Techno Vinyl New Releases - News

On August 8th 2016, These Hidden Hands will release 'Vicarious Memories', their second LP and follow up to their 2013 debut album which saw the successful collaboration of Alain Paul and Tommy Four Seven and the launch of their creative platform, Hidden Hundred.
After the experimental duo re-surfaced earlier this year with 'These Moments Dismantled', a single featuring Lucrecia Dalt, These Hidden Hands is now set to release the album's single, 'SZ31X71' which marks an exciting new chapter in the groups musical direction and will include a remix by revered Tri Angle artist, Roly Porter.
SZ31X71 will be released via Hidden Hundred, available as limited edition 180g red vinyl with hand screen printed covers and digital download.

For the 23rd release on Pinkman, Rotterdam based Mitchell Goor delivers a 4 tracker of slow, raw and warped Techno. The contrast between unpolished percussive instruments and ethereal melodies reoccurs throughout the release and gets polished and refined by haunting vocal samples and pungent acid bass lines. This gives the record an ability to take audiences on rollercoaster rides through tension and anger as well as hope and promise, powered by permanent, adrenaline stimulating, raw energy.

Amiga Shock Force 2018 style ! An absolute ass kicker !

Kris Baha turns to Pinkman with a standout 5 tracker blending influences and ranging from EBM, darkwave and experimental electronics. What makes them work together is a shared industrial edge, spine-chilling atmospheres and minimalistic vocals. By finding excellence in diversity this record is equally suited for boiling dance floors and home listening purposes.

After unanimous praise for Talker's "Battle Standards" and play from the likes of Ancient Methods, Headless Horseman, Sunil Sharpe, Mumdance, Shifted and many others, Standards & Practices returns with a powerful set of remixes from iconic UK techno artists Surgeon, Regis, and Broken English Club.

Anthony Child kicks off the proceedings with his first remix in a year, and it's one of his best to date. His version of "Battle Standard" takes the track in a radically different direction, building a hair-raising wall of sound culminating in an unforgettable melodic refrain-beautiful and brutal in classic Surgeon fashion. The A2 track is a special bonus: a Talker cut only previously available on a limited edition CD compilation. Entitled "My Favorite Color Is Gold", this is a dark and cinematic ambient take on "(Gold) Standard".

On the flip, Oliver Ho delivers a remix of DJ favorite "Snub Nose" under his Broken English Club alias. His overhaul is nothing short of remarkable - only retaining a segment of the original drum track, he adds a post-punk-esque vocal while a vicious, monotone bassline snarls underneath, sounding like it slithered off of a Big Black LP sometime around 1985. Regis closes the EP with his brilliant broken-beat take on "Battle Standard", stripping the original to its essentials for maximum dancefloor impact.

As with the label's previous EPs from Stave and Talker, this package features stunning full-color sleeve art from acclaimed graphic design studio Common Name, and a limited number are pressed on silver colored vinyl.

William Gibson's prophetic sci-fi novel Neuromancer inspires Mumdance, Logos and Shapednoise to sensational new heights on their 2nd EP in The Sprawl trilogy for The Death of Rave. The trio's EP2 is all about 'Data Flow', or the relay of information between software, hardware and its human agents, triangulating The Sprawl as biologic semiconductors in a quantum network of emerging AI consciousness, parsing their corrupted memory flashbacks of physical ecstasy, excess and synaptic muscle memory into premonitory visions of future hardcore rave.
Arriving at the project's midway point, equidistant to futures past and the singularity, the trio's 2nd cybernetic merger generates pivotal plot twists and an expanded palette of styles in flux between virulent mutations of noise torque, hardcore techno and sci-fi cinematic memes.
Across its four tracks, each producer's recognisable characteristics are strategically subsumed, consolidated to an inseparable, if fractious, energy that describes and manifests the themes and energies of William Gibson's prescient cyberpunk fiction in hyperstitious form.
The A-side picks up directly from EP1 with the synaesthetically-enhanced sensations of Burning Chrome, titled in reference to one of Gibson's first short stories set in the fictional dimension of The Sprawl - the first to coin the word 'cyberspace' - with a turbulent roil of bruxist shockwaves unpredictably punctuated by lush pads, before the cyberpunk terror of Black I.C.E. hacks into the nervous system with visceral, arrhythmic dynamic.
On the B-side, the story really shifts up a gear or five with X System, a breathlessly brutal 150bpm techno assault that sounds like late '90s Dutch rave or NYC bunker techno dialled in via faulty ISDN connection, which makes for a steep contrast with the shocking emotive pathos of the EP closer Online Seance, where the trio fulminate a transcendent vision of cinematic synth noise redolent of Leyland Kirby's Intrigue & Stuff series, but with a vicious digital edge and serontonin-frying euphoria of their own imagineering.
This is the sound of The Sprawl really coming into their own as a thrilling, innovative, and boundary-probing prospect within the noise techno nexus.

PE01 marks a double debut - Pi Electronics rising source of trust concerning electronic music underground events, will release their first homegrown 12". Contraveners are no less than Sawf and ANFS hailing from Athens with their new collaboration project: Vofa.
PE01 will lead you back to the dance-floor with two industrial stompers of high intensity, each initiated by two unsetting though grooving ambient/noise tracks to set you in the right mood.

Closing off the trilogy of 10 Years Of Perc Trax vinyl EPs is the label's first ever 10' release. Drawing together two of the deeper and more experimental tracks from 'Slowly Exploding', the EP pairs label founder Perc with one of his longest influences; Zhark Recordings main man Kareem. First up Kareem brings a touch of deeper Berlin-tinged techno to Perc Trax, built upon a rock solid kick and drenched in moody urban atmospherics, then Perc closes the this vinyl series with a spiralling analogue noise exercise that builds and builds until live drums tear through the wall of bass tones...

Marking 20 years of Prurient and Hospital Productions' concurrent paths, the epic 3 hr 20 minutes of Rainbow Mirror inarguably ranks among Prurient's most compelling statements. While still the blood child of Dominick Fernow, the album's massive scope demanded more hands on board, with Jim Mroz (Lussuria) and Matt Folden (Dual Action) lending their expertise before post-production by Shifted and mastering by Paul Corley cemented this towering work of Doom Electronics for the ages.

Offered up as 'a portrait in perpetual tension', and housed in cover art created as the first collage in the pre-recording era of Prurient, Rainbow Mirror draws on the project's roots in order to locate itself in the modern day. What it finds in the process is that little has changed since Prurient and Hospital Productions' conception in '97 - the world is still a torrid, evil mess beyond control, and one that needs notions like Prurient to try and define its heaving mass more than ever.

Like Frozen Niagara Falls before it, echoes of the old world riddle the long, stark corridors of Rainbow Mirror, too. But here those echoes are more fragmented, distant and entropically obfuscated, emulating the effect of trying to find your own image in a hall of mirrors, or locating yourself drowning amid the clamour of more than 3 billion other people online, all saying the same, mundane shit at the same time.

With a length and intensity proportionately reflective of the world's increasing socio-political tension and rate of homogeneity, Rainbow Mirror holds firm as a space to immolate the senses in preparation for the ever nearing eschaton.

Finally here we are with the fourth release on Last Drop Records, signed by the london-based Stavrogin. 'Collectors' takes a more subdued approach from his debut on Australian label 3BS, focusing on ampdriven ambient textures and digital experimentation. 'Sixty Acres' is a juddering mass of static textures and penetrative low-end, forcing itself to a crumbled close. Title track 'Collectors' is something like the afterglow. Weary and destitute, the track stumbles through heatwave-soaked atmospheres, fragmented voices stuttering like a malfunctioning android. 'Are These Actual Miles' is perhaps the most direct, with its tremors of noise punctuated by a rhythmic pulse. This is a feature Italian duo Ichinen have capitalised on in their closing remix, reducing the track to a warbling, dead-eyed drum workout.

Leyla's 'Parallels & Influences EP' brings together Mondkopf, Positive Centre, Codex Empire & Yuji Kondo for an assaulting 4 tracks of power infused and industrial strength techno.
Mondkopf starts things roling with militaristic snare rolls and off-kilter analog synthesis into a climatic fervor of dystopian scene-scaping. This then is followed upu energetically by the pounding pressure and liquid 303 squelches of Positive Centre's 'Rub'. Crushed out cymbals battle against booming sub bass as a foghorn call rides high above the tempestuous patterns.
Codex Empire's 'Hessdalen' is as slick and detailed as it is ruff and raw. Huge sweeping backgrounds with intense high end percussion lick over a stomping, staggered kick pattern. Yuji Kondo (one half of the excellent Steven Porter project with Katsunori Sawa) brings things to a close with 'Whip Blow'. Bringing his signature refusal for traditional percussion sources - this peaking track pits high level technicality against deeply hypnotic and brooding rhythm.

Welcome to the long awaited 5th vinyl output of HueHelix. This time, we focus on Ryuji Takeuchi, who brings 4 versatile 'factors' to complete the 'Renaissance Artistique' EP. Factor A is no doubt the most straight techno style banger, which Ryuji himself has been dropping in a peaktime of his every set at gigs in Berlin, Rotterdam, Osaka and more, that always takes audience to another place. Factor B shows a strong influence from EBM, noise, industrial music, which can be a starter of a set, with mad and strong break before its peaktime. Factor C is for sure the strongest and hardest track in this EP, with high BPM with crazy acid synth melody. Factor D closes the EP with percussive and synthy aspects. This EP really indicates how Ryuji has evolved for his entire career and where he's heading to. Definitely the one not to miss. Please keep your eyes and ears open, HueHelix never stops.

The Death of Rave are gassed to present the 2nd vinyl release of roiling, computerised No Wave by
exciting pan-European duo, N.M.O. Under the mantra - As Strict As Possible - their 'Tropicalyptic
Excursions' combine militant snares and amorphous SuperCollider shapes in disciplined
dancefloor arrangements, p'raps best compared with a melted hybrid of Powell's cranky engines
and EVOL's mutant rave signals dosed with Low Jack swagger.
They're dead strange, semi-organic dance creatures, stripped to the bare essentials of shifty
rhythm and biting tone, bristling with a concentrated energy that belies their hypnotic, body-
scattering effect on the 'floor.
Without resorting to overly masculine tactics or conventional structures, they carve a path from
kinky, pendulous percussion and grinding globular bass squelch laced with computer gremlins in
the title track, to the bashy, percolated jag of 'Talkingabouttalking' with its metal-tearing build-up,
and over to the whooping industrial bounce of 'Zaragoza Variations', cut loud and clattering for the
B-side by Matt The Alchemist' Colton.
Like the duo's striking 'Nederlandse Maatschappij Ontwikkeling' 12' and 'Dominant Akkord'
cassette for Barcelona's Anòmia label, this 12' is a refreshing inversion and diversion of dancefloor
strictures - getting down with a wickedly raw, awkward and freaky rave flex. If you ever get
the chance, make sure to check their aerobic live shows for a radical take on contemporary live
electronic performance.

This is industrial techno time.... Bloody hard noises and crazy progressives beats... Insane and dirty mediums !

RAAR is deeply proud to present the first full length album from label co- founder Maelstrom, entitled "Her Empty Eyes". Both an evolution of the producer's rich history and an intellectual departure from everything that has preceded it, "Her Empty Eyes" is a work that is uncanny, challenging and meditative.
Continuing upon the cross-media mission of RAAR, the LP is in fact the outline of a sonic novel. Maelstrom describes:
"As a kid I was a voracious reader. I used to live in stories. I used to go to sleep dreaming I'd wake up inside one of them. Sometimes I still do, and this album has been recorded inside one of these dreams.
During the last 12 months, my music started to become the soundtrack of an imaginary novel taking place between 1936 and 1939 in Spain.
The novel depicts the life of Marina, a news photographer covering the war during these 4 years, meeting John Dos Passos and Ernest Hemmingway at "Hotel Florida" in Madrid, Georges Orwell and Buenavaentura Durruti on the frontline, or anonymous volunteers of the International Brigades in Barcelona.


We follow her investigating the death of Jose Robles, a Spanish
intellectual who was allegedly killed by members of the soviet secret police lead by Alexander Orlov, also believed to be responsible for the torture and death of Andres Nin, leader of the POUM, during Barcelona's "May Days" of 1937.
While looking into the murder, Marina keeps on covering the war for international magazines, travelling with the Lincoln Brigade during the Battle Of Jarama or with Spanish civilians fleeing Malaga by the road as bombs fall and planes strafe the ground with machine-gun fire. The story ends with the exile of hundreds of thousands of Spanish refugees across the mountains and the French border in the winter of 1939, and with the death of Marina. The album's title refers to our heroine's untimely demise, and the evidence of what was captured in her empty eyes, burned forever into the film in her precious Leica.
This is not a metaphor nor an essay, this is the outline of a story. It's the listener's place to make sense of it. The context is a civil war. The characters are a photo-reporter, famous writers and anonymous heroes, and my music is its soundtrack."
Recording Process:
« My recording method has drastically changed since I started experimenting with Milton H. Erickson's self hypnosis techniques about a year ago. I went from overthinking every part of the recording process multiple times over, resulting in dozens of versions of each of my tracks, to a state where thinking wasn't part of the equation anymore. Self hypnosis is quite impossible to describe - more than anything, it's a way to fully exist in the present. After a few weeks of experimentation, it became possible for me to record tracks in one take, without feeling any urge to refine or rework them. I would switch on the studio, work on a sound palette, and then press play and record, every day ».
Rather than focusing on club bangers, Maelstrom depicts a future of techno that is intellectual, historical, spiritual and emotional.

Further departing from both the cinematic abstraction of 'Piteous Gate' and the hectic drums of 'Damaged Merc', Berlin producer M.E.S.H's new full-length, 'Hesaitix', is marked by its hyper-ornamented rhythms and a sense of pensive, moonlit spaces.

The atmosphere has shifted, the radical deconstruction of previous releases has given way to subtler interventions, building new structures in strange territories. Shifting from the meditative to states of manic unease, Hesaitix is an unnerving injection into both the social space of club music and the interior space of digital audio fantasy.

How did I become so stupid

A sound can be both formless and over-rendered, like a boneless but fleshy hand from a life drawing class.

What agent could set these broken sounds in motion

A laugh behind an evil curtain. A drummer that's cool and grotesque, a detuned siren. A brushfire under a full moon.

Recorded in Berlin and Umbria, Hesaitix sees Janus resident and PAN staple M.E.S.H. firmly engaged in a kind of sonic world building, a place where the unconscious and the alien intersect.

Planet Rhythm teams up with Rotterdam techno operation TH Tar Hallow and releases a collection of tracks by artists that have frequently appeared on the cult label. Deep down westcoast electronics by respected artists such as Klankman, Charlton, labelboss Thanos Hana and Rhyw. Klankman opens up this 4-track VA with the ominous "Can Not Use that Command On Overlapping Selections". Berlin based Rotterdammer "Charlon" follows up with the heavy arps and outgoing drums of "Profiler". Thanos Hana opens up the B side with the tough techno cut "The Injury Pattern" and berlin based "Rhyw" closes down the varied slice of vinyl with the moving "MKFBTB".

Bestial Burden, the previous album by Margaret Chardiet's Pharmakon project, focused on the disconnect between mind and body, looking at the human as an isolated consciousness stuck inside of a rotting vessel. For Contact, she wanted to look at the other side of the spectrum - the moments when our mind can come outside of and transcend our bodies. In trance states, music and the body are used to transcend the physical form and make contact with some outside force. Chardiet decided to structure the compo­sitions of each side of Contact after the stages of trance: preparation, onset, climax, and resolution.

Formed in 1997, and inaugurated that year with a split 12' from new-comers and label founders, Solvent and Lowfish, this year Suction Records celebrates it's 20th anniversary with the re-introduction of their famed Snow Robots series of compilations. While originally started as a North American answer to UK electronix labels like Rephlex, Skam and Warp Records, a sound that is still a staple of the current Suction Records catalog, Suction's sound has also swerved into new territories, reflecting our love of dark '80s electronic music - synthpop, EBM, and beyond.... Snow Robots Volume 4 features an international array of artists, from Suction Records mainstays like Digital Poodle, June, Celldöd, and Ceramic Hello (with their much sought-after 1982 vocoder anthem), to label-favourites appearing on Suction Records for the first time: Beau Wanzer, Morah, and one of Skanfrom/Sleeparchive's lesser known aliases, Civil Defence Programme.

Das sinistre Quartett Fuckhead sitzt wieder im Tourbus, um den Karren im bald 30. Jahr des segensreichen Bestehens mit kontrollierten Exzessen so richtig in den Dreck zu fahren. Alsdann kommen die schmutzigen Männchen Bruckmayr, Jöchtl, Kern und Strohmann in Netzunterhosen zu Dir, um ihren neuen Tonträger "Dislocation" zu präsentieren. Es dröhnt ein irrer Mix aus Bass Musik und Lärm Rock. Ungelenkes Getanze im Vorzimmer, Vandalismus. Die Männchen stören die Ordnung, wühlen in Deiner Schmutzwäsche, rühren an Deinem Unbewussten, sprechen Dir aus der Seele, damit "es auch Dir einmal besser geht!". Das Plattencover ist ein großer Augmented Reality Trigger. Fremde Avatare übernehmen Dein geliebtes Smartphone, Chaos in der Filterblase. Die Situation ist katastrophal, aber nicht ernst! "Dislocation", die akustische Abrissbirne in der Ikea-Sachzwangswohnung, jetzt mit modernem Augmented Reality Cover!

'We are doing something different from the traditional original/remix format in order to bring something different to music creativity.'


The artists on CAST 005 donated their time, energy and talent in order to create a very diverse and memorable release. If you know anything from the artists listed, you no doubt understand their capabilities and with the release of CAST 005, these capabilities shine through. Take a listen for yourselves and let the music make the impression, not our words.


CAST 005 brings Techno, Noise, Experimental, Industrial and Breakbeat sounds together. Each of the artists have been very busy with touring schedules as of late. What you hear is the vision of 4 artists working together, but independently from across the globe to bring you varied, yet cohesive interpretations of their sound as a whole.

Industrial and noisy Hardcore, offering clean banging bass and a cretain minimalism that could be linked up to some oldchool tribe extreme musics... First full EP for this excellent musician who can jungle with noises grindingsl as if they were acid sounds !

Minimal hardcore and bloody fat hardfloor... minimistic and loud at bass. A bloody good combination to be played with the Radiation Des Sdillons 01:)

From 210 to 248 BPM hardcore speedcore,a pure oldschool environment, melting gabber tricks and industrial sounds... masterpiece

John Cohen aka Dead Fader first arrived on the label in 2016, with It Works 1 - a brace of warping, high energy electronic music compositions that while largely unclassifiable in genre, maintain a gloriously vibrant, emotive sensibility that owes much to early IDM excursions, and the more abstract tenets of the Krautrock genre. That said - the artist cites anything from Kanye West to Bach and back again as informing the decidedly experimental and potentially confounding work - and his latest offering for the Milan based label continues to riff on this open ended mesh of influence to great effect. The original material is buoyed by a formidable remix package, featuring Downwards affiliate JK Flesh - who turns in a caustic reinterpretation of FYI; Roly Porter of Vex'd and Tri Angle fame, who takes on Raw Food; and Planet Mu's Konx-Om-Pax, who's reimagining of Life Cycle closes out proceedings. It's an admirable line up, in keeping with the aesthetic concerns of Cohen's excellent LP - and the chosen artists turn in respectful but wholly personal work - making for an excellent addition to growing Parachute discography. PARACHUTERECORDS.

Industrial Techno powerfull EP. These four Non-stop 4/4 kickerz will destroy teh dancefloor for real !

* Gilgamesh was an ancient hero who stood in the middle during the conflict between the good and the bad side.
The Epic of Gilgamesh is an epic poem from ancient Mesopotamia. Dating from the Third Dynasty of Ur
(circa 2100 BC), it is often regarded as the first great work of literature. The record is split up into
2 moods. There is "fire" on the A-Side and "water" on the B-Side.

A1 -
Might remind of a wellknown homework tune by a french duo combined with the quirky tempest of an old djax up
tune and the wonkyness of 1997´s sativae world. The tune was created with a magic machine from Sweden. Analog filter sweeps and bleeps are the crown of a solid bass fundament and are companied by synth leads which rather are guitars screaming into endless space of the club inside your head. this is the "survival of the twisted".

A2 - Saphrax: vocoders on top of your idm beat fundament and drum and bass style reece basslines
which are faded and cut in each other. a quick rollercoaster trip

A3 - Part of the "Dunkel" concept album which is loosely spread over various records. Dunkel35 is a techno tempest with another warhammer 40 k allusion. The listener experiences metallic frequency modulation effects, a tempest of sound with almost hearable promises of bass and the secrets of the unconsious rave while we travelling through the warp . Phasers, Pan effects and choirs from beyond make transform the overall image.

B1 - Underworld Metropolis: The title might already suggest it, the kicks and snare drums as well as the synth leads confirm it: Between submarine detroit like aquanautics and dutch electro experiments the track is a hommage to the
wonderfull works of a cologne producer who suddenly left this world in 2003.

B2 - Underworld Metropolis ( Clubmix ):
Same concept, less melodies, more hypnosis, glitch and
: fat. the clubversion of B1

Bubbling up from his post-everything cesspit, $hit & $hine cups another killer album boff to the grill of Diagonal with Total $hit!, his second LP and 3rd full release for Powell and Jaime Williams' indomitable imprint.
A rancid ruck of rock 'n roll and industrial entrails squeezed for sustenance and sploshed with classic '80s disco, Total $hit! is nothing if not a definitive Craig Clouse record, insistently playful, scatty and demented in equal measures, but with a couldn't care less attitude that's always refreshing and welcome around these parts.
Following his grindcore lash Teardrops for Riot Season, this one is a return to the heavy truckin' styles last heard on Everybody's A Fuckin Expert with Mego and Good White Good Green for Glasgow's Heated Heads, depositing nine examples of his nonchalant style at its most distended, unsettling and, funnily enough, its most funked-up and effective.
He makes a big entrance with the blind-drunk swagger of Hot Shovel trammelling rabid tribal drums, grunts and pitched voices in a febrile hot mess, before Chklt Shk possibly betrays his no f**ks attitude with some of his canniest, adroit tweaks applied to what sounds like Anthony Shakir and MMM fighting over the last cubicle after a plate of bad seafood, then it's back to twisted smiles and buckie-sloshing skank with the acrid disco nip of Long Island City.
The record's longest, murkiest section follows with the Jacko-shampling Dodge Pot dispensing a slimy hot streak of flatulent mongrel boogie that perhaps outstays its welcome, hence the entrance of two squabbling lasses who tell it where to go, which leaves us with a version of the recumbent coke standard White Horse ready for the knacker's yard, plus a trio of saltier, off-the-wrist jags that only serve to agitate and infect the sore he's been prodding at 'til this point.
Let's be fair: Total $hit! is not big or clever but, it is messy and fun, like the soundtrack to a lock-in at a boozer exclusively full of mad c*nts who were chucked out of every other place.

Inspired by life on the touring circuit, this EP takes its name from a night the producer spent in Sliema, Malta. Produced to mirror the frenetic movement of (night)life on the road, the album jumps violently between poles of darkness, familiarity, paranoia and comfort in the club.

Konstruktivists is nevertheless than Codex Empire ... this Industrial band is his originas...and the one from a bunch of other surprising things... like mebers of Whitehouse, Founders of Third Eye Foundation or publishers of Impulse... 80's Indsutrial mafia baby ! But still active. Record comes in a printed sleeve and poster and inserts etc... BIG UP !

Superb LP, Hands back vinyl means a lot... And is not a big surprise. This Ontal release is a pure industrial noise exploration and repetitive beats. Winterkalte, the label manager knows about that like nobodyelse... and producing this even more powerfull dancefloor noisy techno is a great good idea ! Also check the Visual:) great and industrial !

LTD 200 copies!
"Devianza" is a new way of conceiving electronic music, a sort of 'sonic socialism' which involves the sharing of music projects developed by Blackwater Label. I Droni A Torvajianica" is a melodic techno track with hints of acid. It was written and designed in a summer day at Torvajanica Seaside between two lovers who shared passion for Drone music. The funny title sounds like the guys were imagine drones in this place and tell each other: 'Ehi look at that drone passing! Cool Ah!'. "La Torre Del Greco" is the continuation of both technical and emotional of the first track. This was written and designed in honor of a destination, a physical place called Torre Del Greco near Naples. But it is also a reminder of something far away in time, nostalgic and old, as well as the piece in its sound expression. Mio Nonno Era Un Cavallo" is the piece that closes the EP in a transversal way. A chasm sound rich and vibrant with a deliberately enclosed in a bubble, feeling appeal to the use of ketamine to which we refer. The pun in fact refers to the use thereof as an anesthetic for horses and more widely used as a drug.

upcoming vinyl release by wosto november 2017
industrial techno, dark synth-pop and crazy vocal style.
wosto generated a 6 tracks mini album with his toy machine instrument park,freaky trumpet and critical vocals about the meat industry from himself.
180 pcs. vinyl with limited handmade tar optics style cover
keep it zwiebelmett

***
serpentine butterflies
trickle to his chin
ceaseless punches
fall like moribund rain
cracked bones clang
like splintered glass
again and again
***

Novo Line reprises the meter-messing genius of his Movements album with the Dyad mini LP - a brilliantly uncompromising follow-up for Ecstatic. Exclusively using the tools of '88/'89 professional recording set-ups - namely the Atari ST, but with a slight algorithmic alteration.
While it's increasingly hard to find new tricks in old gear, especially with the resurgence of hardware fetishism and the ubiquity of DAWs, that's exactly what Nat Fowler has been doing for the best part of a decade as Novo Line. By, in his own words, 'misusing one algorithmic composition program (not, by a longshot, a professional music production tool of any epoch) contained in 208kb of data on a 3.5' floppy disk',
He generates and explores new permutations of old music which, ironically enough, sound fresher or at least more innovative than a lot of new music in circulation right now.
Inputting ever-changing parameters of melody, and 29 year old algorithms, the machine's voice is live-mixed and presented un-rendered as maxed-out waveforms via 1MB RAM, resulting in a severely compressed and combusting effect that leave mastering and sound engineers the world over scratching their heads in puzzlement. However, the effect is equally enthralling to anyone whose ears have become overly accustomed to contemporary emulations of 'space' in electronic music, and genuinely sound unique in relief of the contemporary field.
The release poses a playful question: can a record be ambivalent as to which speed it should be played
Celebrating vinyl and futhermore physical media, the listener is encouraged to find their exact speed of preference with the RPM toggle and pitch slider, that nearly forgotten joy in modifying speed in real time without a CPU mediating between the listener and sound; some tracks stumble heavily at 33rpm like boulders in the tumble dry, while others flash by at 45. In the taut, recoiling thud of Monad, thru the frenetic pop edit of Ennead to the 'floor-curdling prong of Dyad Marcia on the front, to the forceful New Beat mutation Tetrad, and the mind bending Melpomenean Dyad which closes the LP, its some heavily challenging but deeply satisfying gear that seriously yet playfully messes with convention.
Essentially Novo Line is revelling in the pure spirit of computer music and the sonification of dance music as we know it - born in the '88/'89 phenomenon of techno-house music, including its Industrial/EBM precedents, and its New Beat/Euro House offshoots. And like John McCusker's delectable artwork of a beige room and monitors interwoven with tubular, computer generated follies, Novo Line provides a captivating perspective that shortcircuits nostalgia's illness to result in a killer vaccine against/for convention.