently named a synthesizer after them. Lately, Sebastian has focused on his solo path under the Wa Wu We moniker, releasing stripped back and personal music on his own Wa Wu We label, the cryptic S.E.L.F label and now on Kontra-Musik. On the title track Travellers, Sebastian Mullaert uses a straight up techno formula that may surprise listeners who haven't followed his move into Wa Wu We territory. You almost get the impression Sebastian buried a recording destined for a rigid techno label in a deep forest back in the 90's and has now decided to uncover it again, finding that the track has matured under the black soil. The sharp edges are now covered in smooth moss and the soundscape is immensely deep and moist. But it's still a vibrant and very much effective track. Above all, it has loads of free space to let the listeners make up their own journeys as travellers into the world of sound created by Mullaert. We float, on the flip side, is a beautiful and meditative ambient piece. It's also the fastest way for the urban dweller to find him or herself floating in a serene lake surrounded by strong, green trees instead of floating in a sea of stress and anxiety. A set of headphones and this new release from Kontra-Musik and you're there.

Veyl Industries is releasing ‚Dreams & Memories‘, the debut work from Ori, one half of TV.OUT. This 8-tracker
features malevolent electronics, experiments with noise, textures and blood.

AUSGANG A004 / Roseen - Veins EP

Nasty Electro-Acid and Techno from the lost mind of Shinoby including an repetitive & paranoid, spiritual yet sexy psychedelic techno funk remix by Unit Moebius

Silent Season is proud to present Segue's third full-length LP with the label. On his new album, Jordan Sauer explores a new facet of West Canadian natural history. Four thousand years ago, Western Canada's First Nations people migrated into the fjords and rainforests carved out by the retreating glaciation of the last Ice Age. The Island is a tribute to Canada's prehistory and the spiritual journey of a people entering a forever- altered landscape to call their home.

While Segue's last album very much explored a cross section journey of British Columbia from the mountains to the sea, The Island explores the hidden coastlines and inlets that pepper a still- mysterious landscape.

Throughout the album, each song spreads out beautifully as a reflection of the place or thing it's named after and paints a stunning portrait of BC's natural wealth. At first glance it seems like a tourist's guide, but when you listen deeper, The Island blossoms into something deeply personal and moving- a sonic imprint of places in relation to culture. One listen will put you right in the rainforests and mountains that the Coast Salish has called their home.

After starting up the infamous Invites Choice podcast series in 2011 and launching his Invites Choice Records with a debut EP by himself, Tim van Paradijs (A.K.A. Invite) continues with a banging follow-up-EP. The EP starts with a percussion driven, repetitive track by the likes of Spanish producer Tadeo, dubbed Deeyiam. This track lends itself perfectly for those deep yet powerful sets. Zadig is put on duty for A2 and deliverd a straight forward yet funky track named Dr. Fastolfe in which the low, bassy synth stands out and just draws you straight into the track. Invite, like in his podcast series, likes his fair mix of established artists and newcomers to the releasing scene. New to the vinyl releasing game are Dutch duo Moving Thoughts; they provide the EP with the oldschool oriented track Lost in which both the heavy-hitting kick and bass and the evolving and repeating synth stand out. Invite closes the EP with his track Micro which shows that Steve Rachmad influenced both his DJ-sets and productions for a great deal. 4 different artists, 4 different tracks but a very strong and coherent EP indeed!

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Second installment from Belgian electro-label ZwaarteKracht, once again assembling a dream-team of international producers to bring together this extraordinary selection of dancefloor tracks with dark sci-fi moods, dynamically mastered by Karel De Backer to keep those subs moving like they should.

Fundamentum 003 is the second various artist record release of the Berlin based label Atmophile Electronics. All 4 tracks are created by local musicians focusing on playful modular synthesis.

Jessica Kert's opening track is a composition that isn't focused on dancefloors but instead entices the listener into a slowly progressing story, heavily loaded with dreamy synth lines. Next up is label co-owner Sharad Sood with a song that has a powerful kick-bass structure wrapped with complex yet soothing melodic atmospheres.

Leading off the B side is Kangding Ray with a DJ friendly track with a bass loaded punching groove and a friendly, sweet vibe. Closing the record is Naty Seres, the label founder, with a tune that keeps the atmospheric idea of the label at heart but experiments with driving rhythms and darkly resonating sounds.

The title Ghost Frequency works on several levels. I was introduced to the term when I first began learning about recording techniques. It was used (usually negatively) to describe sounds that appeared on recordings due to signal interactions that resulted from “improper” mixing or recording and read as “noise” rather than the “music” that was being recorded. I became instantly fascinated with the phenomenon and intentionally creating these sounds in my recordings by deliberately using supposedly incorrect techniques has become a big part of my composing and recording process, probably the most central and consistent practice of it. I’m interested in how the presence of these sounds, and traditional production’s insistence on eradicating relates to larger ideas about the eradication of vital social practices relating to the dead such as ancestor worship, mediumship and history itself in favor of state and market dictated modes of understanding existence. The internet abounds with references to the the term, but applied to ultra low frequency or “infrasound” which can allegedly be responsible for inducing supernatural perception experiences. These posts from the margins posit a Ghost Frequency that operates on the same level as a radio station, one can simply tune into paranormal activity. It’s also a pun on an imaginary metric of how frequently ghosts might be around at any given moment. The songs on the EP employ (as does all of my music) a large amount of Ghost Frequencies (i.e. sounds that appear on the recording as the result of signal interactions rather than those sounds being performed on an instrument) and they also orient themselves toward interaction with the dead as a necessary component of human experience, and a mode of resistance to state power and it’s accompanying carceral technologies.

Compilation of mainly unreleased Aardvarck material from one of Rush Hour's favorite and dearest producers. It's a beautiful listen.
Limited Edition Of 300. Every sleeve is unique - achieved with a computer generated randomization process for each print. BIG TIP!

Lhasa is the brainchild of Alain Raes from Siegen, Germany. As a teenager he was inspired by Tubeway Army's 'Are Friends Electric' and Art Of Noise's 'Beatbox'. In 1985 he began collecting analog equipment (Prophet-5; Oberheim OB-X; Linn LM-1) as digital synthesizers had started to become more popular. In 1986, New Beat was born in Belgium. Dancers tapped into the darker side of synth pop, and DJs would play 45 rpm records at 33 with the pitch control set to +8. Alain was playing in New Wave bands and had started production work and synth programming for other acts.

In 1988 he self-released the debut Lhasa single 'Acetabularia' / 'Acetatechno', with help from Kris Tremmery on vocals and concept. The record combined the icy melodies of Gary Numan and John Foxx with with the mechanical rhythms of Detroit techno and EBM. Thematically, both tracks revolve around the end of life on Earth, and include samples from 'Dr. Strangelove'. For this first time reissue, we've added 4 bonus tracks rescued from a 1990 recording session DAT tape. These demos show further development of the Lhasa sound with updated instruments (Roland D-20, Yamaha TX16W, Korg 707), faster tempos, and menacing proto-rave energy. All songs have been mastered by George Horn at Fantasy Studios in Berkeley. Each copy includes an 11x11 poster with photos and liner notes by Alain.

Supported by: Speedy J, Luke Slater, Joel Mull, Grindvik, Tommy Four Seven, Tim Xavier, Joseph Capriati, Gary Beck, Mark Antonio, Gennaro Le Fosse, Acid Circus, Alan Fitzpatrick, Chris Finke and many more!

Releasing music since 2009 as Sam KDC, British artist Samuel Wood has grown into one of electronic music's most passionate developers of the outer edge. In recent years, Sam has been an integral part of the Grey Area label and sound, a creative musical pathway that ties a musical bridge between 85 and 128 bpm with crafty polyrhythms. As further evidence of his versatility, his debut LP 'Late Night Innominate' Vol 1 (2015 - Auxiliary) was an entirely ambient long player which found favour across the electronic music world for its emotive power.

Omen Rising, Sam’s debut LP for Horo is also his first full length record to focus entirely on beat driven work. The album further incorporates the occult themes Sam has been using as pervading signifiers since his 2014 EP ‘The Order and the Entity’. Musically, Omen Rising sees the Grey Area sound re built into a hurtling fireball of energy stretching the constraints of what we know as Techno until the straps are blown off. From the hypnotic intro beat march of False Awakening to the wrecking ball propulsion of ‘Trial By Fire’ and ‘Eye for an Eye’, Sam flexes his seasoned ability to create ominous sound-scapes brimming with momentous power. An unmistakeable highlight is ‘Coup de Grace’, the first Grey-men (Grey Area x Amen) tune to be released, using the the infamous breakbeat as the exploding culmination of a volcanic build up. ‘When I Was Immortal’ and title track ‘Omen Rising’ take the energy down a notch and demonstrate Sam’s flair for affective ambience.

Omen Rising is a confident showcase from an artist who has found a defining sound and is revelling in his ability to develop it entirely out on his own.

Through a misty, nostalgic lens of long days and nights lost in front of sound systems, Soundbwoy Killah delivers his much anticipated debut album to Sneaker Social Club. True to previous drops on this and other labels, this is rave romanticism with a bite, as much viewing the good old days with a wry smile as longing for their return. Just listen to the opening strains of “Escape Velocity,” as the MC manages a sticky situation and tries to keep cool while sending the crowd on their way “in an orderly fashion.”

As much as hardcore, jungle, acid, techno and house inform Halcyon Daze, the sonic signifiers of that ‘golden era’ of rave culture are bedded in a poignant, reflective shroud. From lingering pads to distant, reverb drenched vocal snatches, a hint of melancholy hovers over these scattered but vivid memory triggers. Reese bass has never reverberated so deep, sirens never sounded so lost at sea.

The real art in Soundbwoy Killah’s craft lies in the juxtaposition between these languid, introspective elements and bright, sharply rendered arcs of sound that bring the music right into the foreground. This isn’t a pure exercise in nostalgia – stripped of their aggressive armour plating, a lot of these familiar elements take on a new expressive identity. Whether it’s the strafing arps in “Tom Loves To Rave,” or softly nudging the rolling breaks of “Under The Influence” into a downtempo, chill-out room headspace, Halcyon Daze proves how much mileage there still is in these battle-scarred sonic tools.

It’s not all one-dimensionally downcast either – “Heartbeats” is a rude n’ ruff celebration of amen choppage, while “Wanna Hold U” channels the ghost of UK garage with one eye cast back to its US house roots. “All Night Long” finishes the record on a charging high, all tightly clipped tech step beats and bright synths that cast their gaze ahead with optimism. The themes of lost love and fuzzy memories echo throughout Halcyon Daze, but rather than wallowing in the past, this open-ended finishing move springs forward with purpose. One gets the feeling there’s plenty more to come from Soundbwoy Killah.

This is the 4th release on RIOT Radio Records, an independent techno label based in Scotland.Subhead is a completely unique techno act whose sound is instantly recognizable and has a well earned reputation for energetic live shows mixing its core techno ammo with both hip hop sound aesthetics and a solid dose of punk rock attitude.

Their previous releases have appeared on various stunning labels including Don't, Neue Heimat, Sativae, Tresor and its own Subhead & 2CB imprints.

This release has three original Subhead tracks, 'Sod It!', 'YKNOT', 'Slagheap' and a never before occurrence whereby Jason Leach has actually let someone remix one of his own compositions. Who's even capable of such a feet ......... Crystal Distortion of course with his remix of 'Slagheap' which is an auditory event of such magnitude it defies all sensory belief.

The mentalist machine menaces have spoken.

Next strike is the long awaited Green Velvet & MIhalis Safras - Microwave on vinyl. Limited copies and exclusive cut.

Since completing his two-decade-long hip-hop trilogy as Dabrye in 2018, Ann Arbor-based artist and Bopside label head Tadd Mullinix has engaged his arsenal of aliases with renewed heat. First came the debut of X-Altera, a new project flexing a wildstyle hybrid of drum & bass and deep techno. Now, he returns to James T. Cotton, a moniker which dates back as far as Dabrye and helped define Spectral Sound, the dance imprint of Ghostly International. While historically tagged as Mullinix’s acid house alias, JTC has always expressed with a more pliable sense of genre, freely fusing an eclectic blend of classic electronic sounds; helpings of Chicago acid, Belgian New Beat, and the leftfield techno stylings popularized both in Berlin and Detroit. With Indigo, Flesh and Fire, Mullinix moves closer to the latter city, adopting a bright, optimistic tone informed by minimalism and futurism.

"I have been more withdrawn and introspective on a personal level, in a positive sense, and I think that fact has made my creativity reach toward feelings about peace, positivity, fantasy, wonder, and openness,” says Mullinix.

The EP is packed, but still playfully ambiguous; a club-ready set built to max out mixing boards with spacious and nuanced melodies and motorized percussion. Five tracks, each with roughly five-minute run-times, offering all but a few breaths in a quest for highly operative dancefloor hypnosis. The record wastes little time locking in; on the first track, “Innerloire Rendezvous,” a dense square kick plows through a brisk four-on-the-floor routine phasing over harmonious synth stacks of rubbery fifths and sevenths. The title track splatters a lenticular static spray between thumping kick, billowy melodic swells, and staticky clicks, snaps, and claps.

Mullinix’s distilled musical vocabulary, developed by his many years in the game, gives the set a misty-eyed quality without compromising its contemporary merit. This is music, inspired by history but fiercely forward-thinking, that feels both subterranean and airborne; in the grind on the ground and soaring above in an iridescent super-charged fog.

Constant Black regular Michael James back with a killer 3 track EP.

Originally released as part of Perc's 'Bitter Music' album in 2017 'Look What Your Love Has Done To Me' has gone from a vocal experiment to a certified festival classic and the biggest selling track in the history of the Perc Trax label. Featuring vocals from UK electronic artist Gazelle Twin the track has grown in support organically, allowing it time to take on a life of its own, receiving plays from an across the board selection of the world's biggest DJs whilst dominating festival sets in both 2017 and 2018.

Now two years after its initial release it returns remixed and ready to take on the summer of 2019. Taking on remix duties are Amelie Lens, one of the key original supporters of the track, I Hate Models, returning to Perc Trax immediately after his debut album dropped in June and Perc himself. Across the remixes I Hate Models warps and distorts the vocal over a drawn out industrial soundscape, Amelie Lens adds a melodic touch to the original's driving rhythm and Perc ramps up the energy and aggression, floating cuts of the original vocal over a hammering kick drum assault.

The new label SUBJECTED SYSTEMS gives shape to what flourished below.

The new aesthetic is clean, structured, letting the music speak to an audience based on its own merits. SUBJECTED SYSTEMS keeps its ties to the underground scene that gave birth to it but signals its occupation of a different realm than its predecessor inverting the black-dominated color scheme of the underground scene in favor of a predominantly white one.

Are you Vogue enough After contributing her mesmerizing lyrics to Sinfol's 'Crystalline', Barbara Ford now debuts on Anagram with her first solo EP titled 'Sound of the Siren'. From her tense storytelling on the title track, brilliant contrasting elements on 'Fashion Week' and fast paced power grooves on 'Treason' and 'Amotan', Barbara makes it very clear why she made herself a part of the Anagram family with this stellar contribution to the Dutch label's discography.

Cadans' return to the basement. Assembly line robot percussion paired with off kilter melodies and spaced out sinewave bells

David Vunk is on the roll as a dj but also he lives the true spirt studio life in his atomic bunker downtown Rotterdam city. His newest work is a 12 inch on his own imprint sublabel Moustache techno series called "Omega Strap EP". The A1 track "Shadow police" is a pumping TR-808 distorted beat with oldskool 90-ies acid and with a dark obscure men voice in it, underground feel. A2 "Pillensmoel" is a pumping electro techno track with acidfunk, crashing snare drums and a dutch porn female voice live recording. B1 track is titled "Come to the house" a funky acid track with paranoid girl shout, some classic house samples and flanged hi hats. The last track is called "No winners no losers" techno with a rolling bassline, a machine kickdrum topped with deep synths. Picture sleeve design by meinhard, mastered by Rude 66, cutted by uncle Lex. Don't play this if you are under 18.

Impresario bone grinder, Justin K Broadrick, has prepared a new album for release on Speedy J's Electric Deluxe label as JK Flesh. Broadrick has resolutely inhabited some dark and punishing corners of the musical landscape in his three decades of music production. Whether as a songwriter, guitarist, drummer, label head, studio producer or electronic alchemist, Broadrick has defined the sublime overlap of misanthropy, noise and arson-spirited audio. Making his initial marks with grindcore and industrial bands Godflesh and Napalm Death beginning in the late 80s, Broadrick's musical career has arched from blast-beats to head bobbing hypnosis. With a slew of recent releases from his JK Flesh moniker for EDLX, Hospital Productions, Downwards, Pi Electronics and on AnD's Inner Surface, Broadrick has increasingly taken low-fi cerebral sound exploration into techno's polluted ozone layer; drifting amongst violent collisions of rusty space junk and taking aim at the outmoded species below.

JK Flesh's 8-track double disk album for Electric Deluxe continues his assault on the failings and folly of humanity with a bludgeoning tour of dub influenced techno. A study in resolution, timber and distortion, the album's tracks are diverse in mood and groove, but are united by the dark, porous and undulating surface texture of rippling analog treatment. Contemplation of humanity's chances for extinction or evolution provided Broadrick with the mental scaffolding upon which the album's inky and caustic eruptions precipitate. Titles like 'Different Species' and 'Super Human' on the album's A-side betray his interest in futurist's trans-humanist musings, while thumping garage baseline and searing interplanetary emergency sirens anchor the tracks in Broadrick's mastery of noise. The album is generally packed with full-form bass, percussion and machine sounds. Though tracks like the B-side's 'External Transmission' juxtapose rubbery and wiry timbers, like the best of acid, over the low-end's boiling black cauldron. 'Earlier Forms of Life' and 'Macromolecules' take morose side-long glances at the dance floor, but primarily develop elegantly grime-filled grooves under the constricting spacial canopies of hyper-detailed delay and reverb. Surface detail and dusty timbers rake the listener's ear across the minimal composition of 'The Next Stage'. The albums closing track, 'Homo Sapiens', drops you into the hopelessly gigantic hull of ship, echoing with sonar, heavy machinery and dulled low-frequencies as your iron tomb cuts across the dead oceans of our planet, or, as Broadrick has spent his musical pursuit, in search of a new one.

Following Hiver's excellent EP, LET Recordings again welcomes American DJ and producer Jon Hester to their imprint. Currently based in Berlin but with previous spells in Chicago and Minneapolis, he returns to the label for a second EP following 2017's Communication EP, and other outings on the likes of Rekids and Dystopian. His adventurous drum programming and high speed techno style kicks things off with Radiance, a manically melodic track that takes you on an energetic trip. Impermanence is a deeper, more cinematic piece that features rueful pads but still a driving drum line, then Stratospheric has huge, hammering kick drums and squelchy synth sounds as well as dancing keys that bring warmth, groove, and soul. Last of all, this high class excursion is completed with Horizon, delivering barreling drum patterns and edgy pads that trap you in suspense as it races on. All four tracks deliver a high impact techno sound that very much looks to the future.