Techno Vinyl New Releases - News

Andy Stott's 4th album draws for inspiration from the fourth-world pop of Japan's Yellow Magic Orchestra as much as it does Triton-fuelled Grime made 25 years later. The album opens with the harmonised, deteriorating pads of the opening Waiting For You and arcs through to the synthetic chamber-pop of the closing title track, referencing Sylvian & Sakamoto's Bamboo Houses as much as it does the ethereal landscapes of This Mortal Coil and Dead Can Dance. In between, the climate and palette constantly shift, taking in the midnight pop of Butterflies, the humid, breathless House of First Night and the endlessly cascading Forgotten.

Longtime vocal contributor Alison Skidmore features on half the tracks, sometimes augmented by the same simulated materials; voicing the dystopian breakdown on Selfish, at others surrounded by beautiful synth washes, such as on the mercurial Over, or the dreamy, neon-lit New Romantic.
It's all far removed from the digital synthesis and the abstracted intricacies that define much of the current electronic landscape. The same cybernetic palette is here implanted into more human form; sometimes cold, but more often thrumming with life.

Dance Tracksz is the body-checking return of Prostitutes to Diagonal, a no pretences rave set built minimal and raw for hard worked 'floors. The label's Cleveland, Ohio ambassador has cut out any sentimentality and gone straight for the rave jugular with no concession to ascetic consistency, knocking up one of his fiercest examples of brutalist funk in the process It's Prostitutes' 3rd and most substantial release for Diagonal, a swaggering and unzipped affirmation of the styles on 2013s Shatter And Lose and Ecstasy, Crashing Beats And Fantasy from 2015, and clearly catches the label's close ally in the mood for getting wasted.Prostitutes' Dance Tracksz are skooled with the sort of street knowledge and bluntness that perhaps comes from life as a Technopunk in a blue collar industrial city such as Cleveland, OH: the bullish, PCP-style hardcore bookends of Ah Yeah and War Goes On say their piece in no uncertain terms, whilst Bottle spits pure industrial street funk and Prey deals in riot-inciting jungle-tekno.
Even the album's sole moment of sentimentality, I Luv U Bruv
- a gesture of affection for his label boss, Powell - is delivered with an acrid lash of electro-techno, but at least you know he means it. In a soundworld spoilt for choice, Prostitutes' refusal of shiny tricks is admirable and almost subversive in the face of hands-in-the-air breakdowns, but there's something about the way he wrenches out every last drop of rusty, jacking funk from his machines that leaves no doubt about Dance Tracksz
effect at close quarters.bout Dance Tracksz effect at close quarters.

Third instalment of the Unknown Entity series, this EP delivers four tracks of science fiction and horror soundtrack inspired Techno. The A side is dominated by two floor ready cuts, lurching thumper FEART and a devastatingly broken remix by Serbian producer Scalameriya. Side B trips into leftfield territory with sleep deprived creeper Peripheral Visions. The Serbian connection continues with LAG delivering an offkilter franticly driving reworking of the original.

Support From ORDE MEIKLE // RIVET // MIKE DARKFLOOR // NORMAN NODGE // SCALAMERIYA // LAG // MARTYN HARE // SURIT (NX1) James Ruskin // Sev Dah // Takaaki Itoh // Par Grindvik // Kwartz // Markus Sukut Laurent Garnier // Roman Rubique // HD Substance // Nihad Tule // Xhei // Patrick Seich Ryuji Takeuchi // Sandrien // P.E.A.R.L. // Joton // TWR72 // Ctrls // Truss // Dave Tarrida Patrick DSP // Patrick Walker // INGEN // Clouds // Substance (Dj Pete) // Perc // Zenker Brothers // Forward Strategy Group // Bleaching agent // ROD

dedicated to promote young and evolving artists and to present musical diamonds in the rough, raster-noton is curating the unun series which name refers to the chemical elements 111-119. »unalloyed, unlicensed, all night!« is jesse osborne-lanthier's first release on raster-noton, and the ninth and final release of this series.jesse osborne-lanthier is a berlin / montreal based, canadian electronic music producer and multidisciplinary artist. his erratic research process incorporates the urgency of dance music and conceptual electronics by disassembling their grammar and acting through it. refusing to follow the etiquette of a particular musical genre, he explores many creative practices in order to generate clashes of mood, expectation and technique.
»unalloyed, unlicensed, all night!« was recorded by osborne-lanthier a mere two hours before a live set in paris. its specific purpose was to generate a response from the audience, to stimulate their bodies through sound. the toolbox for this task was stocked with automatic call-and-response music tropes drawn from EDM, big-room house, trance, and online production tutorials. between the producer's idiosyncratic by-the-numbers process and the rushed nature of the composition, the final product is rendered unpredictable; each signifier transforms into a distorted ghost of itself. this allows for unexpected responses to manifest on the dance floor as well as in the listener's space of existence.

On A Business Trip To London is an album of curious electronics and sissy dance conceived under the shadow of Big Ben by Vivid Extreme. Initial research carried out at Ibis City Hotel, London; purple nail polish applied in Berlin and New York City. The result is the perfect and perhaps overdue meeting of emasculated P.E, limp-wristed ornamental industrial, sickly minimal synth and cheap suntanned trollop techno. What's more, its tinny rhythmic ringtone cycles of humiliation and debasement evince an unlikely humanity: there is yearning behind the red ballgag and loud make-up cake; Duck's piggy eyes betray an implacable melancholy. Indeed, despite the sexually explicit nature of its content, On A Business Trip To London is a highly accessible and often disarmingly pretty work which will appeal to the belissima ballerina in all working men. Required listening for all who admire those qualities most fascinating in a woman: allure, magnetism, power and dominance. Exploring Jezebel has been active since 2008's Locking Up The Husband's Penis Is Not Slavery, But Rather The Greatest Act Of Kindness Given To A Man and Attending UCLA Lecture On Forced Feminization, and notable releases since include the 12-hour, 8-cassette set Penis Torture Chamber (2010) and 2014's Performs For Her And Her Bulls (all Hospital Productions). On A Business Trip To London is Exploring Jezebel's first vinyl offering, and is presented in a full colour gatefold sleeve with two printed inserts; the album will also be issued on CD and digital formats. This release is for ADULTS ONLY. It contains uncensored sexually explicit material unsuitable for minors. You must be at least 18 to purchase this item. Access and/or ownership may be prohibited in certain states/countries.

This latest installment in the Stroboscopic saga once again calls upon the talents of two label veterans, both having released EPs on the label while also contributing to its five-year retrospective series. This new split release shared between Kangding Ray and Rrose is a fitting partnership: after all, both individuals are known for advancing the progress of rhythmic electronic music while drawing from creative influences and movements that weren't typically associated with the 'techno' lineage until these producers made such links possible.

Kangding Ray's side, Ardent,' is a gripping and propulsive piece formed in the same spirit as the songs from his latest full-length, Cory Arcane. Dramatic and cinematic from beginning to end, it makes the listener and/or dancer feel like a highly alert martial artist slicing and kicking through a host of liquid-metallic adversaries, with disciplined synth bass and rich melodic swells as defensive weapons. Slick and accessible without ever being conventional, Ardent' convincingly collages stuttering and minced sequences together with steady percolation and smooth, brassy undertones - three different sonic 'states of matter' that unify to make Kangding Ray's musical imagination into an almost tactile thing.

The entity known as Rrose, meanwhile, presents a track here that reaffirms that artist's expert skill at crafting perfectly symmetrical and mesmerizing musical palindromes (a skill that can be seen on other standout Stroboscopic Artefacts tracks like The Stare,' and also on Rrose's interpretation of James Tenney's classic palindrome Koan (Having Never Written A Note For Percussion)).' The track in question, Swallows,' is appropriately named, impressing upon listeners like the sonic equivalent of a massive searchlight which, once it lands upon its target, swallows or vacuums up the listener's conscious attention. This elegantly arching set of multiplying and disintegrating waveforms rewards those with the courage to return its insistent gaze and to play at maximum' volume to reveal the wealth of detail concealed within its deceptive minimalism.

With its scientific exactness and sheer originality, this split is an essential listen not just for fans of either artist, but also for any seeker after new perceptual revelations.

1x each customer!

Ace four-tracker.
Caves was created in the aftermath of a devastating set by DJ Stingray, and sounds like it: storming but funky, infused with the spirit of classic Detroit techno. Spacetown marries Arpanet and John Carpenter, with a saturnine melody which sticks in the mind.
Flip it for a deadly Caves remix by man-of-the-year Convextion, inimitably sci-fi but banging, and the elemental, ambient accomplishment of The Strips, consolidating the promise on show throughout.

* Vogue, energetic, prepossessed, new...that's you. Bonaface give me ingenue. Trill, lithe, that's what you do...baby how strong are we What would you say, what wouldn't you do for the crew

* 'Pure, Beyond Reproach' is the new studio album from vibrational club artist Egyptrixx. New sensations + new energy, jeep music for a Saturn moon. An exercise in physical sound and granular symbolism, this record suggests a parallel between the total impact of human tendency towards absolute loyalty and an imagined, sub-threshold percussion of collisions among all the oceanic micro-plastics. Bap emotion >> this and that.

* The aesthetic is pacific litter clank, chill torrents and artificial triumphalism...actual glow. Repetition apes tidal energy, a reminder of the revolutionary capability of sound. splashing, pounding, dripping, phasing. Glinted piles of shatter swept back and forth - crystal ammunition // liquid contemplation. Anodyne ammo mimics the erasure of ethics via dispersion, backlit by the low key petroleum tangle of bffs/oblivion.

London-based duo Jamka return with Inter Alia, the latest evidence of their patient, intimate
relationship with their analogue machines. From the start there's a sense of event - we encounter
clear, interlaced electronic textures, powerful analogue drones and well-placed beats.
The tracks aren't soundscapes so much as fertile electronic soundfields. Patemp continuously
expands in an incredibly subtle but powerful way and shows that Jamka's technical skills don't
preclude an emotional touch. On the tight and minimal Anazmo, the coiled energy bears traces of
minimal techno and radical electronica, but it's beyond either of these. While the album passes
quickly, it's full of detail and the thoughtfulness and craft that have gone into it are evident. Dwa
offers the chance to appreciate the flow and the sheen of its analogue textures - the modernist
romance of the power line hum and its promise of technological-cultural progress. Jamka are
known for their dynamic live performances and this energy is almost tangible on Derazor. The
stately Igora is a strong, bold close to the album, offering surprises right till the end. The sharp,
metallic details ripple through the mix and an anthemic sequence shines through.
Inter Alia makes clear that Jamka are worthy inheritors of Slovakia's proud late modernist
traditions of radical architecture and electronic music. This is a work of craft that demands respect
and repeated listening.

Great debut by Colombian producer Aleja Sanchez on Nachtstrom including big remixes by Deepbass (Soma, Edit Select, Planet Rhythm, Sleaze), Takaaki Itoh (Faut Section, Modularz, Tsunami) and Ricardo Garduno (Illegal Alien, Sleaze). Limited coloured vinyl.

Prolific electronica polymath Emika found acclaim once again this year with new studio album 'DREI', an opus that picked up Ibiza Spotlight's 'Album Of The Week' accolade and was called a fascinating album' by Rolling Stone. With six new remixes on this EP, further life has been breathed into her latest LP - with stunning results.
UK techno legends The Black Dog provide a foreboding rework of Battles, all brooding pads, electro glitchery and stomping breakbeats.
Kamikaze Space Programme's version is more dramatic still, returning the favour after Emika appeared on his own 'Choke' recently.
CNCPT (Brenda, Natch Records) kicks off the remixes of What's The Cure with an industrious slab of dubbed-out, reverb-heavy techno, doing away with Emika's vocals entirely and instead making use of her sound design expertise with subtle finesse.
Mysterious German Clone and Bunker affiliates The Exaltics tap into their electro roots on their rework with a thick, rubbery bassline working its way under a simple, atmospheric arrangement that allows Emika's honeyed delivery to take centre stage.
Borai (Tasteful Nudes) teams up with Emika herself to provide a stripped-back, heavily-swung, stomping take on the track, boiling it down to its melodic and textural essence.
Eomac rounds off the package with his stunning string-laden instrumental interpretation.

Staggering return of Italian noise daemon Nino Pedone a.k.a. Shapednoise; flanked by Roly Porter, Rabit and Emanuele Porcinai for a head-rinsing concept suite inspired by the Serenity
Manifesto of Eric Burton (Rabit) and Francesco Birsa Alessandri ov Haunter Records - a sort of poetic inversion of Luigi Russolo's futurist manifesto, The Art of Noises (1913), updated for 21st c.
politics and sound-fields.
Cementing a stark reminder of noise music's subversive, contemplative power when given proper context, Deafening Chaos Serenity is about finding space for reflection at the eye of the storm, and about grasping the visceral sensation and metastasising madness of reality in all its overgrown, apocryphal ambiguity. It's about learning to work within in noise's wildly unpredictable parameters, rather than attempting to negate them.
Just as with this album's predecessor, Different Selves, and his work in The Sprawl trio with Mumdance and Logos, collaborative energy continues to generate some of Shapednoise's
strongest work across Deafening Chaos Serenity, from the fundamental conceptual impetus supplied by Burton & Alessandri's manifesto, to the absorbingly visceral manner with which he puts it into effect.
In four of the five tracks, oppositional, if sympathetic forces generate the necessary friction needed to look beyond and suppose new forms, structures. In Motion & Depth or the bleached electro-acoustic structures of Delusional Path he dissolves the tension of Emanuele Porcinai's strings into a syntax of ecstatic physics, whilst the subatomic diffusion of Resistance to a Harmonious Vision with Roly Porter speaks to a experience of luscious sensory overload, and in Pulling at the Seams of Existence, the record's most tumultuous shredding out loud/quiet, violent/peaceful distinctions, he and Rabit embrace the discord of uncertainty with unflinching vision, almost like Turner tied to the mast and facing a stormy future head-on.

Graciously welcoming the second full-length lp from Philadelphia's Jesse Dewlow, recording under the moniker People Skills. The follow-up to 2014's Siltbreeze set Tricephalic Head. Ten sunken songs, derisively adorned with rhythm and rudimentary dub effects. Bedroom elegies for the lost and irretrievable, last-ditch spells for transformation and renewal. Thurston Moore and Byron Coley likened the previous record to South Island NZ pop played inside of an armored car', and that description holds here: underneath the hoods of these wracked and weather-beaten recordings are melodies of disarming beauty and optimism, bordering on the (wilfully) mawkish, bubblegum ground underfoot. Each piece as time-stopping and evocative as an old photograph of someone who used to mean something. Whether speaking through stately keyboard pastorals ('Mint Julep'), rat-arsed rock 'n roll slur ('89¢ Public Render') or sulphurous aggro-electronics (the two-part title track),Gunshots At Crestridge exposes, then seeks to redeem, all our tiny acts of self-sabotage, all our sins against time. When to stay, when to go...you never got it right, not once.

Debut solo release from Midnight Circuitry, showing a dark, polished amethyst with aromatic notes of white pepper, tobacco, and black currant; silky with a palate of dark plums, black raspberry, and hints of French vanilla. Closes with subtle tart black cherry and a lengthy, structural finish.

A project that came to life fuelled by collectors' obsession and a lifelong willingness to dive head- first into unknown musical wormholes, Miles Whittaker and Sean Canty have never been defined by a singular musical trajectory. Their opening salvo of releases dabbled with the aesthetic of the occult and provided an alternate, parallax view of the Italian Library records with which they were both obsessed at the time, but as their long running mixtape series and brilliantly curated DDS label attest, their interests extend far outside the crevices of early electronic music and into dance music, dancehall, roots, jungle, techno, industrial, noise and beyond. While 2013's Testpressing series provided an outlet for mostly club-based productions shot from the hip, Wonderland has been constructed with a narrative in mind. From the clipped Hardstyle of the opening Curzon, through the jaunty Dancehall mutations of Animal Style and FullEdge, Exotica/House refractions on Hardnoise, the frankly ridiculous, bassbin destroying Jungle ructions on Sourcer, or the extended tease of Overstaying, it's probably the most enjoyable and loose-limbed hour of music in their catalogue, or that you'll likely hear in these weird, angst-ridden times.

Hospital Productions collect some of the strongest coldwave pop dirges of a generation in Contrepoison's Discography 2010-2012 survey, wrapping up both his self-released tapes and releases for Dominick Fernow's cherished imprint.Since the late '90s, Québécois musician and noise artist Pierre Marc-Tremblay has been recognised as a vital force in nether musical realms with a palette ranging from hermetic black metal (Akitsa) to the bitterest rhythmic noise (Âmes Sanglantes), and, more recently, the nerve-bitingly melodic pop of Contrepoison, whose I Keep On Searching 12' - included here - is a dead firm fixture 'round these parts.Arriving at the vanguard of a new slew of coldwave revisionists and fetishists in 2010, his music stood, and still stands, head and shoulders above the rest thanks to an incessant drive and directness that can't be ignored by anyone into the original stuff, or who has arrived via the sound's prevailing, contemporary winds.Vacillating belting vocal pop arrangements with howling, stygian instrumentals of synth, guitar and enslaved drum machines, Discography 2010-2012 drags a perfectly malformed body of work, cycling chronologically from the pounding mix of industrial kicks and neofolk cadence of ...Until Next Morning's amazing title cut to the blank-eyed dirge of To Never, Forever, before taking in the stomping Deserted Story from his 2011 split with Vatican Shadow, and committing the frankly fucking addictive hits of I Keep On Searching, best summed up in that raging, glam title tune and sandwiched with aces from the compilation Around The Dragon's Broken Neck Hangs the Medal of Saint Lazarus.It only gets more wonderfully bombed out and crestfallen from therein, from the plangent siren call of Nectar of Destiny to the exclusive instrumental, The Moon Has Mad The Eclipse, and a grip of killers off The Thunders Which Collide tape, including the raging banger The Thunders Which Collide and another cut exclusive to this set in the T2-finale-esque instrumental, As The Blazing Sun Enters Scorpio.Basically, it's riddled with memorable hooks and rages like a wounded beast trapped down a well. You'll know within seconds whether you love it or not, and we definitely fall in the former category.
Hugely recommended.

Two long sides of doomed out distorted techno. Full improv on the machines with vocals and a shitload of attitude. Fallbeil have been making serious waves lately and we are happy they are back at NYH with some of their heaviest jams to date.

A very limited vinyl sampler here for the forthcoming CD album 'The Topics'

Following recent singles 'Clusters (Remixes)', 'Continuum' and 'Parallax' Dronelock & Ontal join forces for the collaboration's biggest release to date - 'The Topics'.

Dronelock and Ontal's joint label venture Shadow Story is a base for the dark, industrial exploration of sound that all four corners of the British/Serbian double duo employ as their modus operandi.

2013 saw a trio of EPs from Bradford residents, Dronelock (aka Martin Cartledge and Alexander Church) on the revitalised Weekend World label, which gathered support from the likes of Surgeon, Lucy (Stroboscopic Artefacts), Lakker, Inigo Kennedy, Pearson Sound, Adam Beyer, Marcel Dettmann, Detroit Grand Pubahs and many more. As one might expect, techno provides the perfect sanctuary for their production ideas to manifest: ambient, ethereal soundscapes meeting sustained clusters of tones.

Last year saw Dronelock start the label, Shadow Story, a joint venture between themselves and Serbian duo Ontal (Boris Noiz and Darko Dekode). Forming an industrial techno/rhythmic noise project, Ontal (based in Subotica, Serbia) can be described as an uncompromising, hard and intense assault.

'The Topics' is a distillation of ideas captured and expressed by the foursome through the industrial and synthesized, the organic and the abstract. The tracks are produced primarily on analogue hardware with the sole intention to perform them live. This process allows freedom to experiment with the base level interaction between sound and music. As they say it's music which is about as far away from music as you can get before it stops being music!' music as you can get before it stops being music!'

Perc Trax unleashes the first of three vinyl EPs showcasing the new tracks from the label's tenth anniversary 'Slowly Exploding' compilation, mixing up label regulars with established names making their Perc Trax debuts. Forward Strategy Group begin proceedings with the grinding broken beat rhythm of 'Dragons Tooth' before Happa opens his Perc Trax account with a percussive assault that is amongst the most aggressive tracks on these three EPs. Martyn Hare, another Perc Trax debutant, delivers the Awakenings festival slaying 'The New Normal' to kick off the B-side and US producers Mick Finesse and Pinion team up for the first time on the B2 with the industrial Amen groover that is 'Dead Boyfriend Alley'...

Dark Entries returns to the New Jersey basement studio of Smersh to unearth a 4-track selection from the 'Deep House Anthems' cassette. Smersh was the duo of Mike Mangino and Chris Shepard, who began making music together in 1978. They were uninterested in traditional notions of songwriting or live performance. Recording in a domestic setting necessitated the abandonment of live drums for rhythm machines, and the Smersh sound would gradually change with each new bit of gear they acquired. The Electro-Harmonic Rhythm 12 gave way to TR606, TB303, and SH-09. Most Monday nights, they would write a new song from scratch. A couple hours later, the song was recorded, never to be performed again. By 1988, they had already put out at least 16 different tapes on their own Atlas King imprint. They would be followed by as many more. Some of those (subsequent) tapes there were less than 10 copies that got made because nobody wanted them. They couldn't get reviewed,' says Mike Mangino. As these tapes traded their way across continents, Smersh developed a devoted following in places far beyond Piscataway, leading to releases on dozens of other labels from around the globe. Smersh's sound is a lush hybrid of techno, industrial, dance, and experimental. Most songs revolve around driving EBM style beats, intricate industrial noise manipulation and synth melodies. For 'Selected Deep House Anthems' we selected 4 tracks of pulsating acid techno, which were recorded live, direct to DAT. All songs were originally recorded and released in 1991, and this the first time all but one of these songs are appearing on vinyl.

AnD finally make their full Perc Trax debut !
Features full printed jacket
DJ feedback to follow

Berlin / Manchester noiseniks AnD finally make their full Perc Trax debut after first appearing on the label in 2014 when they served up a suitably screw-faced remix of Drax's 'Phosphene'.

Now regarded as one of the most uncompromising production outfits on the European techno scene they widen their musical vision across these four tracks without leaving behind the raw aesthetic and driving energy that has characterised their music and their live performances over the last few years.

From the kind of straight up 4/4 pounders that have made the closing slot at Electric Deluxe's Awakenings events their own, to experiments with off-kilter drums and caustic noise this EP is as good a statement of AnD's present and future as you'll hear all year.

* After already making a name for himself releasing on Jurg Haller's Forbidden Planet imprint as well as Melbourne's Butter Sessions, Dan White (real name Rory McPike) unveils his latest project: 2200.

* 2200's debut EP for Cult Trip sees Rory give us a true appreciation of the Dan White sound that has given him a reputation as one of Australia's finest. Lead by acid burner and title track, 'Killed By Deaf' 2200 comes with the goods unleashing the gem that is 'Outlaw'. On the flip, we're brought back to Rory's modernist techno roots with the introspective soundscape 'Technocracy' that acts as a prelude to the monster that is 'The Rig'.

Recorded in Melbourne, Australia. Mastered at Dubplates and Mastering Berlin.

Dubbed-out cosmic pastorals and politically exasperated techno-exotica from Blackest Ever Black's most secretive and shape-shifting project. Guest contributors include Conrad and Jonnine Standish of HTRK, Genevieve McGuckin (These Immortal Souls), and Lucas Santanna. The ghosts of Les Baxter, Rowland S. Howard and Nina Simone are also in attendance. But whoever is pulling the strings remains hidden...possibly in plain view. Structurally Wreck His Days recalls the grand collective statements of This Mortal Coil or Massive Attack, but musically its dreamlike overtures have more in common with Deux Filles, Global Communication, Arthur Russell, Penguin Cafe Orchestra, Anthony Moore, even Robert Wyatt circa Old Rottenhat/Nothing Can Stop Us. It roams far and wide: from the lambent, near-Balearic piano loops of the title track, to the Audrey Horne-worthy death-jazz of 'Ghost From The Coast', and hulking, bass-heavy soundsystem weapon 'Reverberasia'. Side Two opens with the swelling, uplifting astral psychedelia of '...And I Tried So Hard', while 'I Beat As I Sleep As I Dream' reprises the bleak existential synth drift of T.T.W.F.U.'s extraordinary 2014 10', How Great A Fame Has Departed. A deep-seated socialist impulse drives the whole thing: with a dedication to women who have fought oppression throughout history, references to the Spanish Civil War and the UK Miners' Strike, and an overarching belief in the international ideal (in fact the closing 'Rosa / Kollontai' explicitly invokes the Internationale). Written and recorded over the course of 2014-15, Wreck His Days is a plea, or perhaps a requiem, for a world that embraces difference and upholds equality. Its contemporary relevance hardly needs emphasising.

* Though Berlin is not the most ancient of cities, its streets hold sounds as old as the gods. Imagine a venue not as a concert space, a dance hall-but as a druidic circle, a pagan place where each beat forms the ritual of audio worship.

* The ritual of Gainstage is a contemporary solution to the need of most lifeforms: a connection to the natural orders, given over to the uniquely human need to sweat heavily in concrete boxes. The trance-inducing structure of their compositions allows the mind to surrender itself into an alternate version of our world, given birth by their hands and wills.

* Evoking the old spirits of the Earth using modern technology, Pierce Warnecke and Arik Hayut embody the truly terrible and awe-inspiring aspect of Gaia in their tribalistic doom-tech rhythms.

—The flesh- an arcing wash of searing electronics rhythmic and ethereal—
—covers the bone—a precision of crushed drums—and reveals the raw, moraless face of savage nature—

* The devouring and the devoured, black soil that birthed us churned with vivid red. Looming, as always, the death-spectre of the even more savage Man: metallic crashes of industry, the warning wail of sirens, the chug of steel engines grinding and pounding the landscape into waste and ash.

* On this post-necropolictic plane, the ritual fires of Gainstage still burn. This great and terrible work, this landscape of shattered Earth, is the stage where they conjure yet more shapes from goddess flesh. Bend your will to theirs, and let it too be shaped.

* Featuring a murky remix from Cut Hands; reshaping 'Obsidian Organ' in to a clattering, serpentine slice of militaristic jungle-techno. A different perspective on 'Sun Burnt Cloud' is offered by Orphan Swords, weighty and slow-burning sci-fi-laden dance music for the grimmest of futures.

* Blessed Initiative is a project by Yair Elazar Glotman, which suggests a dissonant, coexistent state of extreme highs and lows. The album attempts to articulate a mental state of simultaneity, in which equilibrium is fleeting, fragile, and its scarcity is embraced. Opposite states coincide, contrast and reflect, creating moments of uncertainty and insecurity. Absurdity and at times even bliss are possible results, in the attempt to channel anxiety into creative forces rather than debilitating ones. In an environment where personas are the sums of the images they project, sounds are also no longer evidence of invention but of ever-changing combination, curation, and editing. The final persona is a sum of the chosen and the deleted, as well as what may be projected from outside, creating a confusing and conflicted self. The sounds collected here are attempts to compose on these uncertain grounds, and to reflect the anxiety released in all these sources' meeting and interaction. As a singular project, Blessed Initiative stops to comment on the conditions that inform Glotman's composition before and after it, and to acknowledge it as a non-linear, ongoing process.

* The focus on process and uncertainty is apparent in the album's phrasing, re-articulation and cycles of repetition and deviation. The pieces were composed from sounds generated on the KYMA system, personal foley recordings as well as tape manipulations techniques. Minor sounds on major scales and micro-tonal tuning suggest an ambiguous harmonic sphere. These were then integrated within idiosyncratic rhythmic structures, at times integrating real spaces and resonating bodies as reverb and augmented echo chambers. Concrete, almost-recognizable organic sounds contrast with these abstract spaces and connect them to tactile experiences. These textures and structures are a palette that reforms and deforms as it cycles throughout the album.

* The photographic series "Relax (blue)", 2004, by the artist Josephine Pryde was chosen for the album's cover as a materialization of tension. The two images represent a closed cycle of energy and unfulfilled release.

* Yair Elazar Glotman is a classically trained musician and sound artist based in Berlin whose previous works on Subtext include the LP 'Études' and a collaboration with James Ginzburg titled Nimbes.

Spondylolisthesis' is the forward displacement of a vertebra, especially the fifth lumbar vertebra, most commonly occurring after a fracture. Backward displacement is referred to as retrolisthesis."

{Four songs in autobiographical sequence}
- Abandonded
Abandonment through Tibetan eyes
- Kataniksis
From death to life again!
- Cortisone
Cortisone who restored hope when it seemed lost.
- Endorphins
Endorphins are one of three main groups of endogenous opioids produced in the brain, with representative beta-endorphin, which has the strongest analgesic action.
Marked worldwide as the anti-stress hormones and natural analgesia and happiness..

Five metal-heavy cuts on a clean plate from the still mysterious The Hague based burrow. Comes in all-white all with psychoactive inlay tissue.

Dominick Fernow laces up his Vatican Shadow boots for the project's first set of drills since 2014 and one of its finest ever transmissions, trampling in the wake of his fierce new Prurient record Unknown Rains, for Hospital Productions.
Reflecting on a world much unchanged, even intensified since his last dispatch, Media In The Service of Terror works classic VS signatures measured with increased momentum and propulsive energy, divided into seven parts and imbued with that dramatic melodic arrangements that works beyond the club.
Stepping farther away from the 'floor, he's in scowling, contemplative form with Ziad Jarrah Studied Mathematics and at his best when working between spheres, as with the industrial reggaeton roil of Take Vows in both its versions, and particularly the pensile atmosphere of Interrogation Mosaic.
One of the best Vatican Shadow drops - bar none..

JASSS debuts on Mannequin Records for the "Death Of The Machines" series with a killer 3 track mix of ebm/industrial & wave on this heavy 12''. Perfect for the most abrasive dancefloors. Mastered by Rude 66. Tip! Mastered by Rude 66. Highly recommended!

Pattern Damage is the 2nd flash of idiosyncratic footwork and garage hybrids from South Yorkshire's Rian Treanor, landing on The Death of Rave nine months after his coiled, nerve-sparking debut 12".
The EP's four tracks take the unmistakable influence of Mark Fell's angular, academic 2-step designs into faster BPMs and colourfully chromatic, sidewinding arrangements, all driven with a
breathlessly forward, quicksilver style that's entirely Rian's own and with few comparisons in the current field.
By splicing the syncopated swing 'n parry of Sheffield's speed garage sound at +8 with the whirlwind flux of Chicago footwork, Detroit jit and the dizzying dynamics of Max/MSP software,
his sound dances in a double refraction of ideas and influence between US, Afro-Caribbean and UK dancefloors in various stages of integration and mutation, following a line along Black-rooted dance music and the sharpest edge of experimental electronics in a way that's informed the best, open-minded UK music since the '60s.
Operating exclusively at a signature 150bpm tempo, the Pattern Damage EP finds Rian both opening out and refining his sound, greeting you with the brutalist, grimy n0!se torque of Pattern_A1, which sounds closest to SND or Errorsmith's most oblique twisters, before the dub chords and skittish rhythms of Pattern_A2 recall Autechre getting off at Niche Club (R.I.P.) and Damage_B1 comes off like a giddier, footworking answer to Hyph Mngo and Damage_B2 unfolds a super cute and tricky sort of syncopated rhythm origami.

Guy Brewer returns to his Avian label with a a two-part EP, Arrangements In Monochrome - his first Shifted releases since last year's Hospital Productions album 'Under A Single Banner'.

Although not conceived as an album project, Arrangements In Monochrome's two EPs can be viewed together as a single entity - the result of Brewer's continuing exploration of textured noise excursions and muscular techno of considerable drive and heft, all the while retaining a cinematic quality within its quieter moments.

The simultaneous release of the two EPs arrives in December, bringing to a close a year that has seen Avian release the sophomore album of Swedish duo SHXCXCHCXSH and EPs from Sigha and Alessandro Cortini's Skarn alias.

"Arrangements In Monochrome was written in my new studio setup in Berlin in spring of 2014. I almost view these works as an addendum to last years 'Under A Single Banner' LP. I was very happy with that record but always felt that perhaps there was some things left unsaid. The technical process involved this time around was quite different, but it shares a lot of the same colours and textures." - Shifted

The artwork for Arrangements In Monochrome is by Jesse Draxler

Sequenced, Processed and Mixed By Shifted, Berlin, 2014 - Mastered By Matt Colton at Alchemy, London

Back to basics with two heavy rhythm edits/tools. A-side features label boss Paul du Lac's edit of T.O.Y.'s 'Drum Electronic Sound', a dark and menacing mid-eighties instrumental italo/electro track (original version was recently released on Bordello a Parigi), B-side features a simple yet highly effective and relentess minimal drum cut by herr Mick Wills... no need to say more... Vinyl only.

Cititrax present the second in a series of four song samplers showcasing the talents of some of the most innovative producers of the moment. Cititrax: Tracks Volume Two features the fearless and ultra-talented Chinese producer Tzusing, the raw avant-garde electronics of London based producer L/F/D/M, creative West Coast powerhouse Silent Servant, and prolific underground French producer Maelstrom. The overall sound can be described as modern, uncompromising and guttural. Each artist reinvents dance music by bringing their own unique vision to the floor.

'And when he had opened the fourth seal, I heard the voice of the fourth beast say, Come and see. And I looked, and behold a pale horse: and his name that sat on him was Death, and Hell followed with him. And power was given unto them over the fourth part of the earth, to kill with sword, and with hunger, and with death, and with the beasts of the earth.' (Revelation 6:7-8)

For the 4th reference , aka Vincent Drvg Cvltvre Koreman gives us an EP with three issues dark acid narcotic. Apocalyptic music that will transport you to the end of the world . Soundtrack industrial version of Mad Max . Sounds no tomorrow. Electro highly explosive bazooka that will not leave puppet head . ! In short ... I sound mortar explode in your mind and not your mouth.

* Little Hill Records, based in Rome, presents his first very limited Various Artists; composed by a double LP released on 100 signed copies; a mixture of club tracks with experimental stuff: from Ambient to Dub passing through Acid, Hypnotic Techno and hard groove.
Featured: Lorentz, Vincenzo Pizzi, Luciano Lamanna, Beat Movement, Mutecell, T-Kode, Manuel Di Martino, David Meiser, Nemrac, Code 701.

* Litte Hill is a Rome-based music label with it's sound rooted in electronic music with techno and dub influences.

- Second album from sisters Tanya and Nadine Byrne's Ectoplasm Girls after a 5 year wait - An incredible mesh of pulsing techno, esoteric electronics and alt-pop - Edition of 300 copies


Finally, Ectoplasm Girls' long awaited second album is here.
Five years have elapsed since their surreally compelling TxN LP for iDEAL, in which time they've not so much as refined, but followed the same, winding paths to equally murky conclusions in New Feeling Come.
The Stockholm-based duo of Tanya and Nadine Byrne, a.k.a. Ectoplasm Girls, sound like the progeny of some ancient, mythological creature as opposed to anything of this earthly realm. Their music distills traces of post-techno, doom metal and esoteric electronic pop into a skin-crawling residue that strongly resonates with their name.
As with the aforementioned TxN - a unique highlight of the 2011 schedule - their follow-up spells out a mostly wordless grimoir of slow, writhing rhythms, bittersweet tones and phosphorescent texture incomparable with almost anyone else we can recall, bar maybe Coil or the that ghost band who soundtracked your dreams last night.
Perhaps more so than on TxN, in this instance they feel more faded, detached from the listener, drifting thru 15 stages of séance-like ambience with an incorporeal presence belied only by their clammy sleight of hand and vaporous traces of breathing.
It's all dark as you like, but crucially with a sense of ambiguity that allows for interpretation depending your mood and ability to discern between poltergeist like trembles and the spirits of two possessed, possibly playful, Swedish girls. Either way it's wicked and well worth the wait.

The gifted producer behind Mønic and Kryptic Minds returns to Downwards under his own name with a crushingly physical testament to his knowledge of soundsystem dynamics and how to sustain knife-edge atmospheric tension.
The Lust Product EP offers four tracks of stare-down halfstep techno and grubby rolige that's patently a product of so many years manning a DJ booth and dancefloor. Lessons learned from the hard edge of D&B and how to properly make the speakers shake are at the core of each cut, ruggedly manifest in the cement mixer churn and deathly groan of System Living, and tightly laced to the Fishermen-esque, slow techno-meets D&B-on-33 grind in Silver Sun - a fearsome addition to our 113bpm techno folder.
But when he steps aside from the 'floor into more esoteric, dramatic headspaces and themes, he really proves himself a master of cinematic tension, recalling the most funereal rituals of Cut Hands in Lust Product's stygian trudge and sweeping low register string arrangement, or breaching the quasi-speed doom dub zones of Raime in External Laws.
Killer twelve.