Techno Vinyl New Releases - News

Caustic, laconic, long-face techno thumpers.
Less single malt than paint-stripper (albeit expertly applied with a sex-machine).

Pipé Scuttleworth & Jeremiah Klinger team up for this Detroit label's 2nd release. Scuttleworth distills frenetic beats & chirping melodies; Klinger complements the spastic w/ a calm reminiscent of Caribbean waters.

dedicated to promote young and evolving artists and to present musical diamonds in the rough, raster-noton is curating the unun series, which name derives from the atomic numbers of the chemical elements 111-119. »vortices« is ueno masaaki's first release on raster-noton, and the seventh release of this series.ueno masaaki takes his musical cue from natural phenomenon and laws of nature by trying to reconstruct, not simulating them. the results are mainly rhythmical patterns that set off a chain reaction, expanding and contracting and creating new formations all the time.the four tracks he presents on the EP are characterized by solid sound structures that appear to be very harsh and straight, sometimes even brutal, whereas the high pace even intensifies this impression. apparently repetitive at first sight, the tracks are in fact highly complex and intelligently arranged, presenting unforeseen breaks and shifts in direction.

Few people stand for a real underground approach to techno like ADAM X does. For over 20 years he has been right in the center of the scene. Before moving to Berlin he ran the Sonic Groove record shop in NYC for 15 years. The Sonic Groove label also owned by Adam is still a dominating force in the scene and has released music of legends like Abe Duque, Blake Baxter, Frankie Bones, Kevin Saunderson and many more. With djing, producing music Adam in recent years has received a lot of support from people like Chris Liebing and many others for his productions as ADAM X as well as for his aliases TRAVERSABLE WORMHOLE, ADMX-71.
Adam's sound is dark and heavily influenced by his passion for industrial and old school EBM music. With COERCIVE PERSUASION on the A-side he combines these influences with a functionality that can only derive from his extensive touring as a dj and live act. It is a dark anthem that will destroy all real techno floors. No doubt. The B-side DEPROGRAMMING SEQUENCE comes along with driving bells that give the stomping beat of the track a little uplift and therewith balances out the heavy dark side of the EP.

Exactly one month on from TP#5, Demdike Stare unleash the 6th instalment in their ongoing tespressing series, a split session focusing on damaged dancefloor articulations on the a-side,and demented metal edits on the flip. '40 Years Under The Cosh' spans the A-side and finds Demdike in feisty form, re-framing the bareboned floor-bound funk of classic Artwork and Anthony Shakir within more brutal parameters, complete with some seriously disorientating shenanigans halfway through proceedings. 'Frontin' on the flipside heads somewhere else entirely once again, unloading an agitated, freeze-framed metal loop and turning it into a barely contained bass-and-drums session that, unsurprisingly, sounds like nothing you'll have heard from this lot before.

Detroit's Travis Galloway, he of ALL GONE Records and Traag brings the Siobhan alias to Opal Tapes for a bout of lo-fi hoods up battery. Shifting templates of dank electro and raw cracked techno step together with raudive announcements commentating the current disorder of the head. Michigans industrial backbones is present throughout the recording, many sounds black on grey but this time Siobhan hangs gobs of pink muck and faded neon over his rolling perc. Like the district the release is named after, watch where you put your feet.

Will To Be Well is the new studio album by Dalhous, their second for Blackest Ever Black. This double-LP reflects writer-producer Marc Dall's continued interest in the life and arcana of R.D. Laing, but also alludes to more universal and enduring mysteries: the relationships between body and mind, illness and wellness, the physical and the metaphysical. The fifteen tracks assembled here also showcase the maturation of a uniquely gifted and expressive composer: Dall's stirring, efflorescent melodies and stately harmonic architectures, with their grievously honed simplicity, are a delight: lucid, lyrical, immediate. For all the modernity of Dalhous's approach, the album recalls a bygone era in synthesized and sample-based music, a time when its practitioners were not just set-designers but storytellers too. Will To Be Well arrives just one year on from the Edinburgh-based project's tenebrous debut, An Ambassador For Laing, which was released to widespread acclaim in Spring 2013: The Wire praised "a frequently beautiful music, whose often calm surface belies the powerful currents moving beneath it", while FACT called the LP a 'wonderfully compelling head-scratcher...opaque, elusive - and fascinating.' Nonetheless, a notable shift in tone has occurred in the fourteen months that have elapsed. If Ambassador was a tussle between darkness and light that ended in stalemate, with Will To Be Will it seems the light might just be winning. Pieces like 'Transference' and 'Her Mind Was A Blank' project a rapturous psychedelic intensity; 'To Be Universal You Must Be Specific' and 'Entertain The Idea' adopt the serene ambient register of recent Dalhous EP Visibility Is A Trap; while 'Sensitised To This Area' goes about its business with an almost Balearic swagger. But light too can be oppressive: the sun that gives life can also burn, and bleach, and blind. And even amid the endorphin rush of the album's most ebullient passages, there is the sense of a greater melancholy, an intractable doubt, lurking beneath the surface. Dalhous's music is suitably paradoxical, managing to sound at once futuristic and folkloric, both technologically advanced and avowedly pastoral. The elegiac repetitions of 'A Communion With These People' and the pagan drones of 'Lovers Of The Highlands' speak of Dall and his studio partner Alex Ander's deep connection to the rugged contours of their native Scottish landscape, while on 'Four Daughters By Four Women' and 'Thoughts Out Of Season' convulsive post-rave rhythms are employed to evoke ancient natural cycles. Though Will To Be Well is a less obviously eerie album than its predecessor, Dalhous's nose for the uncanny remains. A defining album from a major young artist. Listen:

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. A Waif's Rent opens hard with 'Albion Pressure' ushered in by a cloud of distortion and teeming particulate matter. It gathers momentum and fury as it plays, scuttling forward like a column of ants. On the flipside 'Cut Bronze and 'Tephra' hew stark funk from woody drums, tellingly akin in mood and effect to recent Diagonal releases from Powell and Russell Haswell.

RIpatti is a new label from Sasu Ripatti (Vladislav Delay) envisaged as a studio diary of sorts, cataloguing
ongoing experiments made by Sasu in his studio on his own and alongside various collaborators.
Ripatti06 features two further productions from Heisenberg, a new collaboration between Sasu Ripatti
(Vladislav Delay) and Max Loderbauer (NSI, Sun Electric, Moritz von Oswald Trio).
Play at 45 RPM!

New York based conceptual artist James Hoff returns to PAN with 'Blaster', a document of his explorations of computer viruses as agents within the composition process. Specifically, Hoff used the Blaster virus to infect 808 beats and then utilized the mutated
results as building blocks for seven new compositions.Hoff's interest in computer viruses lies in their ability to self distribute through (and ultimately disrupt) networks of communication and Hoff's agency as an artist centers on placing these parasitic forms into pre-existing genres, such as dance music. BLASTER
is a timely exploration of the infectious qualities of sound, and how it too, as a carrier, makes it's way through social networks, reduced to bits and programmed to infiltrate and replicate. 'Viruses, like art, need a host. Preferably a popular one.'
Interested in ways in which the virus works could mutate and spread socially, the first side of 'Blaster' contains these sonic presentations, and the second houses all of the artist's infected samples and serves as a scratch record for DJ's, an object of utility, and ultimately a provoca- tion, mobilizing its new hosts as a point of potential transmission.Blaster is a logical progression from Hoff's PAN debut LP 'How Wheeling Feels when the
Ground Walks Away', which dealt with aural documents of riots and disruptions and the record is part of a larger body of work by the artist that also includes virus paintings.

One of the most intriguing artists on the Hospital Productions roster, Lussuria came to prominence with the release of three tapes as part of the 'American Babylon' series in 2012 which were eventually compiled into a double vinyl edition last year. His opiated atmospheres brought together the ritualistic appeal of late '70s and early '80s Italian industrial music crossed with the claustrophobia of early material from The Cure and the decadent, voyeuristic compulsion of Pasolini flicks so enamoured by Coil.

Powell returns to his own Diagonal imprint with a three-headed monster of a 12', his first on the label since 2012's Body Music. Since then he's released a pair of acclaimed 12's through The Death Of Rave and Liberation Technologies, as well as remixes for Silent Servant and Ike Yard, all of which have tracked his musical aesthetic as it's gradually been scrubbed, honed and fully articulated for the dancefloor. The result, then, is Club Music, where Powell's characteristic arsenal of scrabbling synthesiser dirt, ruffneck drum and vocal samples and air of nocturnal cheekiness are put to the service of three livewire percussive workouts, each bristling with energy. While the influence of both techno and early drum & bass was detectable in Powell's early
music, here those genres aren't so much channelled as ruthlessly stripped down for parts, their atmosphere and momentum transferred into brutally funky beat tracks that charge forward with
gleeful intensity. They find Powell increasingly operating in his own space, forsaking the current vogue for swiftly laid-down hardware jams to focus on intricately crafted arrangements, with these three tracks often taking sudden jarring changes in direction, or slinging unexpected detail in the mix to throw dancers off kilter. 'So We Went Electric', matching its title, sparks like a cable gone haywire, spitting arcs of raw blue energy through the mix amid spidery distorted guitars and moaned vocals. 'No U Turn' is bonedry yet hot-blooded funk, its drums and bass strutting back and forth in an overdriven frenzy. And 'Maniac', which features Russell Haswell ringing the life out of a Devil Fish TB-303, roundsClub Music off at its murkiest and most grimey, peaking repeatedly in a scrambled, angry mess ofyelled voice, smashed instruments and amplifier buzz — flipping the atmosphere of an almightyonstage punk band strop into contorted, fucked up basement acid.

Local Agent is the 4th LP by Charlatan, a.k.a. Brad Rose, label-head of Digitalis, also known as The North Sea and one half of Safiyya. Local Agent is a streamlined statement, an amalgam of spy and sci-fi techno with touches of abstract and turbulent dub, finely mastered by John Tejada. A conceptual and abstract merge between industrial-beat and techno structures, with a sensitivity for narrative and the description of futuristic landscapes (retro-futuristic / Lab style).

Powell marks up the 2nd release on The Death Of Rave, following Mark Leckey's debut entry, 'Fiorucci Made Me Hardcore'. Powell's 3rd release refines his ascetic blend of lawless New York no wave, cold European electronics and late '90s D&B with incisive vision and propulsive torque. The EP's standout 'A Band' emphasises a chimeric indistinction between the "real" textures of sample-spliced guitars and drums and the gritted tension of painstakingly processed electronics, somehow sounding like MMM producing for MARS, whereas the ductile, visceral wormhole of 'Acid' feels more like Bob Ostertag mangling Phuture. At its iciest, the bruxist thump of 'Rider' is an assured nod to Suicide, yet sliced with the precision of prime period Digital or Dom & Optical, whilst the loosely skewed but in-the-pocket groove of 'Oh No New York' is one of few contemporary examples that genuinely augments post punk tropes without merely reaffirming them. And far from stylistic tourism, these tracks are wrought with integrity and guile, forged with awareness of their sub-cultural history and coolly swerving its dead ends with a stoic intelligence and discipline that's sorely lacking from the reams of "yeah, we've got 3000 unreleased tunes on our hard-drive" set of producers: Powell may only have a handful, but they're probably better than yours.

This is the new full-length album from techno veteran Christian Wunsch, a collection of nine tracks, slowly crafted that shows his own personal vision about techno. This is his first full-length album after a whole bunch of twelve inches spread out among the best techno labels around and his very own Tsunami imprint. More than twenty years in the business establish him as one of the stepping-stones in the pure techno scene.

'Internal Conversion' shows his approach to modern electronic music creation. Pristine sound design, clever drum, synth programming and evolving structures make this album a showcase of his capacities as a studio wizard.

'Internal Conversion' is the first cut: dense atmospheres, slow rhythms, drones, metallic hits ..the sound of a spacecraft about to start engines.

'Fluorescence' goes straight to the beat: compact grooves, alien FM sequences, resonant details, heavy stereo workouts.. a complete Martian techno.

'Auger Electrons' is based on a heavier rhythmic approach, thick FM sequences, rolling sub bass frequencies and brilliant hi hats and cymbals. A precision tool for working every intelligent dance floor.

'When The Process Is Expected' goes down to experimental territories, kickless, sweepy, dark and low.

'Ionized' turns again to floor energy, anabolic beats, tension and cycles, a hypnotic workout of modern electronic dance music, straight to the point.

'Radioactive Decay' breaks the drums, adds drones and sweeps, until resonated noises take over the arrangement, keeping it grey, opaque and futuristic.

'Nuclear Transition' acts as a short interlude made of atmospheric and percussive sequences.

'Graphene' slows down the BPM, building up a powerful drum architecture as in the previous cuts but this time uses analog sequences to create movement.

The closing release, 'Fixed Fraction' uses different coordinates, compact beats, sharp percussions, sci-fi sounds and subwoofer tension

A voyage into sound, created with a few well balanced elements, telling a story in nine chapters.

Transcendent starts a white label (hand stamped) series besides the regular label output. The first release is by Leeuwardens finest electronic music veteran Marcel Caron, hailing from the North of the Netherlands. He presents two carefully crafted dark haunting uncompromising ambient techno tracks. Prepare for an ultimate dystopia of dark hardware electronics. Including two Hexagon (aka Conforce) remixes for the different hours.Pressing of 150 copies!

The People Without can only be described as a body of work that seamlessly showcases the artists attention to detail and knowledge of sound design and texture.
The People Without as a whole takes the listener on a journey that is at times eerily beautiful and at others, powerfully mystical. Metrist has managed to pull together a superb follow up to RSN002 that shows the depth and vision of Resin over the years to come."

7 months on from TP#4, Demdike return with the 5th instalment in their ongoing research and development series - a double-headed monster split between gnarly reductions on the A-side, and industrial strength edits on the flip. 'Procrastination' edges through Grimey detritus and gunshot snares within a vast open space perfectly primed for that Demdike slow build. 'Past Majesty' on the flip offers up a feral take on some kind of cyber-industrial insanity, somewhere between Ministry and Powell - with a denouement which should probably come with a public health warning attached to it. All we're saying is - watch yr eardrums

Broken Bone are Yorkshire duo Daz Quayle and Tony 'Bone' Snowden.

Most of you will know Daz already as one half of Scarletron, IL.EK.TRO and owner of scsi-av. Tony has certainly paid his dues to the industry too, performing in noise bands, Crumbling Spine and Yorkshire Bone; laden with distorted drum machines, guitar and effects with Tony on Vox. Infact it was after attending a gig that Daz got involved writing backing tracks for the band.

Inspired by the boundaries of capability, potential and limit, they then went on to form their
own band called Broken Bone. An amalgamation of Tony on noise/vocal improv and Daz on beats, relentless electronics, sounds and tech. Initial productions were industrial soundscapes of dense distortions and sonic terrain with disturbing lyrical content, being mirrored by the torrential pouring
frequencies and cone ripping noise-based onslaught. This probably explains why they ended up supporting Whitehouse with their blood spattered audio assault!

This Six track Willowbrook EP (taken from the 12 track willowbrook album) focuses on instrumental, stripped back versions sitting heavy in the mix, drenched with feedback and sinister undertones, raw emotion and eloquent expressions of pain. This will put you in a sombre mood for sure.

An album of brutal realism, intense and claustrophobic. It's as dark as the subject matter! One foot planted firmly in the noise genre, the other planted firmly in your
face!

After the success of the 'Anyway' 12'', OTO, now a three-piece band played a few gigs before entering the studio to record their debut (and final) album 'Purge An Urge'. Produced by Vincent Hachet from French industrial duo Geinst Naït, 'Purge An Urge' was supposed to contain 9 tracks but the final release saw only 6 tracks. Cécile from fellow Nancy's band Candidate even did some backing vocals.

Released in 1986 on French label Divine known to have released Mecano, Tuxedomoon, Fra Lippo Lippi, Minimal Compact..., it was poorly promoted and was mainly sold in Nancy area. But the music was as vibrant as their first effort and evokes bands like Second Layer, End Of Data, Das Kabinette, Grauzone or Martin Dupont. Pascal Hubert then formed and still perform in French successful alternative band Double Nelson.

Now a much sought-after record 'Purge An Urge' is reissued for the very first time on vinyl...

Damien Dubrovnik are Loke Rahbek (Lust For Youth, Var, Croatian Amor) and Christian Stadsgaard, two Copenhagen residents who are known for running the highly respected and prolific Posh Isolation label. 'Patterns of Penetration' is a new EP which comes relatively hot off the heels of a USA and UK tour with Helm and their first new material since last year's Alter debut, the 'First Burning Attraction' LP. Lead track and recent live staple 'Penis Corset' is the most potent and pointed piece the duo have penned yet - the main body of the track is driven by a crude and primative rhythm made from an electronic bass pulse and blown out synth noise, punctuated by feedback and guttural vocals. The result is probably the closest the duo has ever come to creating something that fits the traditional 'song' format yet fully retaining an industrial atmosphere that is consistent with previous DD releases. On the flip, title track 'Patterns of Penetration' presents a calmer side of the duos work yet also find them at their most complex and rich, sonically speaking, with a two note synth lead, spoken vocals and washes of analog tape noise. Edition of 400 copies with artwork by Danish artist Martin Erik Andersen.

An astonishing set of Concrète pieces hugely recommended if you're in awe of Bernard Parmegiani - presented in a double 140g vinyl set mastered and cut by Rashad Becker at D&M, housed in pro press jacket and a silk-screened PVC sleeve with photography by Trainanos Pakioufakis and artwork by Bill Kouligas** An alchemical triumph of modern concrete and avant-garde composition, Valerio Tricoli's 5th album, 'Miseri Lares' is one of the most remarkable records in PAN's distinguished catalogue. The Italian artist's first solo LP in seven years is the culmination of tireless experimentation in studio and live arenas - he's got a formidable reputation on the experimental live circuit both solo and in the band 3/4HadBeenEliminated - and pays testament to his adroit instrumental skill and virtuosic electronic processing. It's his magnum opus - a definitive work characterised by incalculably complex construction and a haunting sense of spirit and narrative which is all too often intangible or elusive in this area of the sonic map. His bewildering alloys of atomised acoustic textures and cut-up vocals are at once jaw-droppingly unreal and disturbingly visceral, matching the oneiric strategy and dramaturgy of Robert Ashley with the sort of precise, pointillist dynamics associated with Bernard Parmegiani and the visual analogues of H.R. Giger. Weaving texts by Italian poets Dante and Guido Ceronetti along with excerpts from The Ecclesiastes, H.P. Lovecraft, E.M. Cioran, and his own writings within the fabric of its eight extended pieces, the scale of Tricoli's ambition and vision can't be sniffed at. But more importantly it's the way he so vividly, affectively invokes the unknown and states of psychological panic that will resonate beyond experimental circles and into the listening lives of soundtrack fans, sound designers and inquisitive ears looking for unpredictable, powerful, and mind-bending new sensations and ideas. This is what we feel PAN to be all about, presenting challenging, spectacular work that transcends borders.

After a pair of tapes acclaimed by The Quietus and Xlr8r, ORPHAN SWORDS makes a new move via Idiosyncratics. The industrial-slanted techno duo welcomes four guest projects for a vinyl of remixes: not less than Dwellings (alias GNOD's electronic Brain Chris Haslam), Paul Purgas (half part of Raster-Noton notorious duo Emptyset), shxcxchcxsh (swedish techno project signed on Shifted' label Records Avian) and Exoteric Continent (Opal Tapes fellow aka Arnau Sala). They revamp Orphan Swords' track RÄUM from debut EP Dantalion/Räum in a brand new version. The record has been mastered by Stephen Bishop (Opal Tapes). ORPHAN SWORDS is a collaboration between sound experimentalist and Idiosyncratics label founder Yannick Franck & producer and Bozar Electronic Arts Festival (BEAF) curator Maze.

Ralph Cumbers' debut Bass Clef 12' for PAN sees the modular maestro stalking the 'floor with typical, technical suss and cheeky UK humour. The 'Raven Yr Own Worl' EP is the latest and most sharply focussed in a golden streak of releases which have seen the London-based producer tour some of the bastions of British electronica, from Punch Drunk to Alter and Public Information, not to mention his own, cultishly adored Magic + Dreams label. Thru the prism of his favoured BugBrand Modular system - handmade by Bristol's Tom Bug - the four tracks of his 'Raven Yr Own Worl' EP patch a lattice of reference ports between Radiophonic experimentation, bedroom electronica, classic dub production techniques, and the not-so-distant spirits of halcyon UK rave music His 'Self-Perpetuating Fun Loop' is razor-sharp acid funk in the tradition of Luke Vibert and the Rephlex hordes, and 'Fluorescent City Shining City' a deftly playful piece of acid dub strut recalling early Two Lone Swordsmen. His bleep techno tribute 'Euphoric Nihilism' is possibly the most intricate and evocative number, also flashing glimpses of 'ardcore whistles and EBM in its tightly coiled matrix, whilst 'Adventures Unventured, Tenderness Untendered' is a blissed steppers' kiss off meeting digi-dub and misty-eyed IDM at the warehouse. The effortless fluidity and charm of these tracks belies the skill, personality and intuitively dextrous approach of Bass Clef and his affinity with the machine. They're timeless pieces of UK electronica carrying the weight of heritage forward.

1. God-Forced (Album Version)
2. Severe Sever
3. = Pure
4. Perfect Defect
5. Wrath
6. Acrylic
7. Make Believe
8. Sinner
9. Redesign
10. Nemesis
11. Mass Effect
12. Revolution

Hospital Productions' present an exhilarating label debut by flamboyant Italian battery, Nicolò Fortuni and Nico Vascellari, aka Ninos Du Brasil. 'Novos Mistérios' follows their debut LP for La Tempesta International/Tannen Records with an acutely stripped down blend of mostly 'live' recorded percussion and explorative electronic sound design.

Dédales is the second LP from Opera Mort following up their debut for the inhouse label of the sadly defunct Parisian record shop Bimbo Tower. The project is an ongoing collaboration between Jo Tanz and Laurent Gerard, two figures in the eye of France's contemporary avant garde underground; Jo with his Tanzprocess label and Laurent with his Élg project (Élg's 'Mil Pluton' album appeared on Alter in 2012). They also form two thirds of the trio Reines D'Angleterre with the legendary French artist Ghedalia Tazartés who will be returning to live performance later in 2014. The 8 tracks on Dédales were edited down from a series of improvised live takes of abstract and other-worldy electronics, shifting the Opera Mort sound into more focussed territory and creating a musical language that's uniquely singular and a direct result of their close collaborative relationship. Listen:

After last years spectacular return to our airwaves and the world of techno with the release of the excellent album From the Far Future Pt. 2, the Detroit veteran Terrence Dixon is back with a new release entitled the Giant Robot EP on Monique Musique imprint, while that enigmatic and experimental British producer Actress has been brought in on remix duties.

Another Dark Age captures the schizophrenic culture that exists in one pocket of the underground. This V/A release reaches across oceans and continents to connect music from four obscure projects. From Providence (USA) to Melbourne (Australia), ADA delves deep into the noise and experimental scenes of both cities. Form a Log is a trio of which Ren Schofield (AKA Container) is a member. Their twisted analog improvisations are as disciplined as they are chaotic. 'In the Streets' is a chugging percussive jam that winds its way to-and-fro, between noise and entropy. Phantom Selector, Victim and Carrier are artists who have released diverse music on cassettes under ever-changing monikers. Tortured vocals, eerie textures and cavernous kick drums represent the fleeting moods of these artists who may or may not produce material under these aliases again.

April Cargo Collective Title) I Shall Die Here is the fourth full-length album by The Body. Sharing their moribund vision for I Shall Die Here with Bobby Krlic (aka The Haxan Cloak), the tried and true sound of The Body is cut to pieces, mutilated by process and re-animated in a spectral state by the newly minted partnership. The Body's brutal musical approach, engraved by drummer Lee Buford's colossal beats and Chip King's mad howl and bass-bladed guitar dirge, becomes something even more terrifying with Krlic's post-mortem ambiences serving as both baseline and outer limit. I Shall Die Here sonically serrates the remains of metal's already unidentifiable corpse and splays it amid tormented voices in shadow.. A handful of precursor releases readied the band for seasoned explorations across their debut self-titled album (Moganano, 2003) and on the widely-acclaimed All the Waters of the Earth Turn to Blood (At A Loss, 2011). The Body's curtailing of formal classification figured heavily on All the Waters. The album's employment of the Assembly of Light Choir's classical chorales alongside more industrial music techniques such as vocal sampling and drum programming in turn prompted RVNG to inquire with King and Buford which darker corners of the electronic universe they were presumably interested in exploring. The earnestly experimental undertaking of I Shall Die Here is expertly aided by Seth Manchester and Keith Souza, The Body's longstanding engineers and creative collaborators, and noted producer Krlic. Krlic's own work as The Haxan Cloak struck a similarly despairing chord to The Body with last year's celebrated Excavations (Tri Angle, 2013), itself a minimalist evocation of the afterlife. I Shall Die Here shares similar nether space with the morbidly deviating darkness of Excavations, but remains sculpturally frozen in a sort of earthen purgatory. On album opener 'To Carry the Seeds of Death Within Me', a dramatic pause partitions the seismic caterwauling and savage whump of the first half from the ambient, suffocating ripple of the second. From there, the dimensional doom marches on in procession, ceaselessly alternating between shape and shadow. According to the band themselves, they sought to create something wholly experimental with I Shall Die Here. In the course of its creation and recreation, they have attained that rare artistic goal: an album with few precedents and a paradigm shift richly realized. Bobby Krlic's downcast electronic visions laces seamlessly into The Body's already volatile mix of fissured doom metal and fused verbal spaces. The onset of a new music emerges with I Shall Die Here, and in its shifts, shadows, and reeling voices, the darkest possible formulation of electronic music has been realized.

An Ambassador For Laing is the debut album by Dalhous. Arriving in the wake of their recent 10", Mitchell Heisman, it's due to be released by Blackest Ever Black in May 2013. The Edinburgh-based duo of Marc Dall and Alex Ander work with intricately stacked percussion, dubwise bass and a rich harmonic tapestry of processed voices, keys, harp, vibraphone, guitar, woodwind, strings and synthesiser - every sound re-sampled to the nth degree then subjected to subtle automation and rigorously fine-tuned over a period of many months. From the mesmerised pastoral drift of 'Anger Sees Red' and 'Dwelling By The Meadow' to agitated arabesques like 'The Physical Body' and the self-titled 'Dalhous', the resulting pieces explore dreamlike but treacherous terrain. Eleven questions in a world of blue.

German doomcore artist MOLECULEZ delivers his second release on the mighty SYMP.TOM imprint! Very raw stuff on this new release, including new and pounding collaborations with MENTAL WRECKAGE and THE RELIC

The SYMP.TOM imprint delivers a brutal 5-tracker by industrial hero THE RELIC !! This new release already is very well received in industrial hardcore land. Ragin" kickdrums, dark sounds, and phat effects make this 12" another powerful release for the underground!

Bambi OFS is Cédric Dambrain, composer, electronic musician and virtual instruments designer based in Brussels, Belgium. Dambrain’s approach to music is motivated by an exploration of perception thresholds, psychoacoustics, and the physiological impact of sound.

This diversity of themes is matched by his wide range of production styles, which include electroacoustic computer music, compositions for ensembles, noise, sound installations and, more recently, club-oriented polyrythmic explorations.

Dambrain has also been composing extensively for performance artists and music theatre.Spanning four tracks of intricate and ever-shifting rythmic progressions, Bambi OFS’ debut EP YAKKA frames a tense and glittering ethnofictional world, combining kaleidoscopic percussive textures with a precisely economical aesthetic.

Extending on Cédric’s exploration of sound.space.perception as a unified phenomenon in his sound installations and noise projects, the record artwork features a photography shot by ethnomusicologist Judith Becker during a Bebuten ceremony in Bali: the picture evokes her inquiry in the trance phenomenon, in which she demonstrates that our ability to enjoy trance and its healing virtues is inversely proportional to our sense of separatedness from the rest of the world.

Meshing together numerous influences, and reflecting on the self/other dichotomy, YAKKA is a playful invitation to reconsider our identification processes.

Downtempo beats & psykedelics smoothies. Early throbbing style.

Die Electro-Keule kreist wieder! Nicht einmal zwei Jahre nach ihrem letzten Album sind die mexikanischen Höllen-Cousins zurück aus dem Pandemie-Kerker und lassen ihrer Aggression auf dem neuen Opus „Hyperviolent“ unverblümt freien Lauf. Latent bedrohlich und eher schleichend rabiat wie bei „Broken Empires“ oder im pulsierenden Dark’n’Bass-Gewand wie bei der zweiten Vorab-Single „Backstabbers“ – Hocico spielen auf den 13 Tracks ihres neuen Longplayers die komplette Aggro-Klaviatur. Dazu zählt auch und vor allem der Bonus-Track „Weapons Of Resistance“, den Erk gemeinsam mit Ten56.-Frontmann Aaron Matts eingesungen hat und der nach Kooperationen mit Lord Of The Lost und Ost+Front einen weiteren Krachmacher-Trip ins Gitarrenlager bedeutet. Auch 2022 gilt für Hocico also: Knüppel aus dem Sack oder einfach gesagt: „Hyper hyper“!

Less than two years after their last album, legendary Mexican Electro duo Hocico is once again filling the air with their unabashedly sound and strikes hard with their full range of aggression on the band's brand new album "Hyperviolent".