Techno Vinyl New Releases - News

»LA DEMEURE, il y a péril en la demeure« is the opening to a five-part complex of works by artist grischa lichtenberger. »LA DEMEURE« - the residence - could be outlined as intimacy, a symbol of isolation and its possibilities. the joy of being isolated and having the change to work, explore and most importantly, experiment free from economic, temporal or social restraints is the center of attention of »LA DEMEURE, il y a péril en la demeure«.the single tracks on »LA DEMEURE, il y a péril en la demeure« and their components are constantly broken, disassembled and reassembled again. some parts may remind of hip hop and breakbeat, others may evoke associations to a broken music box, something mechanical that is not working as it should. in his very own way, grischa lichtenberger is examining limits, new experiences and unfulfilling expectations. this unfilteredness and rawness, the lack of a target group the music is made for, is what is fascinating about this record. »LA DEMEURE, il y a péril en la demeure« thus becomes a luxurious-kafkaesque collection of materials, an uncensored archive of a seeker.»LA DEMEURE, il y a péril en la demeure« will be released on CD and accompanied by three vinyl EPs that will put the experiment in relation to the public. the five-part cycle will be completed with a second album whose focus will be on »IL Y A PÉRIL EN LA DEMEURE« - danger in delay.

Repress!

As Sure As Night Follows Day is Russell Haswell's landmark second album for London's Diagonal Records. Consolidating a quarter-century at the coal face of extreme computer music, techno and death metal in 19 tracks and 49 minutes, it's Haswell's most coherent yet varied burst of activity to date — zigzagging from improvised n0!se outbursts and asphyxiated R&B to a brace of thundering acid bullets that positively froth for the 'floor.

The album was extracted over a fast-working period in late 2014, and is best perceived as a sort
of fractured regression to his formative influences: you can hear the picnoleptic recollections of
grindcore shows in the Black Country, the refracted shades of mega-raves at Coventry's Eclipse,
the conflating toxic texture-memories of early Japanese noise, and the incandescent stomp of
Mills and Hood in that early 90s phase.

Fortunately for the ravers, this album includes some of Haswell's most direct dance floor attacks to
date. 'Hardwax Flashback', for instance, finds him in pure tekno panik mode — a four-to-the-floor
wrecking ball groove that someone, somewhere, may even be able to mix. 'Gas Attack' distils his
penchant for all things Belgium into a vicious strain of New Beat lactic acid. Haswell then doffs his
cap to Detroit electro legends Drecxiya on 'Underwater Electronic

Struggle' — a story goes that he once thrashed a jet-ski all over the Mediterranean while listening
to 'Wave Jumper' in his 'phones — before he does the salty freestyle electro flex 'ting on 'Industry
Knowledge (For Oscar)' while reminding his trusty apprentice, Powell, that he still has a lot to
learn. In between these 'floor-flexers, we find more freakish disturbances and intrusive drum-box
improvisations: the modular mind-floss of 'Rave Splurge Noise' or 'Noise Rave', for instance, or the
self-explanatory 'Improvisation #1'. 'In The Air

Today' investigates warehouse-ready electro-acoustic percussion, while the chaotic clusters
of 'Interlude' swarm and invade your senses with psychoacoustic incision. This is Diagonal and
Russell at their most f**ked up and fizzy, and an important reminder of the artist's stream-of-
consciousness genius — and the pressing need for more chaos and unpredictability in electronic
music today.

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 mixdown and additional production in spring 2015 by Krikor Kouchian and Ron Morelli in Paris, Hospital Productions is proud to offer A Gathering Together.

Recorded at EMS Elektronmusikstudion 19.03.2015 / used = ALM, Tiptop Audio, SERGE...

Crushing celestial tech-noise objects from Black Rain (a.k.a. Ike Yard's Stuart Argabright) with Shapednoise and Demdike Stare's Miles Whittaker. 'Apophis', so named after asteroid 99942 which poses an uncertain threat to humanity, was written and realised over summer 2014 and supposes four cuts of destructive electronics describing a potential, eschatalogical event and its aftermath in grim and unflinching detail. Black Rain and Shapednoise are clearly steeled and ready for what may come, from 'Metal Home's' premonition of rubbling noise forces and slivers of electronic salvation, to the thunderous, scudding speedcore mass of 'Autonomous Lethality', or the double-timed serpentine lash of 'Interceptor' proving they've come to terms with our potential extinguished existence. Likewise, we've always imagined Miles came from some parallel cyberpunk dimension just outside Burnley anyway, so his Ramen reshape of the latter makes sense, hammering away its angles until it exudes sludgy, effluent hardcore techno tropes. Definitely one for Mad Max characters, techno freaks and noise creeps!

Beneath's Mistry label draw the best out of Batu in this quaking two-headed beast. With each release he seems to step further into his own sound, whilst also remaining true to a shared aesthetic/tempo with peers such as Beneath, Pinch, Lurka, and most recently, L.Sae on his home-brewed Timedance label. For this headstrong mission he comes with the noisy, technoid mutation of 'Dakalb' up top, alloying radioactive subs with rusted snare crack and floor-scanning sirens to murder the dance. Backa plate, 'Collate' runs industrialized roto-toms and scooping bass with the ruddiest junglist swagger crowbarred into a 130bpm template. They're both a big look those that know.

FF002 picks up where FF001 left off, delivering raw techno inspired by the cold and dark surroundings of Copenhagen.

Titles of this album, i mean titles names are already a good experience

Excellent experimental little indutrial techno perl... Needed for more sound surprises in parties

Samuel Kerridge joins Blueprint Superb, dark 4 tracker

* The first self titled album from emptyset is reissued on vinyl. Released in 2009 the material formed the initial departure within Emptyset's ongoing exploration of time, structure and analogue technology.
* The album highlights the projects development and the foundation of their studio based production process, forming the first part of a tryptic spanning across Demiurge, released in 2010 with Subtext and the 2013 raster-noton album Recur.
* The eponymous debut creates the first point within this narrative, initiating a dialogue between full frequency audio, noise and the emergent properties of sound, and the starting point for their contained sonic approach.

Mastered and cut by Rashad Becker at D&M, pressed on 140g 2xLP or CD
Features photography by Kim Thue and artwork by Bill Kouligas.
Follow-up to 2014's 'The Hollow Organ'
Inspired by loop-based industrial music, dub techno, and balearic disco

Where his previous effort, 2014's 'The Hollow Organ,' dealt in dense, distressed sonics, 'Olympic Mess' is Younger responding to a period spent engaged with loop-based industrial music, dub techno, and balearic disco. These musical references, all of which can induce hypnotic states and feelings of euphoria, inform ten evocative aural landscapes which unfurl over the course of an hour and act almost as a counterpoint to the turmoil that spawned them.

'It's about exploring a perverse desire to pull the rug from under yourself, and the struggle to achieve a healthy equilibrium between one's personal and artistic lives,' Younger says. 'Dealing with the problematic consequences of pushing your own limits, forming and dissolving relationships, transient lifestyles, physical and mental exhaustion, excess, and other kinds of personal chaos'.

Crafted using an array of heavily processed samples, found sound and electroacoustics,
personal conflict manifests in 'I Exist In A Fog' and 'Outerzone 2015,' where visceral noise
disintegrates into veiled, ambient strata. The disquieting crescendos of 'The Evening In Reverse' and 'Fluid Cloak' offer no such relief, while the title track and 'Don't Lick The Jacket' are mineral, multilayered abstractions twisting around a brittle pulse.

Following a period of extensive touring throughout the States and Europe, which included 20 dates in support of Danish punk group Iceage, 'Olympic Mess' was recorded in London, New York and Berlin by Sean Ragon, Luke Younger and John Hannon.

We live in dangerous times. We are blinded by control vectors that separate us from reality. And The Black Dog returns with a viral antidote: an album of de-programming material which they've called Nether/Neither. This record continues the work they started with Further Vexations and Radio Scarecrow. Burroughs was right: we are now living in a world that is nothing short of a total information war. We are neither one thing nor another, endlessly on the fence in the face of an onslaught of disinformation. Non-linear hypermedia systems are openly used to control us, their operation being totally exposed, mocking our impotence, yet complete in their power. We are all proles now, all are expected to maintain a mental state of Neither/Neither, of uncertainty and inaction. Even in a world where anyone can be an instant expert on any subject in a single click, we find that all our knowledge is a mere replay of someone else's script.We are surrounded and occupied by systems of platitude generation that are empty and self-referential. All is surface and all is hollow. From the Tories' election propaganda to David Icke, they're all the same, all meaning filtered to nothing by a lack of substance, science and humanity. Falsehood becomes reason, no
matter how ridiculous the proposition. They stand for nothing so they can have no questions to answer.False prophets and the modern day snake oil salesmen parade their viral vampirism, grasping for our time, money and headspace. Even our ridicule becomes fuel for their trade as they turn ignorance and
psychopathic exploitation into received wisdom and public opinion. Ask any sideshow psychic, repeat, pure Barnum bunkum enough times and you can seize the psychology of the masses. Rumours become truth then they become action and policy that in the cold light of the day make no-sense at all. No one's sure where they heard it but they have. The spectral offer of change, which actually sustains the stasis of confusion. They spin us on a ball of confusion we live on continues to turn and as long as they have us in a state of Neither/Neither they will always maintain control. Fight Back!Neither/Neither shows the world The Black Dog is reflecting.

"Minds" is all about electronic music soul and the feelings it catches deep into us.

Warm thanks to Valentino, Stephen, Paul, Riccardo, Bryan, Surachai, Derrick & Nina, Cyrus, Moe, Thomas, Eric, Sylvain and Bobby for sharing their art with us. It is a real pleasure and pride to have this project see the light.

collecting orders for another repress!
A year after their much-praised debut album STRGTHS, Avian's cryptic Swedish duo SHXCXCHCXSH are ready to present their second album, Linear S Decoded, this August. From the elegiac opener Entering The S-Cloud, the intensity of tracks such as Elocution and Rudimental Retreat, to the disorienting beauty of Wading Guise and aptly-titled closer Monolithic Conclusion, the LP deftly broadens the scope of SHXCXCHCXSH's singular aesthetic.

Keeping their mystic aura has always been important to SHXCXCHCXSH - so important they didn't want to take part in what they deemed 'the language game' until now. Their previous strict use of fragmented track titles illustrated an ideal of communication purely through music, to service the focus on sound via complete abstraction. Breaking the habit with Linear S Decoded doesn't necessarily indicate a complete break with their approach, but an adjustment to the direction they have travelled since they first emerged two years ago.

As Resident Advisor identified in a perceptive review of the previous LP, among SHXCXCHCXSH's key strengths is the imbuing of their productions with a narrative sense, a sonic progression that moves beyond techno's standard repetition - it's an element of their work that's heightened further on Linear S Decoded, pulling focus from the more grinding, brutalist elements of their distinct sound to reveal the more melodic, almost optimistic, elements that had previously remained in the shadows of the productions until now.

The track titles themselves are evocative about the new record whilst revealing few specifics: no less intriguing than the clustered consonants of the prior release titles, hinting at deeper underlying narratives at play, possibly historically informed, or a fiction of the duo's own making. Either way, definitive answers will not be forthcoming: the mysteries that lay beneath SHXCXCHCXSH's approach to music making have long been an intrinsic part of their appeal. Linear S Decoded presents the opportunity for newcomers and those already au fait with the duo to employ their deciphering abilities, whilst simultaneously offering an expanded and ever more richly detailed landscape to traverse...

Visionist resets his Lost Codes imprint as a new PAN sublabel, Codes, with a killer, collaborative grime/techno collage by Acre and Filter Dread. Marking the first time either producer has collaborated properly, they prove a vital pairing in equilibrium between industrial techno engines, body-scanning UK bass tones and gritty, diffuse urban-gothic atmosphere. Upfront, 'Drumz34' burrows in with viral 8-bit squiggle and squashed subs before 'Flash Speed' arches up a skeletal, mutant 8-bar onslaught and 'Trashed' bruks out the toms on a swooping halfstep techno flex.
Down below, they come with a fiercely darkside droog raver called 'Life', whipping reversed drums, bass and mentasms with very canny Wendy Carlos vibe, whilst 'Unknown' deals in guttural, monotone functions, and 'Blood Artist' pulls coarse lo-fi drums and electronics into sharp focus on an elegantly wasted sino-garage skip.

Instynkt - highly anticipated record released by highly unanticipated duo of two labels Bocian (whose repertoire stretches from freeform noise to improvised jazz) and Recognition (known for state-of-the-art modern techno sound). Four new tracks by Jacek Sienkiewicz appear both as essence and antithesis of artist's earlier work, instead confronting listener with hardly categorisable and puzzling form. You can still manage to hear echoes of electronic music masters (from Autechre to Xenakis) in this material, but Instynkt functions as an autonomous entity, or a sound event provoking questions rather than attempting to answer them. This proposal, very distinct and floating beyond today's tendencies, will undoubtedly worry pessimists shedding their tears over end-of-all-aesthetics and music losing its magical aura. It is also quite likely to awaken a need for further exploration in all listeners open enough - and daring enough.

London-based artist Simon Pomery makes an emphatic return to Diagonal with the Taiko fire of 'Chicks', the brutal percussive workout of 'Badgering' and a hardcore remix from Luke Younger — a.k.a. HELM. On this long-gestated follow-up to 2013's eponymous EP, the Blood Music project continues to rage, syncing Taiko-inspired drumming patterns with vicious metal guitar dissonance and contact mic haptics.'Chicks' runs at an over-stepping, febrile EBM heart rate, pelting modular palpitations made alongside Russell Haswell against walls of guitar feedback-as-melody, coming up like an oikish Keiji Haino having illicit craic with his axe. Although this is leather and denim, steel and cocaine — late '80s Belgian muscle-tech meets Swans with contact mics — the track retains a sense of humour: according to Pomery, it's about little, fluffy baby chicks. Hmmm. The shorter drone piece 'Sharking' sees Pomery forging an underwater world from junk and the rabid tones of a homemade contact mic on a drum. In 'Badgering', he reengages the 'floor by improvising squabbling electronics around a rowdy drum tattoo and bugged out vocal glitch. Corrupted memories of Endless-era Pan Sonic and strobing Bunker acid parties regress the listener/dancer into a dazed, primitive state — bruxist ecstasy enshrined in blood around the mouth.For the remix, Luke Younger (Helm) reimagines the techno cravings of the original, using electro-acoustic phasing to bring forward the original Taiko inspiration, and close off proceedings in devastating fashion.'Chicks/Badgering' announces the re-arrival of Blood Music. And it's febrile stuff.

Centaure is artist Franck Vigroux's newest solo studio effort, following a period of both live and studio collaborations (with artists such as Ben Miller, video artist Antoine Schmitt as Tempest, and Mika Vainio) and music specifically written for multimedia performances. As the inaugural release for Cosmo Rhythmatic, the 12" sees Vigroux indulging in his taste for dynamic intensity, pairing abstract freenoise of the heaviest sort with a taste for dense electronics beats, in order to explore new structural possibilities beyond industrial, techno and concrete. From the dramatic slow drill of "2024" to the fragmented techno incursions of "Vesuve" and the textural shapeshifts of "Centaure". Given his familiarity with such sonic matter, label boss Shapednoise's remix of the title track comes as a further step in the same journey."

Alongside fellow members of Berlin's Janus collective, recently behind nights at
Berghain and Corsica Studios, M.E.S.H. is known for his futurist approach to club
dynamics and production.

On Piteous Gate, tightly gridded and sculpted sound juts up against loose-wristed
improvisation, automated processes, and collage. Standard club syncopation is twisted by sliding tempos, cut and paste time signatures, and indeterminate pacing. Its sound design and compositions are ornate, even courtly, with neo- feudal moods offset by the recurrence of hydraulic hiss and flanger.

A synthetic fuel injector revs opener 'Piteous Gate' to life. Drawing from action- scifi film trailers and the sound design of festival trance, its hardcore synthlines shatter into 'Optimate'—stately, spatial, and whiplash-luxurious, with meandering cybernetic drumming. 'Thorium' sends a slow-motion camera through a melting test reactor: all burnt VSTs and synthetic theorbo and loose drums.

'The Black Pill' smears high-end renaissance sample libraries through arcs of static. In 'Epithet,' temple sewer atmospheres are ruptured by 'Scythians'-style cut-up drums. 'Jester's Visage' indulges a minute-long baroque guitar improv, and territorial youths air their beef in 'Kritikal & X.' Closing out the album, 'Methy Imbiß' is a machinic rhythm track, and 'Azov Seepage' mingles birdlike granular noises with rusted steel clanging.

The LP was recorded in Berlin in winter 2015, mastered and cut by Rashad Becker
at D&M, and pressed on 140g LP and CD.

Crafted between the years 2000-2008, 'Immerse' is a massive selection of some of the finest deep pulsating dark ambient tracks that we have ever heard. Together they create a journey through depth and darkness with a gripping emotional hook that almost stand unprecedented.


This is how Periskop described the advent of these enthralling pieces of music in a recent conversation:
'Immerse' is partly the subtle deep repetitive pulsations of the early dub techno scene and partly the dark ritual emotional/cathartic approach of the industrial soundscape movement of the 80s and 90s. I was compelled to combine the two approaches in a personal space or sound to overcome states of alienation and emptiness. The layer-on-layer compositions are a result of more or less meditative explorations of these states in symbiosis with the music making equipment. Some of the sounds are field recordings and vocals/voices/breathing and some of them are synths and sampled drum machines, but I have tried to blur the line between the two types of sources to avoid too many references to existing music or phenomena from normal human experiences.'


Antonio Vazquez: "The whole album is a dream!! Really fine sounds which makes you float in a calm and peaceful trip through the vacuum."
BLNDR: "Perfect release."
Cio D'Or: "Some amazing components fpr special moments!"
Deepbass: "Great sounds, feeling it"
Elle: "For me and for now probably the best listening of 2015."
Eomac: "Some lovely stuff on here. Thanks"
Eric Cloutier: "fantastic ambient excursions. really nice stuff."
Giorgio Gigli: "Immerse is AMAZING!!! I'll play and chart for sure, can't wait to play the vinyls Thanks for your music ,)"
Jonas Kopp: "it deserves a careful listen , sounds great. thanks."
Luigi Tozzi: "Probably one of the deepest work I listened lately. Totally in love with all the tracks, very hard to find a fav!"
Mattias Fridell: "Happy to see this massive project launched. Well done fellas"
Modvs: "Impossible to pick a favourite. 10/10"
Oscar Mulero: "Loved it. thx!"
Rasmus Hedlund: "Very submerged sounds, excellent trip!"
Samuli Kemppi: "Quite amazing sounds. Really like it. Thanks!"
Shaded Explorer: "This is one of the most beautiful and immersive music I ever heard, totally love it and into it!"
Skymn: "This album is going to be one of the best in 2015. No doubts. You have my full suport!"
Stephanice Sykes: "Very profound journey!"
Takaaki Itoh: "full of deepness. will play for first part of dj set. full support."

Barcelona's Exoteric Continent grounds his first ever vinyl release following cassette drops for Opal Tapes and Second Sleep. Exploring ascetic techno and electronic noise, this vinyl edition combines both his 'Referèndum' tape volumes on one fine slab. Something of a relative outsider in the balearic climes of his home city, Arnau Sala Saez pushes an intense, probing sound, both with his own music and via closely associated cohorts N.M.O., or Americans, Eric Frye, and Helmer, who've all released on his brilliant Anòmia label. With 'Referèndum' Exoteric Continent draws us into the awkward spaces and styles around techno and noise's shifting, jagged borders, using drums, percussion, magnetic tape and synthesisers to outline nine atonal and enigmatic silhouettes. Ranging from the creeping slow techno misshape of 'Percentages' thru the sagging chamber feeling of 'Posicions', to the Soisong-like gamelan tones of 'Transició', and over to the kinky industrial swing instincts of 'La Mirada Llarga', he mixes rugged structures with stranger, keening electronics in the insectoid logic of 'Autoritat', and the rubbled electro-acoustic texturhythm of 'Agrupació Civil' to forge a fractious, unstable brace of noise techno that sits somewhere between classic Pan Sonic and his Hospital lablemate Alberich.
Black LP

Kuedo and Joe Shakespeare's hugely promising Knives label debut the hyper-lucid constructs of J.G. Biberkopf with 'Ecologies', housed in suitably striking artwork by Joe Hamilton.

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.

Hull-based producer, Webstarr with the technoid hydraulics of 'Aegrus' backed with a new Chevel remix. Last spotted in Beneath's RA. 407 mix, the title tune strikes a mid-ground between tribalised, bass- heavy rufige and insectoid minimal techno - all bashy kicks and depth charge subs crawling with itchy crack bugs

Crack is the new album from Shampoo Boy on Blackest Ever Black. The Vienna-based trio's second LP to date, following 2013's crushing BEB debut Licht, Crack finds Peter Rehberg (Editions Mego), Christina Nemec (comfortzone) and Christian Schachinger leaving behind the post-everything in search of their very own neo-something: a powerful alloy of extreme electroacoustic music, luminous ambience and the mineral fundaments of rock and black metal. As before, they're staring down the void, but this time they're looking beyond it, too, for the fissures and faultlines that might let some light in.Opener 'Spalt' immediately signals a departure from the monolithic doom of Licht, conveying instead a sense of adrenalised movement, of acceleration towards an ever-receding horizon. There is no percussion, yet Nemec's chasmic bass and Rehberg's protean electronics eddy and modulate to give rise to an unstoppable momentum. 'Spalt' becomes a peculiarly wracked Autobahn chase, one where you're uncertain if you're the pursuer or the pursued. There seems to be some promise of escape in Schachinger's highly lyrical, spiralling guitar improvisations, which nod to Fripp and Goettsching, but Shampoo Boy's vision of the cosmos is more hard-boiled and unforgiving than that of their forefathers. There are some furies that can't be outrun. If 'Spalt' dramatises a failed getaway then 'Riss' considers what happens if you do get away, only to find your hiding-place isn't quite as safe or secure as you had presumed it would be. Slow, ceremonial downstrokes suggest a return to the vast and uncanny woodland landscape in which the events of Licht unfolded. This time, though, the city intrudes upon the scene of pastoral unease: Rehberg seems to be scanning the airwaves, picking up unintelligible snatches of conversation and machine noise. These mingle with nameless natural currents to create pernicious hybrid forms, which curl and ricochet about the stereo field. Subterranean bass tones, meanwhile, seem to reverberate from an ancient and appalling source. The accumulation of noise and energy across 12 minutes becomes unbearably suspenseful; a reckoning seems inevitable. It is typical of Crack's unorthodox Weltanschauung, however, that just when we think the game is up, we are faced not with oblivion but with potential absolution: 'Riss''s closing section is a gravely serene tone-painting that clearly suggests the possibility, if not certainty, of rebirth and renewal. Perhaps you can start again after all. But of course the game isn't up, and all roads lead to Side B: given in its entirety to the three-part 'Bruch', the most potent and pugilistic manifestation of Shampoo Boy's brute psychedelia to date. Part 1 is a near-gothic assemblage of tortured computer processing, abyssal drones and stray industrial noise. This gives way to the calm but agonised concrète of Part 2; sparse, minimalist and dub-damaged, it's the sound of Part 1's traumas remembered through a fog of painkillers. Before long, however, the medication falters and those traumas come back in to focus: so much so, that the broiling digital synthesis and annihilating slow-motion riffage of Part 3 come as a relief. For a while the thuggish monochord attack here feels almost Stooge-ian - grungy, swaggering, sewer-savvy - but it doubles back into abstraction, subsuming itself into the Shampoo Boy's larger, gravity-defying architectures of feedback. By this point it has become impossible to distinguish individual instruments, processes or contributions; the group mind has taken over, the third eye is on fire, and the album climaxes in a black flash of negative ecstasy. Epic in scale, complex in mood and dazzling in technique, Crack is a momentous achievement from three improvising musicians at the height of their powers. A lived-in and emotionally-charged work, harrowing but energising, it digs deep, deep into the underworld to open up new lines of space-time enquiry. It is also a sustained achievement of arrangement and post-production remarkable even in light of its makers' pedigree: the harshest and heaviest passages are rendered with a sense of space and richness of detail that is truly otherworldly. Russell Haswell's astute mastering amplifies this, resulting in one of the most exhilarating and rewarding entries in the Blackest Ever Black catalogue. Click here for high res cover JPG, Click here to listen to 'Spalt'

Though known as a touring and recording musician associated with Nine Inch Nails, Alessandro Cortini has really come into his own via his Forse trilogy, and his 2014 Hospital Productions debut, Sonno.

For his Hospital follow-up, he maintains the grittiness and intimacy introduced on his
debut, but expands on it, offering a wider spectrum of emotion and depth.

Like Sonno, Risveglio was written and recorded while on tour. The drive to create intimate works during late-night downtime reveal Cortini to be committed to personal vision beyond the call of duty. While Sonno was created using only a 202 and delay, Risveglio adds a TB303, synced to the 202. In his own words, The 303 can be such a haunting instrument used in a certain way, and I felt it completely fit the mood of the previous work I have done on the 202, especially when given a specific location in space....it's such a living instrument.'

The addition of TR606 gives one of the pieces a rhythmic pulse that separates it from the preceding synthscapes and renders Risveglio altogether a more dynamic affair than Sonno.

With Risveglio Cortini emphasizes the imperfections and visceral textures of electronics absent from so much contemporary solo synthesizer music. He carves out a similar space to that formed by Kevin Drumm's releases for the same label in the worlds of Drone and Noise by finding the emotional and, ultimately, human voice within synthesis.
1. Stambecco
2. La sveglia
3. Rispetto
4. Dormiveglia
5. Lotta
6. La meta
7. La via

Alongside fellow members of Berlin's Janus collective, recently behind nights at
Berghain and Corsica Studios, M.E.S.H. is known for his futurist approach to club
dynamics and production.

On Piteous Gate, tightly gridded and sculpted sound juts up against loose-wristed
improvisation, automated processes, and collage. Standard club syncopation is twisted by sliding tempos, cut and paste time signatures, and indeterminate pacing. Its sound design and compositions are ornate, even courtly, with neo- feudal moods offset by the recurrence of hydraulic hiss and flanger.

A synthetic fuel injector revs opener 'Piteous Gate' to life. Drawing from action- scifi film trailers and the sound design of festival trance, its hardcore synthlines shatter into 'Optimate'—stately, spatial, and whiplash-luxurious, with meandering cybernetic drumming. 'Thorium' sends a slow-motion camera through a melting test reactor: all burnt VSTs and synthetic theorbo and loose drums.

'The Black Pill' smears high-end renaissance sample libraries through arcs of static. In 'Epithet,' temple sewer atmospheres are ruptured by 'Scythians'-style cut-up drums. 'Jester's Visage' indulges a minute-long baroque guitar improv, and territorial youths air their beef in 'Kritikal & X.' Closing out the album, 'Methy Imbiß' is a machinic rhythm track, and 'Azov Seepage' mingles birdlike granular noises with rusted steel clanging.

The LP was recorded in Berlin in winter 2015, mastered and cut by Rashad Becker
at D&M, and pressed on 140g LP and CD.

Sunil Sharpe is Ireland's chief ambassador for the nastier side of techno, sonically on a sharp upward (downward) trajectory since the actual '90s and frequently mentioned in the same sentences, promotional material, and internet blog postings as words like "surgeon", "truss", "karenn" plus other assorted terms that mean a great deal to those in the know.

But we're not here to make comparisions or hang on coat tails, let's deal with what we've got - in this case it is four great slabs of bastard-heavy marching equipment.

Opening shot 'Jamm 1' has that unfortunate slash awesome quality that only the most paranoid and unhinged 4/4 machine music can possess. "Where am I Can they hear this too Have I gone too far" If you answer "I don't know" to all three questions, chances are you are listening to this track at 4am in some lawless dystopian bunker and some serious life-choice reappraisal will have to be made when/if you wake up the following day. Truly wild atonal pulsing-turns-to-screaming over a frankly sadistic 6 minutes plus change that remains at various peak levels of intensity for the duration.

Next up 'Eyebrow' stubbornly ignores the incessant warning signal buzzing away from the console throughout. Though as the smoke rises and sparks start to fly it would be best practise to get the hell out of there and leave the machines to themselves - the hot swelling improv of melting circuits, knobs, and LEDs is worth sticking around for, whatever the risk. At about the 4:30 mark it finally starts to deteriorate irreversibly; the studio is a bubbling, malfunctioning mess - the warning signal gurgles to a halt and the rhythm box shorts out.

Needless to say, B opener 'Stitches' will not have you in stitches of the jolly sort - think instead along surgical lines. Razor sharp hats cut to the bone of an already strangled acid line, while just below the slashing some nameless aquatic monstrosity babbles orders at you in an unrecognisable tongue. Bit of a 'mare really.

For a closer, thankfully in 'Late Drift' we get the nearest thing to a breather you're going to get on this EP. The fear is constant but no jump scares, just a sinister wavering signal bobbing up to the surface every so often while almost imperceptible raspy biomechanical breathing is kept at bay behind the barbed top end percussion.

Not addressed in any of the above but worth mentioning before signing off - each of the above abominations contain enough deep kicking electrified thumps to successfully defibrillate the 2 day old carcass of a beached whale.

DJ support from: Ben Sims, Blawan, Truss, Norman Nodge, AnD, Lakker, Rebekah, Clouds, Randomer, Bas Mooy, J. Tijn, Svreca, Manni Dee, Mr Jones, Marcel Heese, Ontal, Minimum Syndicat, Dave Tarrida, Lag, Tomohiko Sagae, Bleaching Agent, Martyn Hare, ANFS, Mike Darkfloor

Continuity is the past and the past is only a memory, where the time is no more than a word. Dubit's new album tells his story and your story. This is the world in which we live
Capture experiences of sound and mark milestones in time for the sole purpose of saving them again.This idea is born from the necessity of silence and the study of its interaction with noise. It takes shape in the city of Berlin and continues to evolve in various locations around Europe, both in conception and composition. Through the organic unity of field recordings it was made possible to encapsulate actual sounds in a timeless bubble and therefore documenting the experience on physical medium.Amongst the detunes and the distorted memories, sounds play, communicate & coexist.This album tells my story and your story. This is the world in which we live

On 'Cosmic Microwave Background' AnD put their full scope to work. The result was a record that fidgeted restlessly between a bleeding dancefloor and more airy machinist musings. But even suspended somewhere deep in the voids of space, the duo's industrial insignia was never too far away. To remix the record, then, it made sense to honour it's foundations with a carefully curated cast gathered from techno's outer rim.

Released as a two-part EP, the album's eerie, soothing closer gets picked up by Speedy J and Lucy as Zeitgeber and Black Rain who turn in polar re-workings of 'The Surface Of Last Scattering'. The monstrous
'Galactic Motion' also gets treated to a Black Rain overhaul, true to the group's seminal post industrial and punk lineage.

Sleeparchive and O/H—the union of David Foster of Huren and Teste, and Orphx's Richard Oddie—both plump for 'Power Spectrum', one of AnD's typical sledgehammer works. The original near pales in comparison to what the pair deliver here. Finally the multifaceted Justin Broadrick of Godflesh, Techno Animal, Pale Sketcher and more turns his heavyweight JK Flesh alias on 'Non Sky Signal Noise' with ruinous effect. If you thought AnD could't get any harder, think again.

Mark Broom :

A truly prolific artist, Mark has a myriad of production credits to his name having worked with world renowned labels and artists for decades. It all started in the Summer of 89 when Mark landed in Tenerife on vacation and stumbled across the delights of the emerging sounds of Chicago and Acid House. Returning to the UK, he immediately went in search of this new found music - a pair of turntables bought, and with them a musical career was born.

James Ruskin :

Has been working in music for more than 20 years now and is considered as one of the main artists for British electronic techno music, as both producer and DJ. James comes from a background that first put him in touch with hip hop and electro in the 80's and later with the emerging Detroit techno scenes which inspired him to become a DJ in 1991 and then venture into production in 1994. James remains a vital element in the British techno scene today.
Written and produced by Mark Broom & James Ruskin

A fast paced aggressive A1 made of fast 1/8 note kick drums spliced with distorted pad sounds and distinctive snare. The A2 is a broken beat affair with evolving percussion and a rave line that will cut through in any mix. B1 is Papers' signature acid jam, simple but effective. B2 is a unique beast, with locked rhythms and distinctive arp synth line...

Perc (aka London based Ali Wells) returns with his second album following 2011's 'Wicker & Steel' the release of which pushed his sound to a wider audience than ever before. From making #5 on the Quietus' best of 2011 list to The Guardian describing it as 'a soundtrack for our times' the album crossed into areas rarely reached by techno long-­players.

'The Power & The Glory' takes the Perc sound and expands it outwards in every direction. The rhythmic tracks pulse with more energy and bite than ever before, whilst the freeform tracks add a melodic and occasionally political edge to Perc's already expansive repertoire.

The album features collaborations with two vocalists. 'Speek' includes a contribution from Nik Colk Void of Factory Floor (DFA/Optimo) whilst opener 'Rotting Sound' and lead single 'Take Your Body Off' feature Dan Chandler of London noise rock outfit Dethscalator. The last of these in particular is the kind of track that differentiates Perc from many of his peers. The piercing, guttural vocals, more akin to the short sharp shock of a metal performance
provide the kind of sonic jolt techno used to trade in, yet which is rarely heard these days.

The album will be supported by a tour taking in dates in Europe, North and South America, including launch parties in London, Berlin, Los Angeles and Buenos Aires. Album performances will range from DJ sets to a brand new hardware based live show and all will feature album-­based visuals. The album artwork has been designed by regular Perc Trax / Submit collaborator Jonny Costello and this will be the first Perc Trax album to be released on
vinyl, with a 2 x 12" release as well as CD

Ren Schofield's Container took the world of underground electronic music by storm with the debut "LP" in 2011. Following massive amounts of touring and the powerful follow up LP, "LP", in 2012, the project became a must-experience staple everywhere from U.S. basement gigs to Berghain. "LP" manages to simultaneously be the most palatable and most damaged contribution yet. Patchwork polyrhythm motifs, melodic (albeit fully blasted) hook sensibilities, and ballistic synthesized sounds are melted down together and shaped into some of the most rewarding, enjoyable works yet heard on any of the "LP" offerings

Welcome to the 3rd vinyl release of Local Sound Network. Label owner, Ryuji Takeuchi, is on duty to drop this superb EP. Ryuji represents 2 off beat techno tracks with spectacular atmosphere, whereas, 2 remixes emphasize straight 4/4 rhythm patterns with even wider feeling. 'Veil' emphasizes strength and funk, on the other hand, Obscene Mannequin adds deepness and darkness to already-existing funky aspects in order to make it real brutal. 'Silhouette' comes with Asian alike horn sound with powerful offbeat rhythm sequence, whilst, Deepbass reconstructs it in his deep-bass manner, which makes the original sound even deeper, as if you're swimming in far deep somewhere. This is a well-balanced EP with 2 offbeat original tracks and 2 4/4 techno remixes, with deepness, darkness and funk inside throughout the whole EP. Make sure to keep your mind open for the upcoming releases on this Local Sound Network imprint.

*Remastered and Reworked 2LP Edition of the limited edition Cassette released in 2014 on Demdike Stare's DDS Imprint. Initial copies on Green and White Vinyl, mastered and cut by Matt Colton, includes an instant download of the album dropped into your account* Mica Levi more or less owned 2014 with the release of that astonishing soundtrack to Jonathan Glazer's 'Under the Skin', followed by this hour long album-cum-mixtape for Demdike Stare's DDS imprint which was released at the end of the year and sold out in a flash. It has now been reworked for this vinyl edition, and then given a full remaster by Matt Colton. Mica is an artist who basically seems to channel attention deficit into exploring and re-shaping a myriad musical ideas and directions without bound - sometimes all at once. She's an artist who has by her mid-20's merged the disciplines of codeine-laced cough syrup-drankin' early '90s Houston HipHop legend DJ Screw, with the rarified sound of London Sinfonietta on her incredible 'Chopped & Screwed' album, got Matthew Herbert to produce her brilliant debut 'Jewellery' and acquire Bjork as a fan in the process. She's produced a bunch of killer, off-beat pop tracks for up- and-comer Tirzah and supplied an impromptu 30 minute Boiler Room set that's still for our money one of the best they've ever put up. And yeah, that's before that 'Under The Skin' soundtrack that showcased another side to her production altogether - all discordant, intense, Ligeti-influenced strings, muffled percussion and frozen drones that came off like a feverishly dreamt collaboration between David Lynch and Nate Young. When asked about the score and working with someone as high profile as Jonathan Glazer she told Pitchfork 'He's a nice bloke—I certainly didn't think he was a wanker.' - which basically tells you that you ain't dealing with the ordinary or conventional when it comes to anything Micachu is involved with. And this hour-long session is perhaps the best thing we've heard from her yet. More or less split into three seamless segments referenced in the title, it journeys out from tense, concrete-fuelled strings to brilliantly ramshackle tape beats and odd pop edits - all brand new work from Mica herself, spooled through her singular, totally inimitable box of tricks. Honestly, we can't think of any contemporary artists who have as broad and limitless an ability to continuously re-contextualise the familiar into something we've really never heard before. We'd have to go as far back as Prince or Arthur Russell to reference anyone who has really managed to tap into as many diverse musical disciplines with this much originality. And if you think that's a bit far fetched - give this a listen and knock yourself out.

London label Diagonal continue their swerve into caustic dancefloor territory with the debut pair of 12' releases from Bronze Teeth. Their extended technoid grooves perfectly match the project's name — they're tough, hard-edged and intricately sculpted for tensile strength and visceral impact.Traces of the sounds that feed into Bronze Teeth can be heard in the duo's individual projects. Dominic Butler is one-third of Factory Floor, the London-based trio renowned for their wiry, dynamic live shows; his modular electronics are an integral component in that band's devastating cocktails of Morse code electronic blips, drum and guitar. Richard Smith meanwhile, records as L/F/D/M, and debuted with a scintillating clutch of acid tracks on Optimo Music in 2013. Bronze Teeth offers them free rein to explore their own interests in sound, and in particular the potential for chaotic interaction between metallic programmed rhythms and the fleshy pulses of the human body. On 'O. Unilateralis' sprawling opener 'Tapeworm' and the glassy club noise of 'Acetone' and 'Glass Tooth', they appear to be skirting along the edge of control, with their machines wrestling dominance back from their users and sending sparks ricocheting through the mix. For all its monochrome battery, this isn't lo-fi music, nor is it retrogressive. The ghosts of acid house and skull-shredding free party techno lurk in this machine, but they're refracted through a modernist sensibility and a keen ear for sound sculpture: edifices honed from diamond-hard tones and reinforced glass, all wrung from a sprawl of patched-together gear.

Prodigious Hungarian minimalist, Gábor Lázár, twysts out six cuts of super-forward avant-techno on his debut vinyl, 'EP16', for The Death Of Rave. Combining viscerally affective electronic timbre
and hyperkinetic patterns, they're real-time recordings of Gábor extracting maximum funk from a single note rendered as sheer gradients pitched and punctuated with unique, algorithmic meters. In a sense the process is drily academic, but the results are seriously funked-up. Gábor seemingly intersects myriad minimal dancefloor patterns - hardcore, footwork, electro, digital dancehall - with uncompromising electronic tones to create some kinda new rhythmelodic syntax and grammar of his own. Cannily nudging every scything, whirring, strobing hit off-the-grid, he's
practically re-programming and skewing our sense of rhythmic proprioception and temporal awareness in real time, throwing down the gauntlet to body and brain with stoic rigour and
reckless effect.'EP16' follows Gábor's split tape with Russell Haswell for his Budapest-based Last Foundation, plus debut album, 'ILS' (2014) for Lorenzo Senni's Presto! label, and precedes an upcoming 2LP collaboration with Mark Fell, due on The Death Of Rave.