Techno Vinyl New Releases - News

The new series of 030, come out with its first release seeing as the protagonist the label owner, Micol Danieli, along with a collaboration with ANB, and a contribution by Lakker.

Dark sounds expressing an experimental concept in the first part, while employing soft melodies on the other side, so as to balance against a trip in a kind of labyrinth. creating a symmetry between them.

The A - side of " XP001 " contains two songs of hypnotic rhythms and experimental dub who kidnap the listener . Illusion in reality that can not help but let go of your mind merge into one with the music . A continuous cycle , where you can appreciate the ' spell, defined by a sound deeper and darker with a cyclical rhythm and layered .

The EP continues with a more peaceful and sharp progression. From the beginning , you can not escape from this long journey driven by strong currents generated by the vocal on the uneven bassline. The contribution of the remix by the Irish producers Lakker , embellishes the debut of the work of the brand with a percussion plot, aimed to capture your mind .

Faith Coloccia and Alex Barnett return to Blackest Ever Black with their second duo album, Weld, working with synthesizers, affected vocals, raw electrical noise, field recordings, EVP techniques, tape manipulation and drum machines to create a music at once lucid and mystic. Its songs embody various experiential philosophies and objectives: searching for the sacred in the forgotten and supposedly useless, exploring the meaning of natural', listening for the pulse of the ancient, using technology both to materialise memory and to dream a folklore for a future age. Coloccia and Barnett's ambition is apparent early on in the stately, medievalist keyboard/choral poetics of 'Truth Teller', moving through the agitated wormhole techno of 'Dreamsnake', to the white light-emitting, near-symphonic plainchant of 'Healer'. 'Blight''s zero-hour synth pulsations are first interrupted, then engulfed, by an extra-terrestrial broadcast of piercing bell and glass-tones, 'AM Horizon' is pitched bewitchingly between Prophet-5 pulp futurism and earthbound, atavistic dread, 'Agate Cross''s baroque harmonic sequence disintegrates at its very climax, cooling and dissipating into a deep starfield of pure tone. 'Ash Grove' and 'Rose Eye' are exhilarating exercises in contemporary musique concrète: complex timbral constructs in which Coloccia's disembodied glossolalia, swooping strings and other nameless sonic spectra conspire to evoke extra-dimensional space and the highest spiritual drama. Weld speaks its own distinctive dream-language, but we would certainly recommend it to anyone enamoured of the brittle sci-fi synth-scapes in Caroline K's Now Wait For Last Year, the amorphous electronics of Beatriz Ferreyra's recent work, Conrad Schnitzler's more gothic moments, and even the gravest metaphysical reckonings of a Stockhausen or a Rozmann.

Trans red wax with fold-over two-sided print in clear poly sleeve - edition of 300 copies with download included** 'Abstraction' continues The Boats' industrial cycle with a remorseless instalment. Quite possibly the most potent of all their releases so far, it finds the usually gentle souls of Andrew Hargreaves and Craig Tattersall revealing what they get up to when no-one is listening -- you'd think they're out bothering fields and folding paper until the candles run out but, oh no, they're actually cranking out thunderous industrial beat-offs and dry stone walls of noise. This one is a meaty beast, piling the kicks and distortion higher than a VIP plate at Toby's carvery but, not without glimpses of their vulnerable selves, chore jackets on and faces fixed on the machinery. From the glancing bass drum blows and grunting noise of opener 'P Versus NP' they sustain a stoic resolution thru the blitzed pounding of 'Section Conjecture' and acidic bog monster roil of 'Parabolic Type' on the A-side, before allowing the machines to cool off on the B-side; 'Inverse Galois Problem' flushes the system with a swill of industrial fluids precipitating a proper piece of death-techno necrophilia, and 'Lonely Runner Problem' arches up from clammy fuzz to an excoriating expanse of noise techno that would put the sh*ts up Huren on a good day. RIYL Nick Klein, Ancient Methods, Zhark Records.

»Sleepstep« ist die erste Zusammenarbeit zwischen raster-noton und Dasha Rush. Der Untertitel des Albums, »Sonar Poems For My Sleepless Friends«, beschreibt dabei das zugrundeliegende Konzept - »Sleepstep« ist eine Reise durch elektronisch verfremdete Loops und Soundcollagen verwoben mit Textpassagen, die versuchen, eine Traumatmosphäre entstehen zu lassen. Die entworfenen Stationen dieser Reise streben eine Zeitvergessenheit an, ein Eintauchen, ein Schweben in universellen Zuständen - Tod, Leben, Geburt, Trauer, Sehnsucht. Die Musiktitel wirken dabei oft wie angerissene Skizzen, surreale Kurzgeschichten, die mehr eröffnen als vollstrecken wollen.

Das musikalische Arrangement ist zurückhaltend, filigran und obwohl elektronisch manipuliert, drängt sich musikalisch nie ein Produktionsschema in den Vordergrund. Klischees werden nicht gefürchtet und doch bleibt »Sleepstep« als Resultat dem Klischee fern. Die Klanggedichte für Dasha Rushs schlaflose Freunde sind feminine, subtile und persönliche Berichte, eine musikalische Traumreise in Form eines klassischen Konzeptalbums - ein Album, das ebenso in der Tradition der Ambient-Musik steht.

Osiris Music UK number thirty nine sees label owner Simon Shreeve finally come to the fore with the first full solo release under his Mønic alias after a pair of successful outings on the Open Water and Habits EPs earlier this year.

From the breathless opening charge of Bloodhound to the tense recesses of the title track which closes the EP, Human Pattern sees Mønic confidently steer both his personal sound and the overall aesthetic of the Osiris label deeper into the realm of experimental electronic music.
Human Pattern comes housed in high quality 300 gram outer and inner sleeves, fully printed and adorned with artwork making this a special piece even by Osiris' usual standards. Early support: Surgeon, Regis, Clouds, Laurent Garnier, Amit, Paul Mac & Lakker...

Almost a year after they unveiled their collaboration with the wall of sound that was the 'Spiker' 12' Perc & Truss return to their home on the Perc Trax Ltd label to serve up a fresh four track EP of live analogue jams. Once again the tracks were recorded in one take. All mistakes, happy accidents and bizarre unexplainable audio artifacts have been kept in place, with no post-production or further editing done once the first take was recorded. These tracks cover more ground than the three on Spiker, but the Perc & Truss collaboration is no experimental vanity project, with all four new tracks aiming straight at the dancefloor.

Title track and opener 'Two Hundred' leads the way with caustic acid providing the foundation for a classic London cabbie-rant vocal, whilst 'Judd' layers all manner of malfunctioning effect pedal sounds over a triplet rhythm track. On the B-side 'Forever Your Girl', a mainstay of Perc's sets for months now, leads the charge, as rave interludes provide a breather from the kind of kick drum volley tailor-made for Awakening's Gashouder home. Finally 'Van Der Valk' mixes hardcore stabs over an icy electro-tinged groove and crowd samples, stretching the Perc & Truss sound further than ever before.

Solar One Music is proud to present a very special project. Arne Weinberg (Valanx) and Robert Witschakowski (The Exaltics) join forces as "Val_Ex" and present their first album. Dark and deep tracks are featured on both sides of this album, the intention and atmosphere is undeniably pure darkness. The common goal of achieving this is audible each second of this record. The music ranges from ambient to electro, industrial and electronica. The album features full printed cover artwork.

Lucky #7 - the best Testpressing yet from Demdike Stare and the final instalment for the time being for a series that began almost two years ago.
Landing 6 months since their last raid, it's a dichotomy of dancefloor devilment, going hard for it on one side, and running ragged emotions on the other.
A-side 'Rathe' opens the doors of perception to a show-stopping bloom of heavenly voices and halfstep jungle, ratcheting the levels to heart-in-mouth effect with panoramic harmonies and ricochet drums that sound like a 2015 update of Windowlicker, all owing as much to Source Direct as Alice Coltrane.
B-side, 'Patchwork' is a whole other madness. Shocking in a different style, it consolidates swirling, norish samples nodding to Italian concrète with the kind of 2-step swerve heard on Artwork's 'Red' EP - proper feral, swinging business.
We seen and heard it go off in the dance and can safely confirm that it's one of the baddest joints in their now extensive catalogue...

O/H is a new collaboration between Dave Foster (Huren, Teste, etc.) and Rich Oddie (Orphx, Oureboros, etc.). Future Ready is a four track EP which conflates their histories in noise and power electronics, industrial techno and rhythmic noise and marries all methods together into a ritual assault. There are lots of adjectives to describe this music and you've heard them all before so just skip the bullshit and listen. Each record ships with a vial of bull hormones*.

Adam X's industrial-tinged experimental project ADMX-71 sounds pretty much exactly like you'd expect. Foreboding, dark and hopeless. Every time you hear something like a piano reach out of the murk, it's quickly joined by something gnarled beyond recognition. Indeed, if you didn't know that X likes to carefully delineate his projects (he's the man behind the hypnotic techno of Traversable Wormhole as well), you'd be forgiven for wondering why this came under a different name at all. It could have just as easily been the sort of "downtempo and experiments"-style album that many techno producers offer up when it comes time to make the leap into the world of albums.

Like many of those full-lengths, Second System is based on a concept. X was a graffiti artist in the '80s, bombing the New York City subway system along with Joey Beltram and many others. In exploring the underground tunnel network that connected the lines, he eventually discovered unfinished stations and dead-end tunnels. Naturally curious, he learned that they were part of a huge undertaking in the '20s and '30s to serve emerging neighborhoods in the city that got scrapped before it could be completed. (World War II and the city's shift in focus toward automobiles being the main reasons.) Second System is the sound of X remembering what it was like to find such a ghostly labyrinth.

As a result, most of the material on Second Systems tends to work exceptionally well on first listen. There's a sense of the unknowable throughout—and a dread that must've accompanied X when he couldn't find an explanation as to why these tunnels existed. "Shell Stations" bangs along with an increasing ferocity that suggests the queasiness that comes with an unsolvable mystery. "The Winfield Spur" has that aforementioned piano, accompanied by what sounds like a distorted cloud of guitar lurking behind it.

There are brief moments of respite. The synth line on "Elevated Dreams" evokes the second word in its title instead of, say, nightmares. It's also one of the album's least successful songs, though it's unclear whether that's simply because X doesn't handle lightness well or because it sounds incredibly dated. Industrial, as a general rule, hasn't done as well as other genres in that latter regard. Which is why when he veers toward more abstract climes—like "Subway Inertia" or "Nine Decades Later"—you get the sense that you could quite easily come back to them in 2025.

As for 2012, Second Systems showcases a side of Adam X that many haven't heard before. The immaculate sound design on those Traversable Wormhole 12-inches was no accident, and when employed to less floor-specific ends, X proves capable of inspiring the same sort of atmosphere.

the penultimate issue of raster-noton's unun series features »gomila park«, a new project by the two swedish musicians martin rössel and carl michael von hausswolff that started in spring 2013 in palma de mallorca.on their first ep released as a duo, they present three rather unconventional and diverse tracks. »leibniz«, for example, is characterized by a heavy rock attitude with
lots of distortion and screaming guitar riffs. the b-side on the other hand, including the tracks »calculus« and »ramon llull«, is the more experimental part.considering only the track titles, »gomila park« is a homage to two of the first mathematicians and philosophers that helped developing the binary system and, generally speaking, the digital world.but despite all that, »gomila park« is also a matured piece of work that was held in trust for at least two years. it's once more an inspection of a fundamental possibility of music, a reference to the past. similar to mika vainio's »vandal« ep, »gomila park« echoes the tradition of rock (music) and is thus the counterpart of a younger, historically unburdened generation of producers like ueno masaaki or kyoka.

Nick Klein delivers a roaring and deafening debut EP for Unknown Precept consisting of five whirring pieces of slowed and throwed techno and heavy analog rhythms. Its powerful approach marked by sooted synthesizers, watered down melodies and grinding grooves shows Klein at his finest; whether it brings soiled theatrics or rusty progressions, overall resulting in the live recording of Failed Devotee from his lair in Brooklyn.

Recored while reading Stanley Milgram's 'Obedience to Authority' the feelings of claustrophobia and brutality are slowly revealed across the album. The set opens with 'Agentic State' - an exercise in atmosphere and rhythm before moving into the more confined 'Obedience Experiment'. On side closer 'Antecedent Conditions' distant percussion interacts with analogue synths lying on a bed of industrial atmospheres. The second side is where things take on a darker and more oppressive turn. 'Situational Obligations' ramps up the distortion levels alongside a hypnotic, overridden bassdrum, propelling the incessant keys to create a suffocating listening experience. 'Remote Feedback' keeps up the driving momentum before 'Touch Proximity' brings the album to a close by taking a steps back without offering any comfort. Those who have noted the changes to the sound of The Boats of late will not doubt draw parallels to this latest solo transmission from one half of the duo.

Dark Pool is the new studio album from Black Rain, the project's first in 18 years. Produced in New York City by Stuart Argabright, Black Rain's founder and figurehead, Dark Pool is a work of hard-edged sonic fiction rooted in cyberpunk's quintessential neo-noir cityscape/dataspace but projecting into a farther future of biotechnological advancement and alienation. Partly inspired by the writings of Philip K. Dick protégé K.W. Jeter (particularly 1996'sEdge Of Human, which picked up where Ridley Scott's Blade Runner left off), and Paolo Bacigalupi's 2009 novel The Windup Girl, a vision of 23rd century Thailand plagued by genetic and economic terrorism, Dark Pool's humid dystopia is also acutely Ballardian in its vision of manmade and natural worlds encroaching upon each other: a vivid psychogeography of half-submerged high-rises and hidden jungle laboratories. Stuart Argabright first landed in New York in 1978. By day, he worked as a landscape gardener for the upscale likes of Rock Hudson and Bob Dylan, while at night involving himself in all manner of subcultural activity - the reverberations of which are still being felt today. He co-founded seminal no wave minimalists Ike Yard (whose early 1980s work has been cited as an influence by the likes of Kode9, Young Echo and Silent Servant), collaborated with the late Rammellzee in futurist hip-hop outfit Death Comet Crew (recently reactivated for an LP on Powell's Diagonal label) and as Dominatrix scored a bona fide club hit with the downtown electro classic 'The Dominatrix Sleeps Tonight' (1984). Black Rain was revived in the wake of 2011's Now I'm Just A Number's release and Argabright has toured extensively under the name and last year released an EP of live recordings, Protoplasm, on BEB. Three of the EP's four tracks appear here on Dark Pool in radically revised and expanded form: the stuttering ribofunk of 'Endourban' is now anchored by ominous string pads faintly redolent of Argabright's labelmates Raime, while 'Data River' revisits the accelerated beat-stream of Black Rain's 1996 album Nanarchy, and the low-slung 'Protoplasm' has evolved into a sprawling, syncopated techno epic - the sound of red dawn rising on an illegal replicant rave. A further seven new productions feature. 'Burst', its title perhaps a nod to Sogo Ishii's 1982 biker gang saga Burst City, harks back to the scrap-metal-banging brutalism of Black Rain mk.1; 'Xibalba Road Metamorph', the album's angry, anguished centrepiece, externalises the sadness and self-loathing of Jeter's oppressed post-human workforce. 'Night In New Chiang Saen' reimagines dub as the viral product of one of AgriGen's morally suspect scientific initiatives in The Windup Girl, before 'Who Will Save The Tiger' calls upon spidery, Metalheadz-esque breakbeats and wailing guitar drones to summon a 23rd century Ark. Vocals (on 'Profusion' and 'Profusion II') from Zoe Zanias (Keluar), and a brief spoken intervention from Sean Young (who of course played Rachel in Blade Runner) are simply the most audible manifestations of a dejected feminine presence that haunts the entire album. For all its textual references, Dark Pool is a visceral and straight-talking affair: its bodyhammer rhythms and brooding sound design require no explanation for their impact to be felt.

20 minute E.P. featuring two re-recorded  tracks taken from last years N' album. Since taking the material on their highly successful touring throughout 2014 the material mutated from kraut-rock to a more neo-techno feel. Nisennenmondai is the world's best-kept secret among noise rock enthusiasts. The vinyl of "N" consists of two tracks

after a break of 5 years, alva noto continues his xerrox series with »xerrox vol. 3«, entitled towards
space', a journey that started with »xerrox vol. 1«, referring to the old world', and »xerrox vol. 2«,
heading to the new world'.
using the process of copying as a basis, the xerrox series deals with the manipulation of data by
means of endless reproduction. due to the inherent vice of the procedure that becomes especially
visible when copies are made from copies, everyday sounds are so much altered that they can be
hardly associated with the source material anymore. as a result, entirely new sounds are created that,
being copies of originals, become originals themselves.
on »xerrox vol. 3«, a new aspect enters the scene. inspired by childhood film memories from the
1970s including tarkovsky's adaption of solaris' and la isla misteriosa y el capitán nemo' based on
jules verne's the mysterious island', the record shows alva noto's private side. with its very intimate
atmosphere, it is a personal reflection of dreams, an imaginary journey through emotional landscapes
or, as he himself puts it, a cinematographic emotion of a soundtrack to a film that actually does not
exist in reality.'
alvo noto himself further states, I see »xerrox vol. 3« as my most personal album so far. I have
to admit that this emotional output is a surprise even for myself. it remains exciting how the last two
albums of this series will sound like.'

Uncto's seminal 2013 release Pain was an uncompromising exercise in rhythmical brutality amidst a conflux of themes of suffering, industry, man, and machine.
The record now sees itself reinterpreted and reimagined under the auspices of some of the scene's most eminent and accomplished forerunners in what is perhaps, as it arrives on an opulent red double-vinyl format, the label's most ambitious addition to its catalog to date.

Long-time trailblazers Exium first take on 'Dirty Minds' as they apply their unequalled peak-time treatment. While retaining the driving force of the original, the Spanish duo transmute its somber sense of narrative into a singular and infective pattern that unrelentingly maintains its intensity throughout. In contrast, Frenchman Mondkopf's reconstruction is a radical departure from its progenitor, almost as if the merciless titular oppressor ('Schinder') has been injected with an empathogenic truth serum and made to face the toll of his deeds. Serving as his final penance, the resultant insuppressible melodic radiance gushes to the fore as powerfully as his remorse and tears.
Continuing on the second record, Canadians Orphx draw upon the immense and unwieldy cyclicality of 'Judas Cradle' as they deconstruct the torture device into a prolonged yet unfaltering dirge. Harnessing the raw power of the original, they adroitly fuel and layer the modular solemn synths of the drawn-out nine minute epic. Finally, the unequivocal master of industrial cannonry, Ancient Methods (DE), takes on and reins in the unyielding beast of 'It,' leaving the monster not only tamed but fully subjugated to his will. Now capable of executing the most inscrutable order, itsees itself violently degenerated to the barest of elements and recombined anew, with the cadence of its frame shifted and staggered to the striding rhythm of a being more machine than flesh. Providing solace and closure are Uncto themselves, as they complement the compositions with two droning interludes.

Mastered by CGB at Berlin's Dubplates & Mastering, Pain Remixes will be available at fine vinyl retailers

CNTRT001 marks the beginning of Samuel & Hayley Kerridge's record label Contort. Much like their renowned Berlin event series of the same name, the label will provide a platform for new & old talent, supporting artists to stand alone and to be individual. The first release comes from Kerridge, already establishing himself with critically acclaimed releases on labels Downwards, Blueprint, and Horizontal Ground. 'Always Offended Never Ashamed' is Samuel's most personal recording to date, spanning 7 tracks, his own vocals are prevalent throughout the LP. Thrashes of guitar sit alongside steely percussion, showing restraint and elegance in the process. Electric pulses wreak havoc on the senses, with earth shuddering bass & kicks providing the raw physicality which has become synonymous with his work

**Mastered by Matt "The Alchemist" Colton and sleeved in Diagonal disco 'jak-it'** Japanese techno tearaway Kouhei Matsunaga aka NHK gets lively on a killer, 5-track, 26 minute debut for Diagonal. Viewing classic dance tropes askance, 'Hallucinogenic Doom Steppy Verbs' follows his trio of 'Dance Classics' volumes for PAN thanks to a keener, almost aggressive thrust/lust for the 'floor, chucking up buckled variants of tech-step, acid, and garage-techno in the process. Making up for lost time since his last releases in 2013, he warms up with a spot of fractured tech-step before going hard with a febrile, 12-minute 2-step techno roller coming off like Grain and Lory D chewed-up by Haswell. Flipside, London-based ne'er-do-well and mutual maniac, XenoglossiX aka XiX vocals the strapping, squawking acid lash of '932' and a severely twysted, Gescom-like body-scrambler, '953', beside the scratchy wreckage of a dank rhythmic noise trip. They're all exactly the kind of mutant bombs Powell tends to lob in his celebrated DJ sets, requiring your attention quicksharp.

Since 18 years now electronic duo Klangwart occupy self-confidently their very own niche between Avantgarde and Pop. Markus Detmer and Timo Reuber, the two 'elder statesmen' of neo-Krautrock, are since regarded as the most authentic heirs to the psychedelic sound gurus of the '70s. Nine tracks of otherworldly beauty - energetic, organic, unpredictable

Albanese's compositions are airy and cinematic, blending classical music, electronics and psychedelia. Federico started studying piano and clarinet as a child before becoming fascinated by rock music. As a teenager he studied bass and became a self-taught guitarist and soon became one of the leading figures of Milan's underground scene, performing in several bands. Influenced by black music, folk, electronic, modern and contemporary classical music his skills as a composer soon emerged. In February 2014, Federico Albanese released his debut album entitled ""THE HOUSEBOAT AND THE MOON"" on Denovali Records. He recorded all of the piano parts with a 1969 German tape recorder, the Uher Royal Deluxe, which allowed him to catch all of the tiny hidden shades, the imperfections, the noises of the piano and its surrounding space. Federico melted this rarefied sound with electronics, live recordings, strings, and homemade instruments. The result was a combination of contrasts and colors with a variety of atmospheres that wonderfully represented Federico's musical universe. The idea to release an EP with reworks of songs from ""The Houseboat and the Moon"" took shape in Federico's mind already while he was recording the album. He was fascinated by the idea of re-exploring the pieces, to put them in a different context, to give them to artists he loves and to see what would emerge from this. The result is a striking compilation of four reworks by Albanese's fellow labelmates JOHN LEMKE, FRANZ KIRMANN of PIANO INTERRUPTED, SAFFRONKEIRA as well as by subliminal techno masterminds CASSEGRAIN, exploring a wide range of the spectrum of electronic music. ""Through Denovali I had the chance to discover lots of very good artists and producers, with whom I thought it would have been great to collaborate." It's been an honor to collaborate with all these great artists." Vinyl: thick sleeves + thick printed inner sleeves, 180g vinyl, different vinyl colours, free download.

Format: Black Vinyl LP 33rpm. Edition: 250. "Object Subject To Change" (iDEAL109) is Henrik Rylander's fourth album for iDEAL but the first since 2009. Rylander is king of hypnotizing, focused feedback drone with razorsharp noise and monotonous pulse. Music that feels as comfortable in academic worlds as in filthy basements. Henrik Rylander was the drummer of the provocative, sweaty and chaotic garage rock band Union Carbide Productions (1987-1993). After a few years focusing on his visual art (photography) he started experimenting in sound and especially with feedback and static rhythms. In 1998 his first solo album was released but it was not until 2003 with the massive 'Formation' album for Leif Elggren's Firework label he had found the recepy of intensity that he is known for today. In 2004 the 'Traditional Arrengements of Feedback' CD was released on iDEAL which led to a worldwide focus on Rylander's work. In 2005 he formed the monotonous avant rock group The Skull Defekts together with Joachim Nordwall. Henrik Rylander is also active exhibiting his sound- and visual art. He is no doubt one of the sharpest, heaviest and most conceptual Swedish artists around today.

Maoupa Mazzocchetti's industrial-esque debut for Unknown Precept questions the primary inconstancy of music through five slices of proto-techno experiments; ranging from pile-driving kicks to rumbling bass, Maoupa's boiling mental activity vibrating and twitching in a very specific manner resulted in the live recording of 'A-Tranquility', which we could define as an EBM-styled extended-play browsing random directions while exploring muscular deconstructed grooves as well as metallic stodgy rhytms and noisy-atmospheric synth lines.

People strive for stability, however nature constantly creates instabilties. From the beginning to the end, you stay in the extreme. You have the opposite direction in the ordinary life. Close your eyes. The place where you have gone was your field.

Freitag's latest slab of vinyl, The Truth :

a personal, straight from the heart EP from Dead Sound & Videohead, joined by a notoriously brilliant singer-composer and remixer , the Horrorist.

Techno, reminiscent of the Industrial Techno emerging in the UK in the '80s and '90s , and EBM, a genre that includes live performances, vocals, and analog synthesizers.

It's a sexy, tactile subgenre with full of possibilities.

The 'Rough Time in Life ' Ep was created in a basement studio that provided the perfect ambience for working through the 'no program , no agenda' dark stuff and leaded to

Techno with a Punk aesthetic: 'The Truth' .

'I guess if you were going to murder someone, you'd want that track as background music'. (Dead Sound)



A highly influential artist: The Horrorist, the remixer of 'The Truth' has been working on an EBM version of the original , by holding the Techno flair to it. He used the Eurorack modular system that he'd built on his own , as well his Noise Engineering Ataraxic Translatron digital module for the bassline and his beloved Ensoniq ESQ-1 for the pad sounds, as a homage to New Beat. For various fills and effects the vocals went through a Make Noise Phonogene.



This special blend of Industrial Techno and EBM are not just a flash in the pan but rather the direction where Freitag wishes to pursue in future recordings.

With the present four tracks compilation of exclusive Techno productions, Rebekah delivers the third and last part of CLR's new format, which consists of an hour and a half dj mix and two subsequent EPs. Once more, Rebekah has chosen a mixture of tracks by fellow CLR players and other colleagues she admires for their cutting edge, quality production style. Long-time CLR artist and mastering technician Brian Sanhaji contributed 'Gyre", the first track of the release and a truly mesmerizing, acidic journey, which fulfills the usual, extremely high sonic standard the experienced producer is known for. The second track 'Berkel' was produced by Dualit and is characterized by a comparatively laid-back vibe with a gently driving rhythm, irresistibly haunting atmospheres and sequences. It closes the A-side of the vinyl and leaves you with the urge to turn it around and keep listening. The B-side contains two more tracks by Bas Mooy and by Rebekah herself. Bas Mooy´s 'Exile' is another good example of minimalistic, driving and hypnotic Techno with an extraordinary rhythm and a diversified structure, while Rebekah manifests with 'Zero Point' what she is best known for: straight-forward, full on, banging Techno with heaps of positive energy from the relentless side of the genre. Her second 'Mind Sets' effort is a thoughtful selection, a dignified continuation of the first part of the sampler and should be enjoyed loud on top-notch sound systems. Rebekah completes the first edition of CLR's brand-new vinyl/digital venture and once more recommends herself as a tasteful advocate of uncompromising, undying Techno.90460

4 bloody tune, 3 Speedcore ultraspeedcore and one experimental Ambient core... Superb sleeve as well.

Rotator and Ruby My Dear... Breakcore powerfull raving stuff revival... bringing some Drill My Dear And Some Raggatator !

Powell's killer, comprehensive singles collection 11-14 makes his club-breaking series of 12' singles available on 2CD for the first time.

It charts the uncompromising development of one of this decade's most ruthless
new artists thru 18 original tracks taken from five EPs for three different labels — including his own, Diagonal and features a searing collaboration with national n0!se treasure, Russell Haswell.

Syncing the muscle memory of dancing to late '90s D&B and techno with a kink for the tuffest '80s Industrial and bleeding-edge electronics, Powell's music has emerged as a virile antidote to the conservatism of current dance music.

With his first pair of self-released singles, 'The Ongoing Significance Of Steel & Flesh' (DIAG001, 2011) and the
'Body Music' EP (DIAG002, 2012), he established an ascetic, bare-bones approach which resonated with the original No Wave mantra — 'rip it up and start again' — in a bare-faced challenge to what was then deemed acceptable on the 'floor. Precedent set, the controversial 4-track 'Untitled' EP (RAVE002, 2013) revealed a more optimised, muscular take on his rollicking torque and freeform, caustic electronics at the cusp of the analog/ digital schism — resulting in the anthemic 'Oh No New York' on the flip.

Late 2013 saw the coiled hard-step of 'Fizz' (LTECH004) and his most explicit alloys of motorik jungle-tekno, before the 'Club Music' EP (DIAG009, 2014) combined all of these influences and exploded with spectacular, unpredictable brilliance, dosing a whole rave's worth of overloaded sensation into three brutally edited constructions, including the notorious 'Maniac' starring label-mate and hardwave peer, Russell Haswell.

Central to it all, from the swaggering stomp of 'Body Music' and 'Oh No New York' to the deadly jag of 'No U Turn', is a tensile, insatiable sense of urgency and a healthy disregard for convention, which translates directly to mad-'eds across the world.

Solar One Music is proud to present a very special project. Arne Weinberg (Valanx) and Robert Witschakowski (The Exaltics) join forces as "Val_Ex" and present their first album. Dark and deep tracks are featured on both sides of this album, the intention and atmosphere is undeniably pure darkness. The common goal of achieving this is audible each second of this record. The music ranges from ambient to electro, industrial and electronica. CD Album with bonus tracks

01. Sacrifice
02. Metacognition
03. Atom
04. Dying Embers
05. The Xecutioner
06. Fall Back
07. Territories
08. You_ve Never Been Right
09. Val_Ex-3 10 Val_Ex-7 (Crushed)

We're pleased to announce the return of the two Japanese artists behind the Ten Label and Steven Porter project (Weevil Neighbourhood, Semantica Records, Bitta, Vacu Sessions)

These guys always know how to grab your attention with their stark, brooding electronics and they put that to use with great effect once again here by splitting their latest EP in half to showcase their individual talents - very limited copies

Keep an eye out for another stunning 4 track compilation as Ten004EP soon...

Collection of 6 short Grind electronic super hard tunes !

Fantastic Realese... Pure sound and powerfull dancefloor.

Noise Speedcore attack !

'In the universe, there are things that are known, and things that are unknown. And, in between, there are doors.' Having honed a clear and uncompromising sound, which has been flexed across all manner of tempos, AnD return to Electric Deluxe with their first full body of work: a sonic contemplation of the cosmos, woven with all their industrial tropes in tact. The venomous hats and cavernous rumblings on 'Power Spectrum", the caustic squeals of 'Acoustic Oscillations' and the anxious pistons in 'Gravitational Waves", for example, should instantly resonate with fans of the duo's wanton dancefloor works. But another cataclysmic compilation this is not. 'Cosmic Microwave Background' is a far more composed and calculated affair, which sees the AnD sound assiduously recast into long-player format. The analogue bleeps of 'Particle' and grainy textures in 'The Epoch of Recombination' are some of the fluctuations that temper AnD's debut album into a solid listening experience, meanwhile exposing some of the pair's fluid and intuitive working process-with themselves as much as with their machines. Juxtaposing production precision with more freeform composition, 'Cosmic Microwave Background' as an opus is as intriguing and unexpected in its entirety as it's individual parts-for the vinyl collectors, reordered here into a double LP of functional floor material and more experimental pieces. Not that the album is quite so black and white. There are anomalies such as 'Non-Sky Signal Noise' which tread the velveteen grey area in between, with truly rewarding results.

It is said that the gods of the dead demand you ritualistically commit to each intensely hot beat of the ceremonial drum. Now, here, is the music for their celebration of death, music to dance together with, to oblivion, a music both spectacular and ecstatic where, like never before, the spirits of santería and vaudou mix with raw electricity into burning diabolical polyrhythms. We here present Cut Hands and Festival Of The Dead. This is Cut Hands' third album to date: the acclaimed Afro Noise I introduced the project in 2011, and 2012's Black Mamba expanded its feverish vision, preceded by a single of the same name on Blackest Ever Black. 2013 saw the release of the similarly fiery 'Madwoman' and 'Damballah 58' 12"s (on Downwards and BEB respectively). Festival of The Dead is without doubt the most potent distillation yet of Cut Hands' malign percussive energy, with pieces like 'The Claw' and 'Vaudou Take Me High' leading the irresistible polyrhythmic assault, in pursuit of one thing: a final rapturous celebration of oblivion. Written and produced by William Bennett. Original veve artwork by Mimsy DeBlois. Mastered by Noel Summerville. 2xLP (BLACKESTLP010) housed in high gloss gatefold sleeve.

Perc's second album 'The Power And The Glory' despite being released in mid-February has already been predicted to be one of the standout releases of 2014, receiving excellent reviews, DJ feedback and radio support. Now Perc Trax is proud to announce the remix EP for the album, featuring remixes by three UK artists who all make their Perc Trax debuts on this release. Each remixer was given free rein to manipulate the source material as they wished and the results speak for themselves, as Perc's original mixes are transformed into something new yet still retaining the innovative, forward looking attitude of 'The Power And The Glory'

First up is R&S artist and Poly Kicks label owner Tessela, who thanks to 'Hackney Parrot' and his new BBC Radio 1 residency has been making huge waves recently. Already previewed on his debut Radio 1 broadcast and in Perc's FACT Magazine mix, the Tessela remix of 'Take Your Body Off' is a heavily swung, bass heavy take on the track, still featuring the unforgettable screaming vocal of the original mix.

Next up Hemlock main man Untold, who himself been enjoying a great reaction to his own recent album provides an experimental take on the already out there 'Bleeding Colours'. Sounding like a lost cut from his album the track revolves around a foundation of ever morphing layers of bass.

Finally Scotland's Clouds get their hands on 'Dumpster' and focus more on groove than big room dynamics as they show off another side of their already impressive production talents with a deeper than expected remix to close off the EP...

A fantastic new four track release from the Dubliners, preview text below from Juno Plus:

Taking the mantle of Tinfoil, the duo's first release arrives on a new label of the same name... Despite the lack of conspiracy theory-themed track titles, the Tinfoil project does present an interesting intersection of Flanagan and Sharpe's respective styles with the chaotic 'Foil 6 a particularly jagged combination of electro bleeps and jaw-grinding basslines. The Tinfoil concept extends to the artwork too with each copy featuring a circular tinfoil sticker on the sleeve, embossed with the T logo...