Techno Vinyl New Releases - News

a megaphat record !!! already supported by oscar mulero, james ruskin, surgeon, jim jones, ...

Deconstructed EBM from the Nous affiliate Spoiled Drama kicks off the new Science Fiction compilation - 10 tracks of crazed machine grooves further diversifying the Science Fiction's exploration into synthetics. The opener driven simply by an obnoxiously saturated digital drum machine and a mechanical body music bass loop simultaneously hints to late 80s darkside Chicago roots with hard flanged hi-hats and a detuned string machine.

Across four bristling cuts, he is the first to represent the label's dedication to classic techno with a modernist twist. Human Image further refines Manni's flair for constructing hypnotic techno that surges with detail. The four tracks provide a vivid dip into the dancefloor, placing you firmly in front of the speakers, head first into a manic dance. With previous releases on Black Sun Records and Perc Trax, as well as support from the likes of Surgeon, himself an inspiration for the label, Manni is the perfect artist to launch Leyla into the world. From the blistering roll out of 'Symbiotic' to the hypnotic pound of 'Bring The Brave In', the swung rhythm of 'Pascal's Gambit' to the cavernous inferno of 'I Was Desire', Human Image is a reflection of the bodily pleasures of techno. It is what you'd see if you could hold a mirror up to dancing devotees at any rave worldwide. It is, like Leyla's own occult origins, both light and dark. Leyla is a brand new label dedicated to recapturing the authentic feeling of techno from a specific era while retaining a modern touch. It's a platform for the music to grow with inspiration from a wide range of styles - industrial, folk, electro. Leyla brings it all together for a new generation.

First lp release. Recorded live on 23th october 2015

3TH records is a Berlin based Techno and Electronic imprint founded in 2013 by Ascion, D. Carbone and Lucindo.

* The first vinyl of the year is the first step towards knowledge, after the last step we had moved into the darkness.
We've fallen many times and we reacted, we moved forward. For this reason the forthcoming release is called 'La Caduta Di Lucifero' ( The Fall of Lucifer) as homage to the white energy to come and the end of all evils.

* Produced by the acclaimed Codex Empire and the young, talented artist Unconscious.

* A dark and obscure texture with melodies to touch the inner places of the soul. A record designed for vinyl collectors as much as DJs

* The EP comes with a Codex Empire remix which gives the missing dance attitude to the vinyl.

* 'If God listened to the prayers of men, all men would quickly have perished: for they are forever praying for evil against one another'. Epicurius

Luciano Lamanna & Cosimo Damiano, known together as Assalti Industriali, release a split EP on Love Blast. Four tracks of heavy acid techno, an assault to the dancefloor on 4/4 to put your head into the speakers.

The 10th Modal Analysis release is the second full EP of the label's co-founder, ANFS. Mass EP demonstrates ANFS unique sound aesthetics, offering tracks to satisfy the most demanding music-heads. Mass#1 is a sadistic composition of distorted percussions and basslines hitting hard in a slow rhythmic groove , while Mass#2 stands closer to the dancefloor thinking norms, without though leaving behind any of the creepiness of Mass#1. On the flip side, Mass#3 brings back the mood of a horror movie soundtrack, with bleepy riffs on the leading sequence. Finally, Mass#4 is another rhythmic industrial composition, which connects Mass EP with the traditional eastern influences that can be found on ANFS debut release, Ground EP.

Cem Oral (jammin Unit) with Thomas Mahmoud and Gerald Mandel
Bitcrushed Noise, Experimental Beats, HipHop

For almost two decades Dave Paton has been dredging the recesses of his mind for electronic inspiration. The findings have been fantastical, freakish and formidable; all ways of describing his latest outing. "The Great Pretender" straddles electro and techno, staggers between ambient and IDM and swaggers to its own bawdy beat. Rasping rhythm patterns are rinsed in ragged roars, charcoal chords are conjured before being crunched as The Wee Djs has his fun across five tracks.

Debut release by Shredder on own label Tropical Goth. Limited to 200 copies.

Third chapter of the superb project run by Sciahri (Opal Tapes / Ilian Tape) and Emanuele Porcinai (on Contort as WSR)
Limited copies only

Third chapter of the project run by Sciahri (Opal Tapes / Ilian Tape) and Emanuele Porcinai (on Contort as WSR). UNKNOT03 features explorations of dense and warped rhythmical textures ('Strain', 'Vapor'), combined with fast-paced and propulsive pieces ('Lockt', 'Corrosion'). The sound palette remains consistent with the previous releases, where raw synthetic sequences are deployed to shape grooves and melodic lines and to ultimately create alienating artificial soundscapes.

* Inaugurating the New Magnus Opus series of limited edition vinyl EP's on Khemia Records are two dynamic producers at the vanguard of the future techno I Hate Models and Vittorio Di Mango.

* On the Solar Side I Hate Models delivers 'Cyanure Dance' an epic voyage of full emotional intensity with an insistent acid bass line, psychedelic punk wave distortion, stratospheric arpeggios and ethereal vocals courtesy of the artist himself.

* On the Lunar Side Vittorio Di Mango present 'Epilessia' aimed straight to the jugular, a peak-time dance-floor destroyer constructed with machine gun precision over crystalline snares and opiated vocal reverberations.

* Between them they form the Nigredo Edition.

ussell Haswell strikes bone on this 2-track, 20 minute follow-up to the napalm massage of 'Conceptual nO!se' for Poland's Bocian label, and his fearsome split with Pain Jerk for Editions
Mego. It also marks his return to the catalytic Diagonal imprint after the deviant blatz of his '37 Minute Workout' LP in early 2014, which was hailed at No.11 in The Quietus albums of the year so far. 'Double A' renders Russell at his slyest and most honest, presenting spasmodic, un-edited improvisations belying influence from the pivotal epoch of diamond-cut '80s freestyle, industrial and Detroit techno. Depending on your perspective, they're either splintered, tetchy DJ tools or skeletal nO!se inversions. Either way, they bristle and spark with a compulsive nervous energy and disciplined impulse control that's Haswell to the core: challenging, uncompromising and bloody crucial. On the A-side, 'Foxy' sparks manic hi-hat chatter and bruxist squall masticated with unpredictable intensity, angled and affective like a box of knock-off fireworks hoyed at the 'floor. Stand back and watch 'em scatter. On the flip, the mercurial sleight-of-hand at play in 'One Take Dub No Edit' gestures the hard-ass chops of 12' bonus beats and the show-off breakdown edits of Carlos Berrio or The Latin Rascals. A non-stop, one-shot flashback to a vital time when futurist Latin freestyle and industrial funk were the dancer's choice. The 12' vinyl is due to arrive on Diagonal around the same time as Russell's incredible collaboration with Philip Best's consumer Electronics for Dirter, all surely cementing his position as one of the world's most valued and necessary techno mutants.

Please note this is not a new studio album but a compilation of previously released Regis productions and remixes for BEB, plus three previously unreleased cuts.

Next on the cultish Editions Gravats, Low Jack slashes and burns thru a stack of choice french hardtek and dutch/ german gabber selected by his partner in crime, Jean Carval.
Dissecting and then stewing the crusty scally sound of late '90s continental Europe in its own juices, the results are cooked up into 42 minutes of oblique, pulsating savagery bound to leave bits in your teeth.
Swallowing the raver's spine whole and spitting out the marrow, Nation De La Boue is a severely warped take on an already severe sound, masticating the rotten entrails of classic Cavage and Hangars Liquids-associated acts - UHT, Saoulaterre, Yann Dub, Bambule, No Tek - and transforming them into a disfigured and contorted mind gurn laced with lysergic voices, mutated hyper-rhythms and K-holing trapdoors.
If you've never heard a 3m tall, 12m wide soundsystem play 200bpm hardcore at 7 in the morning,
you basically haven't lived. However , as that means 99% of folk are effectively just walking dead,
this tape offers scant opportunity to actually grasp life by the short and curlies, provided you have the required soundsystem and an abandoned airfield to run amok at daft O'Clock. Although your bedroom and a battered boombox with functioning tape deck will definitely suffice, too.

Rimini, Italy's Simbiosi rip out their first 12" proper on the Cosmo Rhythmatic label after leaving a wide berth since their debut 3LP shockout, Elements for Actress' Werk Discs imprint in 2015 and a subsequent appearance on Actress' DJ-Kicks mix. In a fiercely condensed session of hardcore techno thistle and knackered throbs, the Indastria EP slugs like a rusty Italian motor with a wonky cam shaft, constantly threatening to spin out of control with each gear shift but kept on course by way of backstreet-mechanic engineering
It's grim and remorselessly underground material, banking the escalating NPLGNN-style filtered noise of HRD90 at the front and cycling thru the bombed-out doom core trample of Indastria to the depressive collapse of Eve with its carmine horror pads on Side A, then spluttering out the tarry churn of Dicentra and chaotic inverted bass drum pressure of Teiwsjh to round out the B-side and leave no doubts behind their primitive intentions.

Berlin experimental techno duo These Hidden Hands recently teamed up with Lucrecia Dalt for a 12 on Hidden Hundred, These Moments Dismantled. The abstract sonic terrain plotted in the eponymous first track finds its logical conclusion on the B-side, where tension and release oscillate in a harrowing groove. The artwork, created by Jesse Draxler, adds another layer of apocalypticism to the package.
(Electronic Beats)

Shadows aka AnD remerge after their unforgettable debut on Shifted's Avian imprint in 2012. The long awaited return finds its home on Leyla Records, in the form of four diverse yet cohesive experimental cuts that take the listener on a journey through the oppressive, the rhythmic, the funky and abrasive.

Fear Of The Imagination commences with a paranoid piece of intense, evolving noise and rhythmic splattering. A spellbinding sense of woozy psychedelia entrances the listener with deconstructed drums punctuating the piece. The improvisational feel to 'Leaves In The Wind' sets the precedence for the non-conformity that flows throughout the EP.

Track two, 'What If They Are Watching You' sits somewhere between Nine Inch Nails and The Sprawl, with rhythmic intensity greeting the listener immediately at 120 BPM. Masked and ominous vocals creep in and out as metallic sound design washes over the track.

Track three 'On A Mad Train' is possibly the groups most experimental piece to date. Droned out guitars and ascending synth lines create an progressive palette that maintains masterful musicality dowsed with menace.

The closer 'Lights Out' bursts with slapping synth lines and a distorted kick which acts as the frame for the bed of noise. An ideal closer for an EP that exudes originality on a label that continues to push the boundaries.

Classic crushing industrial noise / power electronics from 1983!
A limited vinyl edition of legendary noise act RAMLEH's side of the classic split-album A Return To Slavery album, originally released in 1983 on Broken Flag. As the original record was a split, this reissue fills in the other side with Ramleh's The Hand Of Glory EP.

Poverty Is Violence kicks off 2017 with a 4 track EP written by a well known soldier of the house / techno scene, Having notched up releases on numerous go to labels, he has established himself as one of the most consistent and talented artists of the last decade.

Covariant (his pseudonym for Poverty Is Violence) takes the tougher driving elements of forward thinking techno and merges it with the house sensibilities of early Chicago and New York. He delivers 3 storming tracks that come with a killer remix from Poverty's other secret warrior of the dance, XXX.

A1 Hum, combines killer distorted synth lines with huge pounding kicks driving along at a rate of knots, and having been extensively road tested it's safe to say it kicks hard on the floor.

A2 Devils Drums is a psychedelic drum work out that sounds like it was produced by the dark lord himself. Rolling distorted hats, snares and kicks tear your face off like John Travolta on crystal meth. Proper food for the dance floor.

B1 Hum (XXX remix) XXX returns to Poverty with his killer synth antics. Waves of heaviness attack your senses like soldiers storming a beach -it's pure dance floor murder cultivated and designed to destroy the floor and your mind.

B2. Druggy Drum is a pounding melodic acid workout. A funked out backline and drugged out rolling beats keep the workout chugging whilst spacey atmospherics encompass you as the track rolls forward with an abstract, ever developing Mills-esque riff - killer stuff.

This ep is already supported by those in the know including, Delta Funktion , DJ Pete, john heckle, Bas Mooy, Ben Sims, Charlton, Shifted, 65D Mavericks, Kamikaze Space Program, James Ruskin, Simon Shreeve / Monic, Stranger, J.Tjin, Damcase, 138 and many more.

Limited to 300 hand-stamped white labels

* Comprised of Australian artists Mark Groves and David Coen, 'Go To Hell, You Bastards !' is Seeping's debut release on Resistance / Restraint. Sparse and crawling vocals layered against serrated rhythmic noise.
* Mastered by James Plotkin (KK Null/Khanate)

Deconstructed techno music. Massive sub bass drums echo as modular pistons squelch in dehumanized sufferance. Pensive visions of an industrialized planet too far gone. The third release on TEARS OF JOY (the label run by one of the members of PACIFIC HORIZONS) . Limited edition of 200.

One half of Scottish duo Clouds, Perth Drug Legend tear off a solo EP of rugged, apocalyptic bloke-techno. Stunners, all of them. Freak genius at work.
What more can be said about Clouds, young prodigies who have put out as much innovative techno in the past few years than anyone. The story takes a twist with a wealth of material being released by PDL, hot off a remix of Tiga's Bugatti and releases on Resin and Westend Communications. The sound is reminiscent of Ghost Systems Rave, but there's the feeling that things have gotten even more refined, something that smacks of a real subcultural movement.

Opener Balquhidder Ruins is a stomping gate-crasher, the tempo pulled back just enough to feel the grit of industrial funk, everything restrained to it's bare essentials. Monzievaird swings heavily around a few twinkling bleeps, sparse, chunky kicks that thunder through the greased hats. Pushing things even more into the dark corners with overdriven, haunting resonance is Clackmannanshire Crusaderz, which sounds like the soundtrack to being blacked out on the ground in a Berghain tunnel. Thisistullohnottibetpal adds a mystical, multi culti dimension with some mountain flute inexplicably soaring through the air before a bell breakdown zens things into a forceful yet tranquil climax.

If that madness weren't enough, there's a digital bonus track which is an absolute bomb if you're into lower tempos and hip hop inflected bangers.

Stunners, all of them. Freak genius at work.

Raving sound Live set from Anna Bolena, dancefloor dirty sound on a beautyful marbeled vinyl !

Haraam (Arabic for forbidden, the opposite of halal) is Copenhagen-based noise artist Martin Schacke solo project. Going on since 2014, he has released a handful of tapes on underground labels as Fallow Field and Cønjuntø Vacíø as well as on his own Moral Defeat.

Largely inspired by the refugee crisis and changes in the political environment in northern Europe, these six tracks are a perfect blend of bass heavy rhythmic noise, lo-fi industrial techno with a great focus on atmosphere, droning noise and concrete soundscapes from the Middle-East.

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.

Deadly double-header from the iDEAL ranks, pitting Dungeon Acid in a split face-off with the maelstrom hisself, Russell Haswell. Expect deep-raved techno and n0!se of the most potent order, delivered in 'floor-sized portions!After a run around the houses of Fit Sound, Börft, Stockholm LTD, Klasse Wreckes and Ufo Station
Recordings over the last six years, Jean-Louis Huhta nails his strongest Dungeon Acid sound in both parts here: going deep and long with the stealthy modulations and grittily fluid, almost proggy drive of Acid Moments In Time And Space, and then like some long lost Mike Dunn or KMS banger with the shivering rimshots and thunderous acid undertow of Youth Against Fascism ('cos everyone knows Nazi's can't dance).
Switch to 45rpm on the flip and you'll find R. 'aswell on filthy good form in both parts: stewing some proper acid n0!se reflux in the gut-kicking iDEAL tape try (take #2), before the gloves come off for the unmetered squabble of iDEAL n0!se for tape, where his fascination for high freq Japanese power noise really comes to the fore with excoriating effect.

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.

Label debut from mysterious Poland-based, Always Human Tapes, recording artist. Dark, atmospheric techno and heavy, gothic electro beats. Stamped, white label release in custom screen printed jacket.

London's avant prism-pusher Dale Cornish debuts for Rabit's Halcyon Veil imprint with an acute distillation of pointillist rhythms, stark noise and contemporary politics in the barbed bouquet of Cut Sleeve, following a multi-pronged attack on 2016 which saw him issue singles with Where To Now and The Wormhole, plus a remix of Billie Ray Martin and a guest vocal on Powell's Sport album.

Stripped to the barest truth of biting drums and his own vocals rent within acres of negative space, when compared with his run of solo aces for Entr'acte and The Wormhole, the six tracks of Cut Sleeve conversely amount to some of the most corporeal works in Cornish's solo catalogue whilst serving to neatly intersect the Halcyon Veil aesthetic from both mutual and personally developed perspectives.

Dale wears his politics explicitly and suggestively on Cut Sleeve. Starting with the nagging reminder that 'in 2016 it is illegal to be gay in approximately 75 nations and regions around the world' delivered in acrid noise and a slurred tone that makes sure the message rings out slowly and uncomfortably, the session presents in reductionist take on UK and US club music in brittle, certain, and uniquely, drily f*nked-up terms, taking on skeletal steppers templates in Cut and chasmic darkness on LW or Vauxhall, before feeding his own, bestial vocals back into the mix with a blend of glossolalic deviance, cryptic poetry and stoic funk in Emperor Ai.

Mumdance & Logos cut deep into the uncanny valley between grime, noise and ambient musics with the shockingly diverse Weightless Volume. 2, volleying five tracks from label fammo FiS, Shapednoise, Inkke, Sharp Veins and Yamaneko, plus the duo's own, frankly massive Cafe Del Mar zinger.
With the label still hot from the Mumdance & Logos Presents Different Circles mix CD, this EP touches base with five new artists whose individual sounds have been crucial to the make-up of Different Circles' club sets and on Mumdance and Logos' respective Rinse FM shows ever since their label's inception.
You couldn't ask for a stronger indictment of where Mumdance and Logos are right now than Cafe Del Mar; an outstanding piece of work stacking lush modular synth pads to the rafters and socked with cavernous, inverted kicks, forming the closest you'll ever get to a weightless sunset anthem from these two original nuttahs.
Trust their bandmate in The Sprawl, Shapednoise, to twyst hard away from that sound with the invasive contortion of Deep Core Consciousness, which feels like the first efforts of communication from a neural network of heavy machinery, and is proceeded by the impeccably smooth contours and thizzing glassy licks of Yamaneko's Shadow Temple.
On the B-side, Kiwi producer FiS follows his exclusive contribution to Mumdance's Fabriclive 80 mix with a deviant diffusion of the elements in Angels Of The Water Table, while Glasgow's Inkke shoots from the hip with the blinding hi-wire hooks of Pioneer on a boisterous, beatless grime flex, and Alabama, USA's Sharp Veins holds a bittersweet suspense to the edge with his dizzying mini string symphony, Already Bones.

On his thrilling, wide-eyed debut for Rabit's Halcyon Veil, London-based IVVVO gets deep under the hood of rave music's emotive mechanics and reasserts his crucial role in the borderland between lonely bedrooms and heaving clubs.
Good, Bad, Baby, Horny is a distressing but necessary distillation of contemporary worries in the bedroom and the dance. Largely shy of beats but heavy on symbolic, contorted references to '90s and '00s pop, rave, and video games, as much as the current ecology of effluent news feeds and rampant social anxiety, it plays out like a frazzled AI attempting to parse the confusion of memory thru state of infinitely up-to-the-second hyperreality.
Its four tracks fuse visceral and highly visual sonic cues in synaesthetic rushes that mirror our sense of physicality within the framework of daily digital experience, somehow isolating the motion sick feeling of hurtling toward a shared endgame with life flashing before our eyes, whilst simultaneously remaining static at the centre of a rave and resisting the perceived tempo of reality.
Scaling from the intensely queasy sensuality of the title track's gasps and deathly synth drop, thru the the sky-kissing guitar licks off Self Rape, to the frozen Eski shoegaze burn of I Fucked It Up and an elusive glimpse of ecstasy in Tongue Kiss Crying, the mood is perpetually high-strung yet melancholic, violent yet compassionate, perhaps best considered in terms of MDMA as a bitter salt or prism for reflective, therapeutic purposes.
It's definitely Ivo Pacheco's strongest work yet, and a hugely timely dispatch from one of rave's visionary contemporary se'ers.

Merchants is an italian electronic duo composed of Alberto Ricca / Bienoise (Red Bull Music Academy Tokyo alumnus) and Davide Amici. Their music is sample-based, combining dark beats with found sounds in a musical exploration of imaginary countries. Global debris and techno pulses meet in search of possible musics.

A Gathering Together is Ron Morelli's second full-length for Hospital Productions: a 'techno' cacophony brought to its granular detail and reduced to its most elemental tonal depths. A cohesive fusion of surreal and feverish deja vu loops, brittle noise, fucked rhythms, scrap metal percussions, pro-one metal synths, and an injection of near-buried, Drano vocal samples, it's a fearsome celebration of brokenness, of amplified surroundings.Stereo-shifting drones and driving rhythms that tell the stories of those now gone, more a soundtrack for a wake than 4/4 crafted for the dancefloor. There's a naked anxiety at work that doesn't turn away from loss, but runs with an excited melancholy that looks to a future that won't exist. The boldness of the gestures are not to be confused with exuberance.With this effort Morelli has shown remarkable restraint and patience most notably highlighted on title track 'A Gathering Together.' An intense cut born from rapid-paced dead-end urban environments that force people together. It's a calling to do more, include more, and celebrate the many forms within those inconspicuous places.Upon numerous listens, it's clear the sound design is a reflection of heavy compositional themes that suggest a greater whole. This is hard, dirty techno--humid, reduced, bare bones, yet dense and dissolved to its electronic soil. Heavy without being oppressive, it is the culmination of many elements pulled from all spheres of modern electronics, eaten, digested, and spit back out. Produced at the end of 2014, with final m,ixdown and additional production in spring 2015 by Krikor Kouchian and Ron Morelli in Paris, Hospital Productions is proud to offer A Gathering Together.

Immense noise/techno slab from iDEAL featuring Varg, Sewer Election, Alexandra Atnif and Copley Medal (Dais records' Ryan Martin) with a spirit-rinsing, full spectrum noise and techno showcase to leave you sore and breathless.
Sweden's indomitable Dan Johansson a.k.a. Sewer Election - whose Vidöppna Sår was among the earliest LPs released by PAN - goes first with a pyroclastic torrent of molten distortion which calves away to, strangely enough, reveal acoustic guitar strums and soggy location recordings before handing over to keenly tipped American artist Alexandra Atnif, who really gets under the skin with a pair of thrumming rhythmic noise pieces demonstrating devilish discipline and a proper feel for biting-point tones. Keep an eye out for her new stuff.
Trust Ryan Martin's Copley Medal alias to reset the scene with Ger Lopig on the other side.
Following from last year's Trance Below The Streets collaboration with iDEAL bossman, Joachim
Nordwall, his latest sacrifice is an absorbing piece of drone torpor that could initially be a
Deathprod piece or a Black Metal intro, but which eventually precipitates a deep, systolic pulse that marks up as the best we've heard from him.
Then the prolific Varg takes us to the edge with the purified, headlong oscillations and noise payload of Run No More Pts. I & II, primed to slice thru the floor or dank bedrooms with unrepentant, laser-guided precision.
Supersolid.

Wolf Eyes' Nate Young's Regression series has provided some of the most compelling dread-electronics spewed out by the North American underground in years, with instalments released by Demdike Stare's DDS label and Aaron Dilloway's Hanson, as well as NNA Tapes and others.
It all began back in 2009 with this first volume issued by Joachim Nordwall's Ideal label, an incredible set that's now being released on vinyl for the first time ever, just in time for Wolf Eyes newly minted (Warp sponsored) Lower Floor imprint to make its debut this coming spring.
Young is one of those artists whose output is instantly recognisable, his take on primitive electronics is both innovative and unnerving, and in recent years has really dominated the stylistic direction pursued by Wolf Eyes. It's a kind of creaky, bare-boned deconstruction of classic horror scoring jolted by noise and industrial motifs, sounding somewhere between Demdike Stare's early work, John Carpenter and Mica Levi's by-now-classic soundtrack to Under The Skin.
You could neither classify Regression as a Noise record nor an Ambient one, instead the synth dissections and tape treatments more closely reference early electronic music. 'Trapped' offers little of the claustrophobia suggested by its title, although the continual woody knocking sounds and filthy oscillations do engender a sense of unease, while 'Dread' brings to mind the Desmond Briscoe soundtrack to Nigel Kneale's The Stone Tape. 'Under The Skin' returns to the more esoteric, intangible sound designs that characterised the album's opening, writhing around in a spluttering, tactile fashion that's at once sonically rather beautiful but deeply sinister, modulating through grisly synthesiser gestures while more textural, percussive sounds flood through dub-style tape delays.
Young has an uncanny ability to make sonic extremes sound incredibly seductive, and this volume is perhaps the most engrossing exposition of that unique ability.