Techno Vinyl New Releases - News

We present a new label in exclusive worldwide distribution, it is Onna Bushi, based in Berlin and with clear intentions. First edition in 12 “Lathe Cut. Three driving techno tunes designed to hurt any dance floor created by “Dinamite”.

System 108 introduces its second vinyl record from resident Kovyazin D, whose works were previously released on the labels M>O>S, Craigie Knowes, Eidetic, Jack Trax and so on. The Belgian New Beat spirit, mystical Acid House and EBM, fat and metal basslines, punchy rhythms and jack percussions - all this perfectly reflects the content of the record and conveys the atmosphere of the second dance floor by System 108 events. Adding to this combination a remix from Cardopusher we get a guaranteed dancefloor killer release! Artwork: Anton Elfilter Mastering: MA Spaventi Studio

Repress

Perc Trax slips out its first cheeky white label in over two years, pulling together two secret weapons from Perc's sets this year. First off Perc Trax newcomer Tymon rips into Perc's own 'Hyperlink' giving it a shot of adrenalin which has been eating festivals alive all summer.

On the B-side Ansome returns to Perc Trax for the first time since in infamous 'British Steel' release twisting Manni Dee's 'London Isn't England' into a grinding mass of kick drums and percussion, layering Ewa Justka's vocal over one of his rawest productions to date.

Second release for this Brussels based organization (Label and parties) run by False Identity. This one focuses on dark and powerful electro, clanging industrial techno and techno body music straight for the dancefloor

Perc Trax's various artists 'Forever' series returns almost exactly 2 years since it's first edition and once again rounds up some of the biggest unreleased tracks from Perc's pre-lockdown sets.

Across the A-side, Perc Trax regulars AnD and Tymon serve up bleep driven techno and grinding industrial respectively, both with all the power and momentum you'd expect from Perc Trax.

Flip it over and the B-side features two Perc Trax debuts. First up UK legend Dave The Drummer delivers one of the most sought after tracks from Perc's sets over the label few years in the shape of '133.33' and Mickey Nox squeezes every last drip of tension out of his synths on 'Filter Metal'.

Repress

Over the past five years, the Paris based queer & female collective has made a name for themselves, fostering the new school techno sound led by residents Parfait, Anetha, VTSS, Shlomo, Hadone & Hector Oaks.

This first compilation album features some of the most exciting Rave figures of the moment as well as new key artists who are some of techno's best up-and-coming artists.

First EP of a Various Artists of 5 to celebrate Possession 5th birthday, featuring 999999999, Hector Oaks, Nene H & Pawlowski.
Second EP of a Various Artists of 5 to celebrate Possession 5th birthday, featuring Shlomo, Varya Karpova, Manni Dee & Myler &Trym.
Third EP of a Various Artists of 5 to celebrate Possession 5th birthday, featuring Regal, DYEN, Anetha & JKS.
Fourth EP of a Various Artists of 5 to celebrate Possession 5th birthday, featuring I Hate Models feat Louisahhh, Wallis, Inhalt Der Nacht & Hadone & Airod.
Fifth EP of a Various Artists of 5 to celebrate Possession 5th birthday, featuring Antigone, OTTA, RIKHTER & Mayeul.

It’s a great joy to host our long time friend and collaborator, Theo Delaunay aka Panoptique aka Constance Chlore, to release his first solo album on Macadam Mambo. Head of the Simple Music Experience label (dedicated to release punk experiment on tape), member of Violent Quand On Aime, Succhiamo, Simplists, Ono Omen and United Assholes, he had previously been part of the “Danzas Electricas” volumes 1 and 3, released a little single in 2019 and curated the “Simple Music Experience Vol.2” compilation in the house. Panoptique stick to what he knows to do the best, to present his stories, singing spoken words, gogolitos deliriums, whispers and rough voices on Minimal Synth Wave ballads or Drexciyan’s Electro bangers, it’s brut, mental, sometimes brutal and so so groovy in the meanwhile. Special mention to his guest Fiesta En El Vacio for her ‘caliente’ featuring on “Menta Y Regaliz”.
Now you know how you find him

* New from THEM, a London based Techno / Rave label who have featured tracks from the likes of Ansome, Perc, JoeFarr, Manni Dee, Cardopusher, Lag and Scalameriya. Gaunt provides four tracks of stark, layered audio exploring areas of leftfield Techno and club music, as well as pushing out into more abstract and experimental areas.

Gaunt re-emerges after his fantastic MMRH EP on Beneath's Mistry imprint with an EP that shows the a more developed realisation of his versatility. Don't Trip EP moves from shuddering dark Techno bangers to melancholic dream soundscapes, via nods to leftfield noisy House music. The beautiful, tortured cinematic sound of the best-to-date work of an exciting new emerging talent.

DJ SUPPORT:

Ben UFO
Randomer
Mosca
Sunil Sharpe
Rennat (Founder/Owner of R&S)
Clouds
Tzusing
Giant Swan
Jerome Hill

First released by Cazzo Film in 2001, ebo hill’s Bonking Berlin Bastards has long achieved the status of an underground punk porn classic. Like the Cazzo productions of director Bruce LaBruce, hill’s vision was both ahead of its time and a playful distillation of 90s and early-2000s Berlin Zeitgeist: queer, industrial, hypersexual, exhibitionist and fueled by electronic music. The story is told in large part by the soundtrack, to be released for the first time on Ostgut Ton sublabel A-TON. The music follows a group of squatters, punks and drag queens as they fuck, party and stumble their way through an empty city at the turn of the millennium. Approaching these themes more through location than plot, the film’s narrative freedom is also a narrative of freedom; between chance encounters and sex in public, atop the maze of roofs in the city’s former East, bent over bridges and moaning in ecstasy at oncoming traffic, pants down in telephone booths, packed into sex clubs, in the shadows of abandoned factories and techno clubs lost in time. Composed by improvisational techno trio AeoX and noise / industrial producer Rouage aka CNM (respectively), the music spans a broad range of appropriately pounding industrial, weird techno, noise, ultra-stoned ambient, improvised dub and electro. It’s a sonic spectrum that connects Berlin’s queer hardcore techno and squatter party scenes from which AeoX and Rouage emerged, drawing a direct line between the likes of Berghain-forerunner OstGut (a primary meeting point for the film’s cast & crew) to the more industrial, breakcore and noise- oriented independent party collectives and locations who provided multiple settings for the film, including Grüne Hölle and Stellwerk.

*Artists:* CNM / Rouage (Kathinka): Born in 1975 and raised in East Berlin. Co-organization of subcultural events since 1998 in Berlin, Potsdam, Leipzig and Barcelona. Experimental music, collaborations, exhibitions and audiovisual shows since 2000.

AeoX: Active between 2001 and 2007. Originally a quartet, then a trio, the group eventually shrank to two permanent members: Alex.E and Hanno Hinkelbein. The latter founded Null Records, where AeoX released two album and numerous EPs. They also released on Mental.Ind.Records founded by former OstGut resident Cora S. Musically, the group experimented with combining improvisational hardware techno, breaks, traditional instruments (guitar, clarinet, piano) industrial and metal.

Ursprünglich 2001 von Cazzo Film veröffentlicht, hat Bonking Berlin Bastards von ebo hill längst den Status eines Underground-Punk-Pornoklassikers erreicht. Wie die Cazzo- Produktionen von Regisseur Bruce LaBruce, war auch hills Vision seiner Zeit voraus und ein spielerisches Destillat des 90er- und Anfang-2000er Berlin-Zeitgeists: queer, industriell, hypersexuell, exhibitionistisch, angetrieben von elektronischer Musik. Die Geschichte wird größtenteils über den Soundtrack erzählt, der auf Ostgut Tons Sublabel A-TON zum ersten Mal veröffentlicht wird. Die Musik folgt einer Gruppe von Hausbesetzern, Punks und Drags, die ficken, feiern und durch die leere Stadt um die Jahrtausendwende streifen. Bonking Berlin Bastards erzählt diese Themen mehr über die Drehorte als über die Handlung. Die erzählerische Freiheit des filmischen Narrativs ist gleichzeitig eine Erzählung von Freiheit: Von zufälligen Begegnungen bis hin zu Sex in der Öffentlichkeit, auf Dächern im früheren Osten Berlins, sich über die Brüstungen von Straßenbrücken beugen, trotz und wegen des Verkehrs stöhnen, mit heruntergelassenen Hosen in Telefonzellen, in überfüllten Sexclubs, im Schatten aufgegebener Fabriken, zeitverloren in Technoclubs. Der Soundtrack wurde sowohl vom Improvisationstechnotrio AeoX als auch von Noise-/Industrial-Producer Rouage aka CNM komponiert und spannt einen weiten Bogen von explizit pumpendem Industrial, schräg klingendem Techno, Noise, ultra-stoned Ambient, improvisiertem Dub und Electro. Das musikalische Spektrum verbindet Berlins queere Hardcore-, Techno- und Hausbesetzer-Party-Szenen, aus denen AeoX und Rouage selbst hervorgingen und zieht dabei eine direkte Linie zwischen dem Berghain- Vorgängerclub OstGut (ein wichtiger Treffpunkt für die Darsteller und Crew des Films) und den eher Industrial-, Breakcore- und Noise-orientierten Independent-Partykollektiven und -Locations wie Grüne Hölle und Stellwerk, welche mehrfach als Drehort und Kulisse des Films auftauchen.

CNM / Rouage (Kathinka): 1975 geboren nd aufgewachsen in Ost- Berlin. Co-Organisation subkultureller Events seit 1998 in Berlin, Potsdam, Leipzig und Barcelona. Experimentelle Musik, Kollaborationen, Ausstellungen und audiovisuelle Shows seit 2000.

AeoX: Aktiv zwischen 2001 und 2007. Ursprünglich ein Quartett, dann ein Trio, dann verkleinerte sich die Gruppe auf zwei permanente Mitglieder: Alex.E und Hanno Hinkelbein. Letzterer gründete Null Records, auf dem AeoX zwei Alben und zahlreiche EPs veröffentlichte. Ebenfalls Veröffentlichungen auf Mental.Ind.Records, welches von der ehemaligen OstGut resident Cora S. gegründet wurde. Musikalisch kombiniert die Gruppe improvisierten Hardware- Techno mit Breaks, traditionellen Instrumenten (Gitarre, Klarinette, Klavier), Industrial und Metal.

9 very dramatic apocalyptic-industrial-psychotic tracks

Massive industrial BANGING hard techno.
Crazy stuff !

Parasian fellow Stephane Laporte joins the Antinote crew with a very introspective and dreamy full length record. kraftwerk gone ambient will be the best discription..TIP

Fear is the vilest of human emotions - it weakens and corrupts, leaving mistrust and paranoia in its wake. In Against the Dying Light, Swarm Intelligence embraces and wields fear, all the while breathing life into its rival: hope. To explore these concepts, Swarm Intelligence turned to horror films for inspiration - choosing dissonance and atonality to create sinister and unsettling melodies, as well as Foley techniques to produce disturbing, unnatural sounds. The results are at times vicious and abrasive, at others acquiescent and almost mournful. Swarm Intelligence's Against the Dying Light marks the first, full-length album on Voitax. With moments of seething tension, unrestrained fury and dejection, as well as glimmers of hope - this record may have its roots in industrial techno, but ultimately it defies classification.

Dark industrial edged Techno. A various artist EP with stomping 4 to the floor material and serious breakbeat chaos. Brace yourself and drop everything you are holding.

The vinyl comes with a sticker of the labels iconic logo.

Tape / Cassette

"No Contact" documents the last nine years of live actions from O/H, the duo of David Foster (Huren, Teste, etc.) and Rich Oddie (Orphx, Eschaton, etc.) with recordings from performances in Japan, Russia, Holland, and Canada.

Limited edition of 99 copies on pink C74 cassettes.

Private Selection's first full length LP comes in blistering form from Santiago Leyba. Recorded in L.A. and his hometown of Albuquerque, New Mexico, the songs on 'Western Vices' are a reaction to some of the bleaker circumstances that exist in these places. Not unlike Santiago's past work, this music reflects the paranoid and altered states that some people live in as a result of their surroundings. It lies in contrast to escapism and revels in dreadful realities to bring to life a highly rhythmic, woozy and disenchanted collection of tracks. The 12 songs are named after characters, landmarks and phrases associated with L.A. and Albuquerque, acting as reference points for the dialogue of sounds that hold them together.

Santiago Leyba has been producing music as a solo artist and in collaborative affairs since 2010. Raised in New Mexico, he currently lives and works in New York City. Leyba has recorded and performed most recently as Santiago (Unknown Precept, Private Selection Records), Western Versions (Pastel Voids), and U.S. Hard (Pastel Voids, Blankstairs).

From the artist --

"Western Vices is meant to be listened to at high volumes."

After realizing we might have pushed things a bit too far with curses and rituals, considering what’s going on in 2020, we’re happy to introduce ‘Still Life’, a new series inspired by photographs by Tomaso Lisca. For the first edition we’re thrilled to welcome Jensen Interceptor, Cardopusher and Lokier for an electro-heavy A side, while Morah, Randstad and Empire State fathom the depths of the more leftfield side of the label on the flip.

Tape / Cassette

A true mid-decade classic, Mica Levi’s ‘Feeling Romantic Feeling Tropical Feeling Ill’ is available once again in this new edition featuring Matt Colton’s re-master and new artwork, for optimal absorption in its lush aetheric flux.
Issued somewhere between Mica Levi’s emergence in 2008, and their recent gush of solo and band releases with Curl and Good Sad Happy Bad, Mica wrote and recorded ‘Feeling Romantic Feeling Tropical Feeling Ill’ around about the time they were receiving award-nominations and resounding acclaim for their soundtrack to Jonathan Glazer film, ‘Under The Skin.’ Naturally it shares some of that OST’s tones and moods, but the results are far more febrile, lush rather than dark and tense, stitching together a tapestry like mixtape-cumproduction showreel of curdled chamber pieces, shrugged hip hop, ambient flights of fancy and gorgeous snatches of strings recalling the intervals of Carl Craig and Derrick May’s seminal ‘Relics’ set going into what sound like early sketches for what would become Tirzah’s ‘Devotion’ album a few years later.
Replete with new, minimalist artwork symbolic of the album’s enigmatic nature, the record’s second wind is arguably ideally timed for the world’s current state of torpor and tentative anticipation, with 60 minutes of figurative, quietly perplexing, evocative melodies that work by inference as opposed to ever beating you around the head with a message. It’s peppered with some exquisite, often unexpected moments that arrive and recede into its matrix with uncanny logic that perhaps comes as close as you’ll get to living inside Mica’s iridescent, endlessly intriguing mind.

"Various Artists - Divide & Rule" album split.

"Various Artists - Divide & Rule" album split.

Industrial techno fine art sound... With a Cyber-Punk freaky attitude.

The new world disorder !

SOIL Records’ first cassette for 2021 comes with sublime work from MOKEN.

Repress

Transparent Red & Black Mixed Vinyl

After 3 years SNTS releases on his label SNTS Records a 4-track EP , getting back to his initial and characteristic sound. Textures, voices, percussions and an intense melancholy surround every track.

proper mixed bag this one.. soothing, grinding, banging, and disturbing!
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New York City by way of Miami, Alex Suarez delivers his debut lp the eight track "Autogolpe" for L.I.E.S. Autogolpe, is a term for military coup initiated by a dictator to take control of an existing government and Suarez uses this loose idea to create the sonic equivialent of the pain, strife, oppression, isolation, and joyous freedom associated with said act. Musically he expands on his prior releases for Bank and Primitive Languages as heavy industrialized sonic beatings sit next to somber passages, oil drum slow beat tribal clangers provide a back drop for screams shooting out of the dark. Musically it paints a distorted picture of world in decline, an exile from another land and arrivial to anothers in chaos or the clinging hope of something better on the other side.

Mystery man MW Parsons takes care of the A side with Altvornorge, a melodic somewhat melancholy journey. Followed by Kusanagi, a mean and quirky slow burner.

On the B side Gluten Vrij and Sushi Delight by party crew Marck bring a more straight forward, percussive and groove orientated approach to the table.

Tbilisian record label is back with 6 tracker various artist compilation, including exclusive tracks from Fractions & Zanias, Alessandro Adriani, Years of Denial, Body Beat Ritual. Vulkanski and Puritan. Release comes in 140g black or grey marbled vinyl in a black disco sleeve with a big sticker on the top, designed by David Gugeshashvili.

Blind Delon is back! This time, we are welcome in the Chapel among the "People of God" for their tenebrous prayer. Synthwave is taking a devilish turn for this release, carried by two electro-rave remixes from Maelstrom & Umwelt.

The EP is comes in a full color sleeve.

A must-have in every vinyl store and haunted mansion!

Recorded live on Twitch during quarantine in the last days of April 2020, this mini album captures the essence of Boys Noize‘s streamed analogue sessions. Raw and unfiltered transmissions brought to you straight from the BVNKER.

Next up on Inner Surface Music we introduce New York artist Angus Tarnawsky to the label. 'Pitched' is first up with its syncopated drum patterns both programmed with electronic drum machines and textured drums played by Tarnawsky himself. Heavy bass and ice cool modular synths lead the track to new territories for Inner Surface. AnD then step up to remix 'Pitched' taking it in a more dancefloor direction while still retaining the original feel of the original with added distortion and twisted melodies as the track unfolds. 'Ad Nauseum' is a beautiful textured track built around Tarnawsky's drums, deep layers unravel to take you into a subterranean alien world. 'Expand Contract' is the most dancefloor cut of all the originals, but it still twists and turns with expert precision, sounding like a jam between Alva Noto and Vladislav Delay. 'Tour Maline' closes the EP with a 5 minute journey of modulating sub bass and ambient washes of glass-like synthesis from Tarnawsky's modular system...

Scalameriya returns to Perc Trax for his second solo EP for the label following on from "Hellzone Megapunk" from early in 2018. As expected Perc Trax's Serbian representative once again pushes his sound forward matching his ear for innovative sound design with his innate sense of rhythm. A-side track "Juggernaut" has already been a highlight of both Scalameriya and Perc's DJ sets since last year and has proved itself to be a guaranteed floor destroyer time and time again.

Flip it over and both "Vicious Remedy" and "Plothole" focus more on steady timbral build-up than instant rhythmic destruction. Both gradually winding up over the course of their first few minutes before peaking with an explosion of energy.

As with "Hellzone Megapunk" the 12" sleeve and release artwork for this EP is a collaboration between Perc Trax's resident design crew Adult Art Club and esteemed illustrator New Tasty. Both worked closely with Scalameriya and Perc Trax to ensure the perfect visual representation of Scalameriya's razor sharp future facing techno.

Big fist in your face! Strong!

Dancefloor killer from the underground Milano connection !

new Milanese label (conceived by old DJs from the Italian underground scene, MNT & Qirex) dedicated to industrial and tribal sick techno, the first release is on 180 gr vinyl and the mastering is from the London transition studio

BLAM !

Heavy Dark Downtempo Hardcore ! Thick kick !

!!! About the color ! !! It looks black but seeing at light... oh !! it's blue !!!

Scanning Backwards, das zweite Soloalbum von Phase Fatale nach seinem 2017er-Debüt auf Hospital Productions, ist Musik über Kontrolle. Mittels der Verbindung von Klang als Waffe und psychologischer Manipulation als konzeptuelles Fundament, erforscht Hayden Payne Wege, auf denen Musik – und besonders Subbassfrequenzen – benutzt werden, das Denken zu beeinflussen als auch Emotionen und Verhalten zu synchronisieren: von Militärtechnologie zu Sound Systems zur Körperlichkeit und Sexualität queerer Technokultur.

Ausgehend von seinem innovativen Post-Punk-Ansatz zu Dance Music – nachzuhören auf seinen EPs für unterton und Ostgut Ton – bezieht sich der Berghain-Resident auf seinen Hintergrund als Gitarrist und Toningenieur. Daraus entstand auf Scanning Backwards eine berauschende Mischung aus gebrochener Rhythmik, Noise- und Shoegaze-beeinflussten Technos, oft mit langsamerer Gangart. Am Ende steht Musik mit Platz und Tempo zur weiteren Ausdehnung, das intensive Brausen von Frequenzen hervorhebend, die sowohl in der sonischen Kriegsführung und funktionaler Dance Music vorherrschen. Im Verlauf der acht Stücke, die eine Kombination aus historischen und fiktionalen Narrativen aus Literatur und Science Fiction im Titel tragen, ergründen Paynes rhythmische Exkursionen unterschiedliche Manifestationen von Klang als Macht – spezifisch im Sinne des Berghains als musikalisches Instrument. Dies reflektiert auch das Artwork des Albums: einem frühen Flyer der Partyreihe SNAX entnommen und offensichtliche Hommage an die Fetischisierung von Machtdynamiken.

In seinen eigenen Worten: „Alle Stücke dieses Albums, gleich welcher Stil, habe ich zugeschnitten, um auf ganz bestimmte Weise im Berghain zu klingen. Im Laufe der vielen Jahre als Tänzer inmitten des Dancefloors und auch während meiner DJ-Sets als Resident bemerkte ich, welche Frequenzen den Körper so richtig penetrieren. Das beinhaltet Sprache, Hochfrequenz- und Hirn-penetrierende Instrumentierung, Sägezahn- und Schlagbohrhammerästhetiken – die hatte ich bis dahin noch nicht so oft benutzt, denke aber, dass sie Einfluss auf das Denken und Gedächtnis haben. Das trifft besonders zu auf einen Ort, der schwule und Fetisch-Geschichte auf unerwartete Weise mit Musik kombiniert, auf fast kultische Art. Eine musikalische und physische Deinstallation und Neuprogrammierung, Psychic Driving und De-patterning, das Löschen und Ersetzen von Erinnerungen.“

Scanning Backwards wacht über die manipulativen Eigenschaften elektronischer Musik (Mantras, Loops, unterschwellige Botschaften) und wie Rhythmus sowohl Bewegung als auch das Denken in Einklang bringt. Ein Puls koordinierter Klang- und Hirnwellen.

Scanning Backwards, Phase Fatale’s second full-length album following his 2017 debut album for Hospital Productions, is music about control. Using the connection between weaponized sound and psychological manipulation as a conceptual foundation, Hayden Payne explores the ways in which music – and sub frequencies in particular – are used to influence thinking and to synchronize emotions and behavior: from military technology to sound systems and the physicality and sexuality of queer techno culture.

Known for his innovative post-punk takes of dance music as featured on EPs for unterton and Ostgut Ton, the Berghain resident draws on his background as both a guitarist and sound engineer to create a heady mix of broken rhythms, noise-, and shoegaze-inflected techno, often at slower tempos. The result is music with space and pace to expand, highlighting the intense rushes of frequencies found in both sonic warfare and functional dance music. Over eight tracks named after a combination of historical and fictional narratives from literature and science fiction, Payne’s rhythmic excursions explore different manifestations of sound as power – specifically within the context of seeing Berghain as an instrument itself. This is also reflected in the album artwork, taken from an early flyer for the SNAX party series and an obvious ode to the fetishization of power dynamics.

In his own words: “All tracks on the album, no matter the style, were tailored to sound a certain way in Berghain – something I figured out through years of dancing in the middle of the floor, DJing as a resident and investigating what frequencies really penetrate the body. This includes speech and high-frequency, brain-penetrating instrumentation and drilling textures that I had not utilized so often before, but which I think also have an effect on thought and memory. It's especially true in a space where gay and fetish roots combine with music in unexpected ways, almost in a cultish manner. A musical and physical deprogramming and reprogramming, psychic driving and de-patterning, the erasing and replacing of memories.”

Ultimately, Scanning Backwards surveys not only the manipulative properties of electronic music (mantras, loops, subliminal messages) but also how rhythm facilitates both moving and thinking in synchrony; a pulse of coordinated sound- and brainwaves.

The Empire Line unleash their demons on 'BAS009'.
When Jonas Rönnberg (aka Varg), Christian Stadsgaard
(part of the Danish duo Damien Dubrovnik, co-founder of Posh Isolation) and noise artist Isak Hansen combine their musical vision, the result is sure to be radical.

Claiming that „the nature of your oppression is the aesthetic of our anger“ right away in the title, the four-track EP sounds like it was recorded straight from a sweaty basement.

Combining cascading rave tropes with noise, anger and punk, this release merges different underground currents. The result is a flamboyant, nevertheless harsh sound collage.

The last in the Rommek 'Set in Stone Trilogy' with 'Metamorphic'.
Various established Blueprint artists transform the atmospheric and intense industrial soundscapes into with their own gripping interpretations.

The METATRON is now out! A live album which publish as the ninth reference Faith Disciplines, a label dedicated to industrial, experimental electronics and noisy shit, which has already released notable references, such as German Army/GeAr or Group. METATRÓN has markedly tekno bases, some of them more teknopunk, kind of Suicide with a rockabilly Alan Vega, or others more minimal similar to Bruce Gilbert’s Dome. But for me the coolest part of the project is the set: piezoelectric microphones makes sound to a 1.8-sheet stainless steel as a bass drum, a stainless steel board with a group of thin galvanized plates, reverb springs, industrial trays and many rivets that serve as “melody” in addition it uses a few accessories such as cages, a drill, steel strips, threaded rods with washers with the same metric, spoons and others. All this sound mass is processed by cheap pedals and pedalboards (digital microprocessors) for guitar, such as the ZOOM GFX-707, or the ZOOM G3XN, with this one, several LOOPS are built in an artisanal way (manual mode) composing the horny danceable bases. No musical instruments, no computers, synthesizers, sequencers or shits (listen, all that is very expensive) is necessary to start to make some beats to dance.