Techno Vinyl New Releases - News

Blackmass Plastics is constantly evolving. Mutating sound. Whether destroying dancefloors with hybrid monsters or making two-step(s) ahead of the game bass music that still sounds fresh after more than a decade, Blackmass Plastics defies convention. A producer and DJ long associated with Ugly Funk, this marks his first vinyl release for the label and organisation for which he is an integral component. This doublepack contains a range of shapes and guises, veering towards the kind of open-minded 'no skool' techno dancefloors that Ugly Funk have become well known for in their 18 years of putting on parties.

'Under the Radar' includes the much sought after Newton's Cradle. (released briefly digitally then swiftly deleted. UFU HQ have been inundated with requests to release this track on vinyl ever since). A fat analogue and dysfunctional rave stomp, described by both Jerome Hill and Truss as a 'KILLER' and reviewed in The Wire magazine - "Newton's Cradle.. a whole junkyard worth of clutter crudely popping and locking, everything shaking as if in a Roobarb and Custard cartoon".

This release also throws some light on his industrious studio experiments from the last few years. Twitchpitch and Lololp are among the first of the new mutant experiments to escape the Lab - on promo and derailing dancefloors everywhere DJs play them. Arresting, not easy to describe, these trax are precisely identified; infectious twisted brainworm loops brought alive by DIY noise box processing. Where Grime and Punk seem to meet at speed. Head on.

Also included is the brilliantly named HR Giger Counter - a stripped down UK Bass rattler for the Nuclear Waste generation, totally unique, you haven't heard anything like this before; whilst Doomatron and Harmonic Minor Chasm both give a knowing nod to The Mover and PCP, touching base with the place where, for Blackmass Plastics, it all began...

As Blackmass Plastics and under other aliases he has released records for Deadsilence / Rag N Bone / Don't / Victim / Coin Operated / SMB / Yellow Machines / Audio Illusion and his own Thorn Industries imprint.

'Under the Radar' tracks have received airplay on Rinse FM, Kool FM, Sub FM

Support from Truss, Jerome Hill, Warlock, Esther Ofei, Dexorcist, NoYeahNo and others

Eschewing the routine trappings of "tunes" and "melodies" in favour of drone and a strong cinematic sensibility, Jazzfinger bring to you their own unique brand of visual and aural exorcism. They start noisily. They incessantly build layers of white noise onto of layers of unwieldy dissonance. They recreate an auditory Armageddon with amps. They end noisily. They also unleashed 600 live crickets onto the audience at a gig once.

They have dozens and dozens of LPs, tapes, CDRs and lathe cuts out on a multitude of DIY labels, and they've finally released a 100-only double-A side - Beachy Head / Moroccan Car Park (D. Harwood remix) on the Distraction label. Ladies and gentlemen: Jazzfinger.

Recorded by Hasan Gaylani and Ben Jones.

'Beachy Head' remixed by D. Harwood.

Artwork by Thee Ruiner.

Packaging screenprinted and assembled by Tyrant, Design and Print.

Fabric Safety Apparatus Vol. 1 is the rst in a new series of club-oriented selections presented by Parachute. Featuring exclusive music from the likes of Italian industrialist Ayarcana, label co-founders Avatism and Clockwork, Meze, Metrist, M_REC boss Max_M, South London Ordnance and rong Assessment, it is due to be released this summer. Fabric Safety Apparatus Vol. 1 comes in a 2x12' package designed by Kero.

Berlin Atonal Recordings is happy to announce two forthcoming releases, both featuring live cuts from two of the most talked about performances at the 2015 edition of the festival.

Peder Mannerfelt supplies four jams fashioned out of his own exceptional live show at the festival. Raw, unsoftened, brutely analog sound from an EMS Synthi AKS punctures space in an oddly futuristic rhythmic experiment, gesturing at a brand new way of thinking about electronic music.

The cuts are also packaged in a special 12" featuring artwork based on his own breathtaking live audio- visual show.

"Abjura Detesta" its a 2 tracks EP which comes along with remixes from the Canadian duo Orphx and label owner P.E.A.R.L.

'Repetition Reinforcement' is a chilling reminder of Consumer Electronics' brute, incisive force and reaffirms their unique position in today's extreme electronic music.The long-running alias of former Whitehouse agitator, Philip Best, and now featuring vocals and music by Sarah Froelich & n0!se pioneer Russell Haswell, Consumer Electronics hold steadfast to an unflinching observation of, and reflection on, contemporary British culture, recently exemplified in the coarse noise techno rants of 'Estuary English' (Dirter Promotions, 2014). On both these new songs, though, Best's lyrics and delivery distil his bracing vitriol to nerveshredding degrees, trading the explicit rage of 'Estuary English' for hushed, under-the-skin implication, aided by Sarah Froelich's deadpan vocal and Haswell's streamlined, but ever visceral, frequency fxxkery. 'Murder The Masters' cuts right to the bone, (w)rapping a disaffected tirade in deeply unsettling, over-the-shoulder tones, skeletal techno kicks and clammy atmospheres. You can practically smell Best's breath on your neck.'Alien Existence' follows suit, swapping volume for skin-crawling intimacy. Here he shares vocals with Froelich in a probing dialectic of sexual politics smeared against sagging kicks and looking glass synth discord.Put simply, few other c*nts have the balls to broach this topic: best left to Best and co..

Imagine you are being invited to the studio of a visionary, and get to discover some brand new futuristic experiments along with tracks made 25 years ago that sound as if they've been made yesterday. Well that's what the careful listener who plunges himself in the album from start to finish should feel like. It is not very common to display a tracklisting that ranges through three decades, and call it an album. However, all of the music here is unpublished, exclusive, unreleased... It is also extremely rare to encounter artists that have never taken a break from studio creation, and this unbroken continuum is probably the reason why there is no relevance to any chronological classification of his work. The intent in the beginning, was to focus on the more recent, experimental side of In Aeternam Vale's work, and to look at his work through an angle that would be complementary to some recent techno releases on Jealous God or 80's gems on Minimal Wave. Only, a few visits to his studio in Lyon were decisive. Imagine seeing the history of 30 years of electronic music flash through your ears, just in a few hours. 'IAV' has been exploring new grounds and sometimes even pioneering new styles and subgenres several times, with literally hundreds of tracks to listen to. Words are not enough to describe this record's digger absolute dream : the discovery of a secret parallel universe where so much music has been created and kept under the radar. Playing live, IAV is quite notorious for hoisting his modular cases above his head in fiery resonant solos, as if an electric guitar. Rumor has it, a few live performances have gone absolutely wild lately. Laurent has lost nothing of the raw punk energy of his youth.

Phosphor(e) is mainly Acid based. Phosphor(e) contains more than sixty different standard types and his variant as many as in music styles. Phosphor(e) parallel between molecule and music can be draw. Phosphor(e), is a substance that exhibits the phenomenon of luminescence. Phosphor(e) must be played in dark. Sometimes it glows

Only 1x per customer
North American noise techno juggernaut, Ren Schofield, a.k.a. Container, hits Diagonal with full force on a blistering label debut that finds him in excellent company amongst like-minded freaks and dancefloor demolishers.
Delivered with a loony, snaggle-toothed grin, DIAG030 extracts five fanged and venomous 'floor tools that make few concession to notions of 'progress' or 'refinement' in his process: each bite is as downright nasty and feral as anything in a catalogue that spans Spectrum Spools, Morphine and Liberation Technologies
No bones about it, this is dance music for noisy minds and feral bodies, a gnashing and virulent session that gets under the skin and up your nose with the inorganic, metallic tang and skidding patterns of Vegetation before thwacking about with gleeful abandon to the gush curdled acid tones and salty, spattered drum machines of Soak.
Funnel is the EP's strangest, canniest creation - stepping with a militant wonk that sounds like nothing out there; Radiator consolidates suspension-testing electro with lacquer-bubbling noise; and Insulation wrests grimacing gremlinz from a battered array of non-standard, possibly-illegal hardware.
This is one for the gurners. You know the feeling — and Container nails it.

PAN return with their first vinyl release in almost a year, racking up excellent Beatrice Dillon and N1L remixes of Helm's Olympic Mess for the dancefloor.
Beatrice Dillon follows a killer run of appearances over the last twelve months with one of her most straightforward but engrossing productions to date, turning Helm's source elements into a rolling and stepping House play coiled with limber grooves and measured dancefloor pace.
Fresh off his debut for Lee Gamble's UIQ label, N1L hacks into the ambient environment of Olympic Mess to wrest a spacious but physically tense and lushly chaotic reflection o the same London stomping grounds which influenced Helm's piece in the first place. The template here is open-ended yet highly, incomparably distinctive, like hearing some hyper new cyborganism of bony drums, scaly electronic flesh and abstract, noisy guts coming into shape, yet never quite resolved.

'A scorched-earth take on Wax Trax-style electro-industrial that nonetheless point out to influences as diverse as Depeche Mode's Construction Time Again and Whitehouse's Birdseed. ' FACT

The year 2015 saw hardcore inspired EBM outfit, Youth Code, step into line with what most would consider is their well-earned stake in the current world of industrial music. Spending most of that time touring selectively on their own in Europe and then sweeping through North America with the legendary Skinny Puppy, Youth Code pulled together their newest songs, hunkering down with producer Rhys Fulber (Front Line Assembly / Fear Factory), and intertwined the ideas that would become their second full length album, Commitment to Complications.
Born in 2012 out of a Los Angeles bedroom, Youth Code was the instinctive creation of musicians Sara Taylor and Ryan George. The band made their spontaneous live debut at LA-based record store Vacation Vinyl's employee showcase. Word of the incendiary live performance quickly spread and was followed by release of the well-circulated, coveted, Demonstrational Cassette, which saw the band hone their semi-improvised initial set into something altogether more muscular, resonant and lean.
Soon after, Youth Code was invited to release a limited edition single with the legendary Genesis P-Orridge's label, Angry Love Productions. The single quickly sold out and saw the band receive praise from industrial heavyweights including Skinny Puppy and Front Line Assembly. Shortly after the single's release, the band signed with label Dais Records to release their 2013 self-titled full length album, which solidified the band's widespread critical praise from outlets as far ranging as Pitchfork, Fact Magazine and MetalSucks. In 2014, Dais saw through the release of their much anticipated EP, A Place to Stand, which featured remixes by Silent Servant, Clipping, God Module and Sanford Parker.
Since then, Youth Code brought their brand of Industrial to audiences all over the US on supporting gigs with AFI, Nothing, The Body, Suicide Commando and the now infamous Eye vs. Spy Tour with industrial legends Skinny Puppy, Front Line Assembly and Haujobb.
Commitment to Complications reflects Youth Code's time spent with various electronic alumni and scales up the aggressive notch left behind in their previous releases. Youth Code's introduction of the album starts on a reflective note but quickly changes gears into hyper drive BPM pacing with rhythmic complexity driven in with the track Transitions that can only be referenced as maniacal. Songs like Doghead and Shift of Dismay show the band as a frontrunner of definitive industrial anthems and critical songwriting skill. Another harbinger of Youth Code's dire shift into more strident terrain would be evident in the inclusion of Ben Falgoust (Goatwhore) and Todd Jones (Nails) as guest performers. The band's cohesive collaboration with producer Rhys Fulber is in full display, driving the band's aural trajectory into consuming and contentious industrial electronics.

After the great debut of some month ago, Spectral Rebel is ready to return with another massive release, this time signed by a further coming up artist in the techno scene: Manuel Di Martino. Known for his leaning for an old school rugged way of interpret productions and sets, Manuel shows us his acidest side in a one-sided 12inch vinyl, accompanied by the new young revelation of our times, the composer, arranger and pianist Raffaele Attanasio, making this second release, an absolute masterpiece.
'Raw Intentions' isn't only the release title, but the perfect concise description of the entire incision. The original one starts with a simply running nocturnal rhythm hard and chary at the same time but, after a while, give off, almost as a surprise, its real soul, an incessant flooding river of acid stabs, angry bites which rain in a fluctuating progress inducing any individual on the dance floor to deal with an huge sharp wall of sound waves. Raffaele Attanasio put his sign on with an unique and nonpareil version, combining both his distinctive mark of piano artist and his 'raw' soul represented by his alias X501. Almost heard several times in his live sets, this work is recognizable for the mathematically combination of overdrived harsh kicks crossed by acid stabs, all broked suddenly by a melodically solo piano touch which puts you in a short deep dream. Finally 'V3' closes the EP as a digital bonus original track that confirms the acid taste of the release with an hammering pulsing drum kit worthy of the oldest techno tunes.

The second release on Hail Blk, with deeper grittier atmospheres from new artist Llimbs. The four tracks presented here pace steadily with heavy beats immersed in dark industrial noise echoes and repetitive oscillating sounds with moments of brooding introspection.

Although the artist has spent 2015 honing the discographies of his other projects, Ravers' comes after a silent year for the D. Carbone moniker which in turn gives it all the more impact. The Class of '87' DJ and producer's first mini-album is dedicated to everyone interested in the ecstatic sounds of 90's rave culture.

On Ravers', D. Carbone distances himself from the functional perception that techno indicates a fairly narrow tempo range. Instead, he approaches it more freely by returning to earlier formulations. The speed is higher than on the artist's previous releases, varying from 137 to 160 BPM. So though the entire range here is faster than most current techno-tendencies, the scope is also wide. It is about pushing the envelope and rejecting limitations. The notion of rushing is central to Carbone who describes ideal techno as body music' - a powerfully energetic mantra-resembling medium for dancers to loose control to. Letting go of restraints is reflected in the tracks that have been jammed out free of structural rigidness. Meanwhile, sound-wise Ravers' is classic D. Carbone: Noisy and acidic industrial techno where every single sound in the mix is subject to heavy distortion.

At a tempo of 137 BPM, opener Jerk' is most in line with the artist's past releases using a 4/4 kick pattern, ravey hihats, 808 claps, 101 bass line, pulse synth as well as string pads that recall early Warp Records anthems. On following cut Orius', the tempo is jacked up to 152 BPM and the mini-album properly begins to unravel as a distinct entity for Carbone. Here, a bug-like acid line meets gabber-style kicks, metallic cymbals, intensity-heightening toms, a hoover' synth and noise pads. On Space Journey 1171' we travel through the infinite to the sound of a beeping space shuttle, trancey synths, grainy beats, guitar-reminiscent tremolo pads and a fast 303 acid line.
On the flipside's opener we are in the moment to the extent that we simply Mustacid'. The track evokes the early output of Den Haag's Bunker Records with gabber kicks, persistent snare and rimshot patterns, a full-on 303 bass, and noise pads of human screams and dissonant guitars. Hereafter, the producer continues his Hard Vision' in a similarly brutal manner, adding whiplash snares to a high-energy drum pattern, several acid lines and discordant synth pads. On closer ESX', the pace is taken down a bit on what sounds like a tense Detroit techno classic played through a distortion pedal, Hardcore kicks and toms blend with reverberated claps, rattling hihats, bell pads, a subtle 303 and an organ-like synth.

Though Carbone sticks to a familiar sound-pallet, the loosely structured tracks at a higher-than-usual pace make Ravers' a refreshing record. Where his previous slower releases expressed dystopian views, Ravers' has a cathartic feel - as if we've experienced mayhem and are now optimistically dancing among the ruins.

Diagonal pull a blinder with remixes of Russell Haswell by Autechre, DJ Stingray and Powell capping a golden year for the label - recently rated highly in Fact Magazine's labels-of-the-year 2015 list.

Juicing Haswell's dancefloor-generous album As Sure As Night Follows Day, the stellar cast of time-served usurpers and outsiders flip his n0!sy muzzle in their own image with deadly results.

Autechre's Conformity Version of Heavy Handed Sunset effectively dubs Russell into submission by way of water-boarding smothers and accentuated pressure points - precisely choking, kneading, kicking and distending the original like its some sorta Stretch Armstrong plaything.

Not to be outshone, Powell pays dues to his mentor with a cork-popping COV Megamix ov Hardwax Flashback littered with samples of Russell doing Russell for RBMA, making for his most DJ-tempered tools to date, whilst DJ Stingray puts a lid on it with hollow-skulled clank and darkside descent of Gas Attack in a grimacing Atropine Mix.

3TH keep on releasing techno with an eclectic vision, each track has its different shades and rhythmic approaches. Act 83 and 86 are both powerful tools that are lead by acidic repetitive patterns and distortions. Act 100 contains a raw and strong beat that travels through cosmic and "epic" soundscapes. As conclusion, Act 63 is characterized by emotional melancholic melodies and brain-dance music, accompanied by succession of rousing rhythmic evolutions.

A poet's reminder of a specific season.

Do you know what genre this is Do you know who's going to play this record Do you know at what time in which club If you knew, would it sound any different Would it make you feel any different Here's a thought: What if this release was made just for you What if you realise, as you put the needle to the groove, that this is YOUR music You can share it with your friends, and strangers will talk about it like it was theirs, but deep inside you'll know: this was made for yourself.

Support from:K1971! Berlin promotion from 28th of August 2015 www.k1971.com

* Tabvla Rasa is the second vinyl release for the new London based label Kapvt Mvndi Records, a Blackwater Label project about Techno.

* This Ep comes in a single sided vinyl on a 12', 45 r.p.m. with black labels, no inner sleeves, and a book with credits and artwork inside.

* Tabvla Rasa is a an experimental and post techno Ep based on the historical events of the Second World War. The first track CXIX is about the days of Bombs in London during the War. The second track CMXI is about the connection between the indian Swastica and the esoteric symbolism used by the Nazists in the same period.

* A1 track is a pure experimental dark track leading at 99 b.p.m. using a raw lead and synths in a repetitive and psychedelic loop . A2 track is a post techno track, more suitable for the dance floor. The Artist used the same musical and machines structure for both tracks, 99 b.p.m., same delay and reverb effects preset and same instruments.

Black country overlord Justin K Broadrick (Jesu, Godflesh) blesses Regis' Downwards fiefdom with two tracks and a tightly sprung rework by Surgeon. Downwards have really picked the foulest iterations of a grim set for vinyl release, inscribing the industrial-strength torque of Nothing Is Free - which sounds like early Kode 9 battered by Shapednoise - at 45rpm across the front face, and branding the knuckling 808 snares and distended electro bass blow out of Kontorted on its backside.
Surgeon's remix of the title tune ranks among his best in many years. Trace elements of the original are extruded thru modular kit and remodelled on a bouncing, swerving techno chassis recalling BMB and CUB classics, but streaked with sirens and vamped by a marching brass refrain that's just spoiling for war.
The release marks a long overdue overlap between Downwards' and Broadrick's interrelated industrial, noise and techno circles. Broadrick was the original drummer for Napalm Death on their Scum (1987) album, before forming the legendary Godflesh, and
carving out an oeuvre as one of the most feared and respected musicians to emerge from Birmingham and the UK ever since.

back with another album project, this time from American producer Christopher Ernst, aka L'estasi Dell'oro, who also records as Penalune and is co-founder of the Voodoo Down label. Before now, Ernst has proved himself to be adept at crafting deep and atmospheric, excellently ambient techno on a range of labels. Varying his tempos and textures, he does acid, raw stuff, tough beats and more industrial grooves. Across this new 8-track album, all this and more is explored in captivating fashion. This is an expressive and expansive modern techno album from L'estasi Dell'oro that is perfectly at home on the always interesting Field label.

Perc Trax is proud to announce 'Stowaway', the debut album from Ansome. A ten track collection of brutal UK electronics which marks the next significant step in a rapid rise that has seen him become a key member of Bas Mooy's Mord crew and play a constant run of hardware based live sets across Europe.

A Cornish ex-pat who now resides in south London, Kieran Whitefield is the man who puts the dark in Poldark, combining a warm persona with a deadly serious attitude to his music. Consistently changing his sound as new equipment and techniques are utilised in his studio the album mixes up the type of 5am club rippers he is known for with an exploration of more spacious and atmospheric tracks. 'Stowaway' will also be released on Perc Trax CD and download formats with a London launch party at the end of February to support its release.
DJ feedback so far::

Lucy (Stroboscopic Artefacts) 'Incredible work. Big support for Perc Trax.'
Dave Clarke (White Noise) 'Snake Eyes' works well for me.'
Clouds (Electric Deluxe) 'My Christ! 5'5.'
J. Tijn (Power Vacuum / WNCL) 'Big album, gonna batter this.'
Tommy Four Seven (47) ' Fantastically brutal. Blimey'
Adam X (Sonic Groove) 'Good shit. 'Snake Eyes' is my top choice to play out.'
2000 and One (100% Pure) 'Pounding stuff, thank you!'
Bintus (Power Vacuum) 'Sounding great, naturally! On a cursory flip through, 'Vyken' is my bomb of the lot. Thanks.'
Thomas Heckmann (AFU) 'Great kick-ass album by Ansome and playing 'Snake Eyes' and 'Blackwater' for some time now !!! Brutal and inspiring !'
Pinion (Perc Trax / Mord) 'Album is bad as hell. No surprise there. Ansome always delivers.'
Scalameriya (Perc Trax / Genesa) 'Powerful and useful tracks as usual. 'Snake Eyes' is my favourite. It actually sounds like it came from my own pantry, just a lot rougher aesthetically. Full support!'
Ontal (Shadow Story) 'Can't wait to hear the whole thing! 5/5'
Phil Kieran (PKR) 'Blackwater sounds hot.'

The first vinyl release by Ukrainian label Subself presents the compilation including both label residents and new artists. X EP includes four tracks made exclusively for this release.

It starts with DSCRD's track which perfectly blends experimentalism and techno traditions into nine-minutes-trip gets with a peak by acid bass and distorted modular chords. Vadim Griboedov continues journey with off-beat techno construction balancing on the border of minimalism and nihilism.

On the flipside Rasmus Hedlund present dubby side of Subself with his slowburning Extorter decorated with delays and glithes. The last but not least track of X EP belongs to Echologist, man which production always surpising and visionary. Explorer is not exception - it's mesmerise with the deepness and transparency at the same time.

Limited Red Vinyl Pressing!
Dolgener develops a new perspective to his body of work with Violenteer. The Ep as a whole brings a feeling reminiscent of rebellion and place without restraint from current musical norms.
Violenteer (Original mix) - The original mix comes to us in a raw, driving and distorted package. Dolgener plays on different soundscapes, creating a world within a world, and allowing somewhere for the violence to exist.
Violenteer (Mani Dee Introspective mix) - Manni Dee exerts a lovely piece which creates both tension and an unnerving feeling throughout the track through his articulate evolutions. This particularly somber rendition finds a home amidst the chaos.
Crusin' just above shut down (Original Mix) - The original brings a broken beat backbone with a heavy dose of noise and sounds of malfunctioning machinery. It is man's last effort before slipping into his unconscious mind.
Crusin' just above shut down (AnD remix) - AnD delivers their signature style of powerful, progressive and modular madness. The polyrhythmic sound sources coupled with heavy drums and percussion ensure a frenzy will ensue.
Early Support By:
Surgeon Forest People Speedy-J Krenzlin Perc Truss Tommy Four Seven Orphx Ancient Method Bas Mooy Brendon Moeller Myler Tomohiko Sagae Voidloss Octave Morgan Tomas Pinion ..

For it's 5th vinyl release, Genesa Records gathered some of the most exciting, fresh artists around the world.
A1 - Broken, intergalactic beats by the Serbian techno behemoth, Scalameriya.
A2 - Funk infused, analog weaponry by a groove master from Japan, Miclodiet.
B1 - Furious, raw techno by one of the fiercest heavyweights from England, JoeFarr.
B2 - A mindblowing cyberpunk stomper by the Italian sound surgeon, VSK.
Marbled, transparent green / black vinyl.

Healing Bowl forms a timely collusion between an artist and label who've been converging on a mutual mesh of gutted D&B dynamics with techno tempos and dark ambient feels for some time now. It forms Simon Shreeves' debut release under his birth name after more than a decade of releases as part of Kryptic Minds, and more recently his techno-leaning solo output as Mønic for Tresor.
A match made in techno purgatory then, Healing Bowl metes out five pensile, nervepinched pieces defined by finely sculpted bass, shivering percussion and cranky concrète processing. Never showy, but with a nuanced atmospheric elegance and appreciation of proper body mechanics for the 'floor or bedroom.
A/SA falls down the trapdoor first with plummeting subs and spanked spring reverbs setting a crypt-like tone and spatial setting which bleeds thru into the title cut's rolling swagger and strafing, daemonic silhouettes, before A Thousand and One locates and locks into a dank pocket of plasmic bass and spectral vocal recital.
Sharada follows with a ghostlier, eldritch pallor of melodic development giving rise to sepulchral harmonics amidst fizzing, prickly percussion and elliptic sub bass curves, yet the EP's strongest dancefloor cut is saved for last with the elusive, entropic sound design of S/KA seeming to invert techno and D&B dynamics with vampiric lust and romance.
Shreeve has evidently found an empathetic and steadfast partner in Downwards. Here's to a lasting relationship.

Cory arcane found her comfort zone in a constant state of crisis, and her liberation through love, sensuality, and high-speed internet access. as some might recall, she used to struggle with her own decay, navigating an intricate web of bureaucracy, endless social-media scrolling, 24-hour news channel feeds and marketed strategies of seduction. her intense and continuous obsession for surf, breakdancing and cat videos might have saved her from a silent decline, but it would be her first attempts at integrating a professional ballet company that provided the initial spark. her unorthodox dance movements were often considered shocking, transgressive, and barely legal; and even though some recognised her genuine talent, it was clear she would never make it into this structure. this is when she started her slow drift towards the outer limits of society, in search of the way to achieve the conditions for absolute freedom. her emancipation was surely marked by different forms of excess: the inappropriate use of fireworks, the consumption of large quantities of alcohol and controlled substances, as well as the occasional blasts of kitchen appliances. she bypassed the gender war and became an expert in advertising sabotage. soon cory would give academic courses on the true liberation of the mind, or, in her own words, the apotheosis of senses. lately, she could be seen squatting in the outskirts of different giant metropolises, embracing the mayhem, contemplating the crumbling of a system. the sound of the city, mixed with the music on her headphones, would weave complex rhythms and futuristic textures into a beautifully coloured, pixellated surface. looking out onto this fabulous chaos, she smiled.

150g transparent clear vinyl enclosed in silkscreened PVC cover. Mastered and cut by Rashad Becker at D&M, Berlin. Contains two locked grooves. "Brandon Nickell hardly makes room for spaces between the threads, for lines trickling downwards towards gaps and fissures, for non-hierarchical entry and exit. The economy of hacking demands a certain selectivity. Years before relocating to San Francisco from neighboring Oakland, Brandon grew interest in computational models and in engineering simulations with algorithmic overlays. In 2003, he began his Isounderscore label releasing titles for Concern, Rale and Nicholas Szczepanik, to name several, in addition to his now defunct noise project Aemae. Titles on Isounderscore often emphasize mathematical rigor and structure, with foil-embossed covers of theoretical graphs. Starting in 2010, Brandon began releasing titles under his own name with tracks inflected by speeds and haecceities, containing hyper-concatenated, generative rhythms. He released his first full-length album on CD, And If You Set This Mind Of Mine Afire Then On My Bloodstream I Yet Will Carry You, in 2010, on his Isounderscore label, followed by The Art of Memory, a 12"" for the Tundra label, in 2013. Brandon has performed live with the likes of Clipping., Holly Herndon, Rene Hell, Daniel Menche and Pedestrian Deposit. Somewhere to the side, Brandon Nickell's productions root up as continuous functions of open source programming. His Ge-stell debut situates the scrambled bustle of angular, ambient-tipped beats against a pointillist attack of deft drum programming. Passages, both near and far, branch backwards and re-enter narrative borders where events do not link conclusively, but in momentary and inexplicable ways. The result is a meticulous mesh of acid-tinged, obtuse dance beats of industrial-grade arranged in a disjointed, hip-hop indebted framework. Irreconcilable parts of systems should not be viewed as permanently given or beyond question." Click here to listen

Diagonal kick off 2016 with a hotly anticipated album by Alessio Natalizia's Not Waving project. It follows his probationary 12' Get Serious and can be seen as a first quarter report on the fluctuations in London's computer acid and wave-pop sectors.
Under lax time constraints, the London-based Italian artist has authored Not Waving's most versatile LP to date — an unruly yet emotive bender taking in 'floor-mauling New Beta and endearingly beery post-industrial synth music.
Animals harnesses the wanderlust of Natalizia's spate of self-released albums and records for Ecstatic and Emotional Response but dials up the wildness, spitting out a careering sequence of tracks that feel as warped,
deep-raved and giddy as a night out in the city they were forged. These are tunes — no, songs — for postwork smash-ups, weekenders and sore commutes. And make no mistake, although Animals occasionally bites hard at the business end of the 'floor, this is Diagonal's most POP record yet, with Natalizia's songwriting sensibility conjuring moments of tenderness and beauty to offset the manic strobe lighting and droppin' sweat.
Album opener Believe is one such moment, a twisting synth workout that bounces along over rock-ist live toms. The tie is loosened on Head Body, as Not Waving unleashes a raging kosmic EBM showpiece that morphs across 6 sprawling minutes. Next up is 24 — the album 'hit' that's been delighting (or destroying) dancefloors across Europe for almost a year now, here the trews are off and all — and you can see Front 242 and Ancient Methods tattooed across the artist's butt.
The shunting Gutsy and whopping industrial stress-test Work Talk buckle down like mutant Powell cuts, whereas I Know I Know I Know and the thrashing EBM-pop of Face Attack run The Sound of Belgium through a distinctly Diagonal filter — all smart edits and unruly arrangements.

COUMLTD001 is the first vinyl edition from COUM Records label. To start this limited the edition of 300 copies. Dead Sound & Videohead are in charge of Bar Brawl EP. A side is composed with two powerful offbeat tracks with industrial reminiscenses. The B side is for remixes: the Canadian duo Orphx is the first one bringing 7 minutes of rude and savage techno. To close the release, the mythy spanish industrial group from the 80's Esplendor Geometrico, remakes "Torn" to a noisy rhythm hypnotic track.

The third chapter of Shadow Story is another collaboration between its joint label owners, Dronelock and Ontal who show once again that their symbiotic relationship is a meeting of like-minds and distinctive production techniques.

The EPs opener, 'Parallax' starts with a cinematic intro before launching into its pounding groove and dark electronics before the Shadows Remix version comes crackling into play.

The title of 'Drop Forge Steel' conjures up an industrial landscape and you won't be disappointed when this tough Techno track starts throbbing with all the intensity we've come to expect from the Dronelock / Ontal partnership.

Though 'The End of Eternity' continues the pace of its predecessor, it also displays a quietness in its gentle melody to juxtapose the steely resonance.

'Unwise Remix Series' has the involvement of artists which represent Synthek & Audiolouis main points of reference and inspiration, artists who acknowledged the potential of Unwise and accepted to get involved the remix project. The second installment of Unwise Remix Series features a strong combination of techno figures that delivered, as expected, amazing reinterpretations of the originals. Kwartz opens the release with a devastating rework of the techno train 'Counterbalance', a broken beat weapon designed to make speakers sweat. Fabrizio Lapiana remixes 'Over The Edge' loading the atmosphere of drones and swirling bleeps, placed on strong hypnotic drums layers. Antigone on the flip side gives a new vision of the track 'Something Else' leaving behind the detroitish style of the original cut to approach a fairy world, where bright and
melancholic sounds are partnering with a thin beats which dissipates every now and then. Varg close the record with a noisy rework of 'Overcast', bringing it down with heavily distorted drums, reverbered drones and terrific atmospheres.

A year and a half after Black Merlin (George Thompson) opened the Common Thread series with the much praised New World Fantasy / Ice House release George sent over some adventurous bits for a follow up and we were immediately sold. George is a true artist in his own right. All of the Black Merlin tracks evoke different sentiments. This time around the feeling it bring up is very conflicted. Both tracks have those dark aesthetics with elements of paranoia and both also share some apocalyptic elements.
It is for this reason that this is the perfect follow up for CT01.

Instead of just releasing music on vinyl we (with the blessings of Zoroaster) are looking to evoke spirits, cross boundaries and maintain quality. Major cliche's, but with an artist like Black Merlin on your books, Cliche's sometimes become truth.

COMMONTHREAD04 - Black Merlin - Burn It / Experiments In The Dark will be available on Limited heavyweight vinyl from Late May/June 2015.

Mastered By Gordon Pohl, Photography by Javier Gonzalez

Very limited stock release on atom tm + material object´s NO. label. by Garry Bradbury, ex member of the 80s band Severed Heads. No. return with a new addition to the abstract '300' series by one time member of the influential Australian electronic project Severed Heads: Garry Bradbury. Sydney based Bradbury is known for his boundary bending audio collage and analogue synthesis outbursts and has a career spanning three decades and is still blazing well into the 21st century. Here he presents his 5th solo album for No. Yakovlevian Torque might be the most diverse No. release to date combining audio sources such as traditional 'found sound' tv samples to analogue and digital synthesis. Always on the verge of being slightly humourous, silly or deadly serious, Bradbury balances moods and emotions, making this album not just a journey into his own mind. Yakovlevian Torque is a 13 track work out worthy of your attention deficit disorder.








[I}] 9) Liquid Nails at Swinomish Slough 02:25

Ancient Methods and Cindytalk unite as In The Mouth Of The Wolf for this new Diagonal 12"
Mastered and cut by Matt Colton
Artwork by Guy FeatherstoneEdition of 500 copies, housed in individually screen-printed sleeves
Two of industrial music's most insatiable operators, Ancient Methods & Cindytalk, pay homage to the White Rose figurehead, Sophie Scholl - remembered for her role in the passive resistance to the Nazis during WWII - with a passionate and unflinching trio of noise/techno girders for Diagonal.
For those aware of Cindytalk's illustrious industrial heritage - she has collaborated with everyone from Cocteau Twins and This Mortal Coil to Revolting Cocks' Chris Connolly and DJ Scud; this is nothing short of a momentous meeting of epochs, styles and utual intent. And it's f**king deadly
wi' it, too.
Need of Angels barrels across the A-side, pinned to the 'floor by riveting percussion and charging the spirits with thee harshest noise coming on in waves of absolute terror and catharsis.
Flipside, Sleight of Hand disperses that lactic build-up by loosening up and allowing some prime, late '80s EBM swing into the mix, resolved against a blizzard of head-long, atonal ferocity. A Search for New Realities shifts their attention again, arching up with a pensive white noise wash pierced by pinging coin drops before unleashing a thunderous torrent of breakbeat techno hearkening back to AM's finest Ugandan Methods and Cindy's work for Praxis, but with a thoroughly modern aesthetic.
Unmissable.

ELEM sees the light in 2012, during an electronic music improvisation night at "L'Asilo" (Arts and Culture production center in Naples, Italy) . ELEM started as an audiovisual project based on electronic music improvisation and multimedia arts, created by Loredana Antonelli ( visuals ), Fabrizio Elvetico , Emanuele Errante and Marco Messina (electronics) . ELEM is today an interesting novelty in the European electronic music scene that always welcomes new experimental and inspiring projects to give new life to Art and Music productions.

New York Haunted have invited some of our own favorite artists to explore the boundaries of techno as a form of communication. Straight from Detroit, the legendary Terrence Dixon represents the minimalist funk like no other in his contribution 'Star Dust'. Straightforward dance floor action with a truly hypnotic vibe. Former Yellow Swan, Pete Swanson comes from a noise background and has been adding monolithic rhythms for some years now, His 'Dirty Work' blurs these lines and shifts between harsh noise and distorted machine rhythms. Cryptic techno philosopher Jamal Moss, aka Hieroglyphic Being drops an exercise in Sun Ra worship called 'Speaking in Tongues' and label boss Drvg Cvltvre rounds of the EP with a combination of shortwave radio transmissions and walls of gutwrenching bass drums. Often imitated, never duplicated. These are the unique voices of a techno generation. This is: The Real Deal...

Incredible, hyperactive gabber/jungle/radio advert mix/collage from Belgium's DJ David Coquelin and Lil' Raver Cloarec - a.k.a. bosses of the PRR! PRR! label - for Low Jack's Editions Gravats label, arriving hot on the heels of their superb Action Mix of New Beat and early techno (check their soundcloud!).
Strafing a myriad styles from UB40 thru a handful of his own productions as An Ultimate DJ, plus cuts from N.M.O., and Eugene Ward, via stacks of cheeky radio jingles (both real and hyperstitous), stabs and samples of Resident Evil, plus loads of Jungle and Gabba - he's brilliantly stretching the definition of what constitutes a mixtape.
There's a momentum, but it's totally broken up and manic, and not without a sense of humour, dissecting everything into 30 second bursts of activity with an ADD approach to dis-arrangement.
Like the label's last cassette release from Antinote boss Zaltan, it's super collectible and hugely enjoyable...we reckon this one's a big party mixtape = highly recommended!!