Techno Новости

WAST unveils a powerful EP, a sonic journey between Indonesian waves and Breton storms. This essential return to his roots - surfing and the call of the open sea - finds him exploring hardware, delivering organic, hardgroove techno. Danceable yet introspective, physical and deep, it's a reflection of a rediscovered identity.

A second outing by French modular enthusiasts Atomic moog on the Delsin Cameron series. On Blue Scale they present four more works of their quirky noodle experiments. It represents their irresistible grooves in optima forma, while keeping it wonky and alive. 'Blue Scale' and 'Landing Point' got that steady and never ending after-hours flow while 'Data 100f' and 'Impulse' are mesmerizing deep dives exploring a more broken side of the pair.

Repress!

This is the debut release on Noir Music from Brazilian K.A.L.I.L.
We have been working quite some time to perfect this first release from him on the label and give it the edge needed to stand out. After tons of road-testing and going back and forth with production ideas I am now happy to have 2 perfect tracks ready from K.A.L.I.L. that really showcase his super solid techno sound and production flair. Involved (co-produced with Any Mello) is a quite simple trip with Any's spoken word in center of industrial elements wobling it and out. This track works really well in the clubs because of its on point minimalism, the high intensity stacatto synths and the catchy vocal line from Any. It's not easy to do big tracks without big basslines - but that's what K.A.L.I.L. and Any Mello truely achieved with this one. Revolved is a track I signed already last year and since then K.A.L.I.L. has been perfecting everything about the track from small details to bigger arrangement improvements. This track has that big bassline that sits right in your face. It also has the right build for those peaktime
moments in the clubs. I have been playing 'Revolved' a lot over the past months and people go crazy for those big bass drops.
We are honored to have another great producer join the Noir Music family and proud to have another belter of a release ready for you.

Repress 2024

Next up on the new dolly TS series is German producer Lars Huismann, know for his striking atmospheric, percussive, groove driven techno sound. "Fractured Realities" is an ultra melodic 4 track chord slammer that hits the nail on the head. Straight up dance floor heaters!

Nearly 10 years on since his last solo LP, Berlin techno icon Marcel Dettmann arrives on Dekmantel with an expansive album captured in a flash of inspiration.

In many ways Fear Of Programming is a reflection on the artistic process – the critical hurdles one has to overcome, the constant strive for originality, the ability to capture inspiration in its pure moment of inception. Bar the closing title track (and we all know Marcel loves a surprise closing), these 13 tracks came together during a period in which our hirsute host was able to immerse himself in studio practice and set the intention to record an album’s worth of material every single day. From the resulting mass of work there were many options to choose from, and Fear Of Programming stood out as one of the most complete statements on Dettmann’s approach in the here and now.

Unconcerned with an overarching concept, it was the work in the studio which drove the musical direction. No labouring over knotty arrangements, no painstaking mix downs – just honest expression, a moment caught, a groove locked, a stroke of synth sent pirouetting over a cavernous bed of texture. The results are varied, and while you might well hear plenty of bruising machinations in line with the techno Dettmann has made his name on, there are plenty of other shades expressed across the album.

Ambient sojourns, beatless epics and angular electronica have equal footing with strident, floor-friendly workouts. Standout piece ‘Water’ offers an icy ballet of swinging minimal and drip-drop melodics fronted by Ryan Elliott on lesser-spotted vocal duties, urging, ‘give me a sign, just a little something to let me know that you’re mine’. It’s playful, but still underpinned with the sincerity that comes with Dettmann’s work.

Running on instinct, Dettmann presents an honest version of himself in the here and now, speaking through the sonics and not over-thinking the results. His decades of experience helming a thousand techno parties speak for themselves, while his evolution as a musical entity through collaboration and his own BAD MANNERS label demonstrate his appetite for change. Indeed, the working method which resulted in the album also spurred him on to create a live set beyond his well-established DJ practice. Without resorting to a conceited overhaul, Fear Of Programming opens up the idea of what Dettmann represents in the modern techno landscape.

It's always good to have Norbak onboard again with this brand new slice of plastic. Four cuts of precise and gymnastic techno aimed for the most advanced dancefloors energetic and intelligent at the same time, as we like.

A side starts with "Tell me I'm wrong" a fast paced hypnotic exercise with adrenalinic synth lines running over complex rhythms, properly arranged in a constantly changing structure.

"Amongst Them" follow, textured flanged sounds running across the stereo field, shuffled beats and lots of space, the definition of how profound techno should be.

Flipping the vinyl, B1 is "Pure and Faithful", funk infused sequences constantly altered in shape, complex grooves and as always a profound structure full of twists.

Last cut in this exercise is "Unbearable Lightness", continuous and repetitive randomized synth lines spiced with lots of reverb over a well crafted drum workout, intense and spacious at the same time.

Another demonstration of studio skills and sound design from this young Portuguese producer.

Glasgow's very own Ten Years Lost returns to his Crash Reserve record label to put some new heat out into the 'underground scene'

4 heavy hitting tracks from the darkside..

Soundscape Versions presents the second installment on its sub-label Mystic Versions with seven unknown cuts by different artists from across the globe - produced and performed by using analog hardware gear.
From ambient soundscapes to experimental bass music and driven techno excursions.

Mastering and Lacquer Cut by Stefan Betke
Distribution by Morr Music

Mutant steppers techno maverick Carrier caps 2024 with a doublepack of the sought-after first two 12”s issued on his own label comprising some of the deadliest, most stripped down twists on club music fundamentals of the decade so far.

As Carrier, Guy Brewer has rigorously consolidated his fascinations with technoid dance music physics to proper, cult acclaim. Distilling the rolling pressure of his D&B work as half of Commix with the granite hewn heft of his techno streak as Shifted, and the finely spaced pressure of his sound design that defined his Alexander Lewis and Covered In Sand bits, the project has come to represent the bleeding edge of club music in a way mistakenly thought lost to a previous era.

The bloody-minded focus on his thing has resulted in a frankly jaw-dropping new sound that still conveys the increasingly rarer rush of the new that we once felt hearing Photek and Source Direct in the late ‘90s, or in the refined rolige of Autechre and T++/Monolake 12”s in the ‘00s, thru the mutations of 2562 and A Made Up Sound, or Raime’s writhing shapeshifting into the 2010s. Fair to say those lineages were fractured by Covid-enforced dancefloor downtime, but Carrier still holds their principles of obsessively tight, syncopated percussion and subbass rhythm programming and proprioceptive sound design close to heart with diehard, visionary effect.

From the squashed woodblock drums and dry concrète tone of ‘Into the Habit’ and rugged techno dub of ’Shading’, thru the tendon-tweak lean of ’Still So’ on the ‘Neither Curve Nor Edge’ 12”, and over to the pressure of his subaquatic shimmy in ‘Coastal’, or lip-bitingly taut 2-step swivel of ’Wood Over Plastic’ on the ‘In Spectra’ 12”; his skeletal rhythm trax dare to dance in lesser heard but wholly vital niches of club music in a way that plays to club needs, not wants.

No hyperbole, it’s just 100% deadly if you ask we, and makes the other 99% of dance music producers right now sound like line-dancing copycats in relief of his sound: a painstakingly chiselled pursuit of the dragon that drove UK dance music - particular the ‘hardcore ‘nuum - to thrilling, inspirational degrees from the late ‘80s thru the ‘90s and into the present. After wriggling our socks off to his new live set on The White Hotel’s faithful rig a few weeks ago, we can only confirm he’s the best to do it right now, and this doublepack is fucking unmissable if you follow.

A total sonic violation yet bewitchingly beautiful, ‘While My Machines Gently Weep’ sits on the precipice of overload, with Orwellian echoes of humanity’s ugliness.

Acid Rejects Volume 1. A minimal sonic ritual which transcends into a sublime 303 and 909 duel.

Pressed on a ltd 12” with the Acid Rejects Vol 1. as a vinyl exclusive.

Mastered by Rashad Becker.

Taken from the Clone Records Sonic Transmutations compilation the trippy ''Darkheart Energy'' by Orlando Voorn in his Frequency guise comes in the original instrumental and 3 remixes from Marcal, the Lady Machine and our own Lenson! 3 different heavyweight techno bunker interpretations, all worthy of the Repetitive Rhythm stamp.

Len Faki returns as Hardspace for part three of his new remix-series, giving his favorite tunes a new life on the dancefloor.

An unusual pairing at first glance, Hardspace takes up Soundstream’s anthem Love Jam from 2006, the kind of Detroit-tinged disco edit to drop in the peak moment of techno set.

Then it’s rewind time to another decade, when DnB-Veteran Alex Reece was remixing Motorcity icon Kenny Larkin. Hardspace’s mix of Loop 2 retains the playful jazzy notes and growling bassline of the original and turns its oldschool breakbeats into a snappy 4x4-groove.

The deadly effective tool that is Andrei Morant’s Simple Addition makes for a perfect base to build upon for Faki’s signature editing style, emphasizing the plastic shuffle of grooving percussive elements while adding some booming low-end.

DJ Rush features with two vocal-heavy cuts on this release: first up the Russian Roulette-hymn I Believe, which sounds even trippier in the stripped-back Hardspace version; then a creepy while sexy mix of Don’t You Love Me that steadily builds tension for minutes before slowly giving way to a seductive beat.

Closing out with a bang, Damon Wild’s Gearbox from 1995 gets a rework: the full power acid-riff is still working its magic but now sounding much more punchy and to the point in this tidied up Hardspace edit.

James Johnson Jr AKA Kukri is one exceptionally talented electronic music producer, composer and DJ known across the world for his hard as nails techno sound. His calm demeanour belies the massive amounts of energy he creates in his highly technical DJ sets and from within the ethereal beauty of his live performances, with many top-flight DJs swearing by his output, dropping his tracks relentlessly throughout their sets.

Continuing with the ‘Limited As Fuck’ series of releases, on our fiercely independent techno label based in Scotland, we’ve got on our heavy duty high explosive under pants for this relentless detonator of a release comin’ at you all the way from across the pond in Ohio, USA. There’s more ruthless techno dynamite in this one release than if you strapped twelvty grenades to a set of decks and pulled all the pins out simultaneously, the roofs are all gonna blow off wherever this one goes KABOOM in clubland. And along-with the three original blast shattering tracks, Lee Holman, making his RIOT Radio Records debut, is on remix shenanigans for the fourth with an aggressively merciless Detroit infused mangling to ignite the crowds even further.

The full digital release also features the original version of ‘Detection’ which Lee Holman accepted an unceasingly intense RIOTous mission to reconstruct.

WARNING: AFTER DETONATION THE RIOT SENTINEL SHALL APPEAR

Dopplereffekt, L.B. Dub Corp, JASSS, SHERELLE and Interstellar Funk on remix duty...

Dekmantel return to Marcel Dettmann's celebrated 2022 LP Fear Of Programming for a remix package featuring five of the biggest names in contemporary club music. Dettmann's unmistakably sleek, focused production style is the perfect springboard for all kinds of imaginative interpretations that touch on techno, footwork, electro and ambient.

Donning his L.B. Dub Corp alias, Luke Slater kicks off the A side by paring 'Suffice To Predict' down to its fundamentals and rebuilds a taut, punchy version out of the component parts. SHERELLE explores a sweet spot between techno and footwork in her natural 160 BPM zone on her angular, reverb-heavy version of 'x12'.

On the B side, Dopplereffekt supplement the cascading arpeggios of album closer 'Fear Of Programming' with their inimitable strain of dystopian electro. Interstellar Funk turns album centrepiece 'Water' into an atmospheric techno voyage shaped out by melancholic pads and fluttering leads. JASSS takes 'Fear Of Programming' further out through billowing clouds of ambience and dislocated vocal impressions, arriving at a bold and pensive closing statement to this heavyweight clutch of remixes.

Mickey Nox is a techno enthusiast, label owner, DJ and producer from Melbourne, Australia. His impressively unique style and attitude towards his constantly evolving productions and DJ sets is dark, menacing and always maniacally exhilarating as he becomes progressively more entangled within his heavy hitting hardware.

Continuing with the ‘Limited As Fuck’ series of releases, on our fiercely independent techno label based in Scotland, we witness the return of the Australian assassin himself with the most rampant, fast paced release we’ve ever put out on our infamous label …….. so far. After the rip-roaring success of his first RIOT Radio Records release a few years back with his double vinyl album ‘Mad As A Cut Snake’, he’s back once more to knock some sense out of, or is it into you?

He’s pulled out all of the bashing implements he can muster into forging this conk buster of a release. Full bore mallets, truncheons, heavy mounted metal clubs and even franticly abused frying pans have all been industriously employed by this long-haired behemoth of an artist for driving, battering, pummelling, pounding, striking, bludgeoning and cudgeling all for the purpose of taking you into his world of being a ‘Hammerhead’.

The full digital release also features one bonus track with the ‘Rough Mix’ of ‘Tropic Corridors’ which you won’t find nowhere else. Rough by name, rough by nature.

WARNING: LISTENING TO THIS WEAPONIZATION WILL ENDUCE FILTH OF THE MOST OBSCENE NATURE

The 'Pavilion' project is a new project/moniker from the artist behind Flørist.

Regal drops the first remix package from his debut album featuring Slam, PTU and Boston 168.

Involve Records boss Regal presents "RWYS Remixes Pt.01" - the first installment of three immense remix packages from the Spanish techno giant's debut album, "Remember Why You Started". Recruiting international powerhouse duo's Slam, PTU & Boston 168 to rework the earth-shattering originals.

Scotland's luminary duo Slam kicks off with their edit of "She Dances Alone". The pair's distinctive tweak is the alchemization of the kick drum, pivoting into a thunderous force. The kick is paired with claps that ricochet above a determined synth line, while the low-slung baseline mists under twinkling keys and sprinklings of hoover noise, giving the rework an old school feel. Uplifting major notes inject brightness & contrast to the track, with the cunning acid line lingering 'til close.

Next, enigmatic Russian twosome PTU transform "Dealing With My Pain", a once low tempo mid-point track, into a primary dancefloor weapon. This heavily industrialised rendition utilises an incessantly deep bass drum while maintaining the commanding male vocal sample. Blistering hi-hats, and a wildly distorted synth breakdown build a brash and dubious mood. The thumping kick drum drives the track forward, looping electrical elements that ring out from ear to ear, surrounding you with wild noise and energy.

Italy's acid techno aficionado's Boston 168 step up to close with their interpretation of "Fearful Nights". In true style, the duo mould the very start of the track to blend with their signature sound. A bumping kick drum and quintessential 303 manipulate the melody, resulting in a far more venomous composition than the original. Sinister synth stabs slice through the chaos with a hi-hat and snare drum combination for extra effect.

2024 Repress

British tour de force Rene Wise is an exciting talent synonymous with hair-raising and hard-nosed Techno. A name that's been confidently claiming its stake in common lexicon with a passion for polyrhythms, forward-looking frequencies and kaleidoscopic beats. It's the mind-expanding potential of his favourite genre that forms the basis of his new vinyl release on Bassiani Records. Drawing on personal experiences of the psychedelic sort, he also cites the role of atmosphere and spatial configuration in the making of his sound, in his own words: 'the space that the music is presented in, is hugely important and there are some very unique and special spaces in the world that capture the true essence of how techno music should be experienced. Bassiani is one of these places.' Well that praise goes both ways, it's hard to imagine a more fitting EP for the club. This four track release is both an homage to the Bassiani floor and a powerful dive into a trippy realm of Techno Wise has spent his years as a musician diligently exploring. A third eye journey across oscillating soundscapes and sonic horizons from the trailblazing techno wunderkind.

LIMITED EDITION OF 300 WHITE LABEL 2XLP WITH EXTINCTIONIST POSTCARD INCLUDED.

The label say:

"In your face new 8 track 2x LP of vicious beat driven heavy electronics from the L.I.E.S. boss. Straight and to the point, "Extinctionist" stands very much in line and continues further in the sonically unapologetic L.I.E.S. Records tradition of the last 15 years. An excellent addition to the catalog, this is music made with the artist, not the public in mind. No concessions made.."