Techno Vinyl New Releases - News

Known for his strong live performances, swedish producer Celldˆd creates music for the body as well as the soul : his influences range from punk, industrial and dub music over to acid house, techno and EBM. That new five track banger EP is dealing with subjects such as sadism, masochism, unhealthy relationships, and the fact that the good never prevails. But if the world is going to hell, we can at least dance on the way down. Let us move, together. In darkness.

The Tel-Avivian Berlin Based duo TV.OUT are back on Parallax Records with a beautiful 12' and a fresh Florian Kupfer remix.
It strikes right after their album debut on Dark Entries,
and releases on L.I.E.S Records and BANK Records NYC.

In our 4th EP release from OMEN Recordings, we bring you 'DETOX', written and produced by Russian artist, DRAAG, an amazing discovery with unique and astonishing style. To complement the release, we added remixes by our very own signature artists: Berlin-based, AYARCANA, and AXKAN from Los Angeles.

DRAAG begins the title track, Detox (A1), with hard 4X4 kicks, and glitchy, metallic snares that drive momentum and groove. Listen carefully and unsettling vocals and frightening screams begin to creep about, intermingling with a potent synth lead. By Mouth (A2) is cut from the same burial cloth, as it were - rich, dark melodies underlie powerful, kick-driven rhythms as a storm of noise washes through, punctuated by quick, attacking hats. Simultaneously sumptuous and unnerving. The digital format features a bonus original track entitled Acidosis, which sets out with steady kicks complemented by dark textures that enhance the main acid synth lead. The result is sure to make movement mandatory for any crowd.



AYARCANA's merciless remix of Detox (B1) starts out ready to destroy all in its path - we predict this full-bodied track will become a new favorite of industrial techno fans in short order. AXKAN's remix of Acidosis (B2) unapologetically declares dominance through heavy breakbeat kick patterns, icy screams, and a razor wire acid bass line that slices through the track, this EP draws you in.

OMEN once again pushes the boundaries of industrial techno with this EP

"Auf dem schwarzen Kanal" ist eine der herausstechendsten und gesuchtesten Veröffentlichungen in Conrad Schnitzlers umfangreichem Katalog. 1980 als einzige von Schnitzlers Platten bei einem Majorlabel veröffentlicht, war diese Maxi und insbesondere das Titelstück ein Flirt mit dem zeitgleich aufkommenden experimentellen New Wave und klang dennoch so eigenwillig wie keine andere Musik zu jener Zeit. Die zusammen mit Wolfgang Seidel entstandenen und in Peter Baumanns Berliner Paragon Studio aufgenommen vier Tracks sind ein bissiger, dissonante Mutant Disco Trip, der bis heute nichts von seiner Faszination eingebüßt hat. Bureau B freut sich dieses lange vergriffene Werk endlich wieder verfügbar zu machen!

2x12"

It has been two years since the first compilation on the Various Artists series (PEVA) of Pi Electronics and the concept has stayed true to its aim: to present a coherent selection of the label's favourite collaborators from the roster and parties over the years. Bringing together Greek and international artists, this compilation opens with a 10 minute recording by the combined forces of Orphx and JK Flesh (Justin Broadrick), from a live performance recorded in Amsterdam. Meanwhile we also showcase the resurfacing of Vofa, the joint project of producers Sawf and ANFS. There is a variety of options in this 13 tracks release; from the raw and harsh textures of An-i and New Frames, to Lycurgus live drum set recordings, Kondaktor's African percussive electronics and Sarin's EBM infused techno. Some more techno interpretations, such as the hypnotic moods of Stave and Fragedis, or the more punchy sounds of Restive Plaggona and Poison Green. These shape the full picture of this second Pi Electronics compilation titled "Divide & Rule".

10 years ago the29nov films was started in a small village in Southern Germany. Thousands of videos and millions of views later Sebastian Kökow and Kevin Paschold have become one of the most sought after video producers in electronic music - mostly for industrial-leaning techno, but also for all other kinds of electronic music.
To celebrate their 10th anniversary the29nov has finally gathered a few of their favourite artists and they all have contributed to a compilation, which will be released on 2 double 12"es, one out in November 2016, the other one to follow soon.

Celebrate with us!

Revolting Cocks' origins date to late 1984, when Front 242 started their first American tour as an opening act for their then-label mates Ministry. Afterwards, Alain Jourgensen asked Richard 23 to join forces and produce a dub-remix project. After returning to Brussels, Richard proposed this collaboration to Luc Van Acker who decided to team the band just after talking with Al over the phone.

“Big Sexy Land”, originally released through the legendary Wax Trax! Records in 1986, is the debut studio album by this supergroup featuring a mix of industrial, hard rock and EBM with dominating sampling and strong synthesized beats. It was composed mostly using a very expensive Fairlight CMI II synthesizer, sampler and work station that Al Jourgensen got funded by Sire Records. Luc Van Acker attributed album's mixing to Jourgensen's sessions with Adrian Sherwood on Ministry’s “Twitch”. Al surreptitiously took notes on Sherwood's settings, but, without any context for the numbers, they had to later guess at what the settings were for, such as reverb and delay time.

Album's title is a reference to a strip club in West Berlin. Al Jourgensen said that club neon sign was “the biggest capitalistic tease” for citizens in East Germany. The idea to use Revolting Cocks came from an incident that took place in a Chicago bar. According to Luc and Al, they all was trying out "insulting French expressions" on a waiter, ordering something they said meant “revolting cock” which led the waiter to say, “You are revolting cocks!”.

“Big Sexy Land” would be the only album made by the original incarnation as Richard 23 quit in 1986, after falling out with Jourgensen over an Adrian Sherwood's remix of the song "You Often Forget”.

Limited edition re-release on double vinyl with gatefold sleeve and expanded artwork including all original tracks plus the singles “No Devotion”, “You Often Forget” and another remix of “T.V. Mind”.

Spanish techno master Reeko makes his mark on Detroit Underground with a release exploring the darker facets of humanity in mesmerizing fashion, with rhythm and drone taking equal importance. "Lovers and Bandits" sets side A off with a brutal broken march, hard kicks building slowly into caverns of sonic noise. "BDSM" twists the sounds of pleasure and pain into an endless dark delay, leading you to the edge and right into "Hard Sex Club", roiling with indecipherable voices and a hovering synth build that teases but never quite strikes.


Side B straightens the beat with "Slaughter", a searing background noise underpinning an evolving rotation of menace that pushes the beats forward into a pit of noise and sludge. "Sex With God" is a fierce techno rhythm, wet, crunchy, and percussive without the ubiquitous kick drum, building to a crescendo of heat and buzz. Finally, "Submissive Behavior" is a massive paranoid drone, prickly with hunger and menace. On "We Are Bandits", Reeko strips down his explorations of sound and texture to the barest essences, making for an unsettling and intriguing listen. Graphic design from The Designers Republic. This is the first release in a collaboration with tDR called DU-TDR/GRD with a grid font designed for 2016 - 2017 DU releases.

"Kragehul" is a full-length album by Carlos Suero, with almost 60 minutes in 9 tracks of dense music, with very dark soundscapes, of polyhedral rhythm, capable of paralyzing the turning of a concrete mixer. MDI of the XXI century, post industrial techno. Essential.
Almost 1 hour of electronic music, IDM, very dark industrial techno.







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Serial Error was founded as a New Beat project when Jacob Korn was asked for a submission to the 'Our Beat Is Still New' compilation series on the Belgian We Play House label in late 2014. Knowing the retro-experienced skills of his label mates from Uncanny Valley, he teamed up with Credit 00 & Sneaker and they produced Drum Abuse, a track that finally became the cue for their first full 12'' maxi single in 2018 on Rat Life Records; a label curated by Credit 00. Now they keep on malfunctioning with a 4-tracker featuring the bizarre title Afro Gothic. The eponymous track was the first shot when they got together for a second EP in Jacob's studio in now demolished premises (the typical daily Rat Life). The slow, steamy roller captures the amateurish live percussion skills of Credit 00, while - on the other hand - he played one of the manuals of Jacob's 'Son of GX' organ along with Sneaker playing the other manual of the leading voice synth. On top, they added a classic acapella - a sudden strike of genius - 'perfectly matching the solemn vibe' (in their opinion; artist quote). A2 'Unter den Helmen' is ripping off the same organ's preset drum patterns run through a brutal EQ. Talking of the 70s - a duet by two anti-nuclear activists from the German Sponti movement of the time became the theme of this politically charged protest song! Oh yeah, somewhere I had to paste the striking fact that all is mastered & sent via reel-to-reel at our TailOut studio. Check! B1 and B2 are two versions of the same song who share their lyrics drawn from school days. To be precise from the tacky Dresden art academy they both - Sneaker and Credit 00 - visited. The B2 of 'Art Academy Talk' features the typical Sneaker vocals on a 4/4 beat, while - due to Credit 00's lean towards electro - the B1 got the vocoder treatment while Jacob and Sneaker went for lunch. As Jacob came up with the bass riff on his Chroma Polaris, Credit fiddled the knobs of his Ensoniq ESQ1 like a rusty raver. The freaked out FX-sounds we can cherish thanks to the Pearl DRX drum machine; modded and played by Jacob Korn. Due to the odd look also fondly nick-named 'the VCR'. The Pearl, of course, not Jacob.

Dancefloor killer from the underground Milano connection !

new Milanese label (conceived by old DJs from the Italian underground scene, MNT & Qirex) dedicated to industrial and tribal sick techno, the first release is on 180 gr vinyl and the mastering is from the London transition studio

BLAM !

Haven's fourth release in their white label series continues its focus on dance-floor-ready madness with the label's second VA compilation on "Sardonic Tonality Vol. 2", this time with four newcomers to the burgeoning imprint.

The A1 launches the release with "Step Out" from mysterious duo "Taken Name". With razor-sharp sound design, bass-heavy synth work, and sinister atmospheres this certified banger is already proving its ability to get bodies moving. Following on the A2 is a hazy smasher from Copenhagen resident and TRTLNCK co-founder Riesenfeld, featuring epic synth lines and emotive pads while being propelled forward by its rolling drum work in a perfect example of what draws people to the sound of the Danish capital.

The B-side begins with a true weirdo slammer from Ryan James Ford. With its pounding kick, drum breaks, ominous melody and peculiar atmospherics it provides the perfect ingredients for a hectic club weapon. The release closes with a creepy, drugged-out banger from US producer Julien Andreas. Malevolent vocals, pulsing bass, crunchy drums and bizzaro sound design combine in another dance-floor-ready trip to close another potent collection from Haven.

Completing the trilogy of releases in collusion with graphic artist Oliver Sperl, Belgian techno producer ED1999 chooses to nish on ORIGINAL SIN EP, a 4-track dark ex- periment of audio-visual harmony, complete with blasting industrial beats and doom- metal growls.
Original Sin EP hits you from the get-go with PANDEMONIUM, a track saturated with industrial reverbs and dark echoey vocals circulating around a central, elastic bass. PANDEMONIUM achieves a distinct energy, the anger and tension injected into the mix still coming through crisp and clear.
STRAIGHT OUTTA HELL follows up with a gloomy, dissonant piece with a thudding kick line pervading through a wall of metallic drones and distorted growling. The track emanates a bleak, nocturnal timbre, giving off a feeling of unfeeling cold and isolation.
The B-side opens with EVIL DISORDER, a cosmic, atmospheric take on the EP’s di- stinctly melancholic theme. Stuttering percs grate against the cold-steel sound of clashing metal structures to create a manic, alien sound accentuated by the roaring, tubular bassline rushing around in circles like a particle in the LHC.
THE FURNACE is the nal track in the nal instalment of this trilogy and serves up a twisted nale of harmonic robotic bass interwoven with a static, tension-inducing array of synthesised madness, creating an ominous obelisk of massive and miniscule movements. The track delivers one more guttural sonic blow before retreating back
to the lonely pulsating winds on which the track began.
ORIGINAL SIN EP marks ED1999’s third audio-visual collaboration with Sperl, who handles the graphics and cover art to accompany the music. The pair worked in tight co-operation, taking great care in melding together their respective music and gra- phics into one conceptual form. The EP will be released on PORPAX Records, marking the label’s fourth entry onto the scene.

Blind Delon is back! This time, we are welcome in the Chapel among the "People of God" for their tenebrous prayer. Synthwave is taking a devilish turn for this release, carried by two electro-rave remixes from Maelstrom & Umwelt.

The EP is comes in a full color sleeve.

A must-have in every vinyl store and haunted mansion!

The Evolutionary Process Of Metaphor Records Has Minimally Modified A Perfectly Defined And Structured Development, Its Genetic Inheritance Is Evident From Minute Zero With An Iron Personality Thanks To A Compact, Particular And Invariable Style, Although With This Sixth Installment It Suffers A First Migration To The Physical Support, A Single Exchange That Does Not Differ In Anything With Its Artistic Tendency And Its Initial Approach.

Lars Huismann Is The Last Link Of The Biological Transfer That Emerged In The Preliminary Steps Of Metaphor Records, And The First Commitment Of The Record Company To Inaugurate The Division Dedicated To Vinyl Format. The German Producer Is Perfectly Integrated Into The Dna Of The Label With An Industrial Reference That Emphasizes The Great Control Of This Artist To Create An Infinity Of Harmonic Lines, And Above All, Exuberant Percussions.

Paal is passionate about hardware - analog drum machines, synths and pedals are tracked through a mixing desk, raw and unedited. Imperfections intrinsic to this process are essential to him and give his sound a unique character - warm, organic and, at times, lo-fi and grainy. This can be heard throughout the EP. The VOI 011 also marks a shift in cover artwork as Voitax departs from the utilitarian, hand-stamped labels of the first releases - German photographer Nina Roders, has conceptualised a series of her unique photographs for the forthcoming ten-part EP series.

With Body Shaper, SOJ subtly showed us the degree of diversity that can reach an album with a specific genre and the evolution, both personal and general, that can manifest an artist or a style. Technology advances, and therefore, music must also advance with expressly methodical sound treatments for each work, just as it allows the incorporation of other elements that until now had been absent. But this release in particular, what corroborates is the progress and the large number of expressions that can have the same author respecting their artistic margins.



Body Shaper is divided into 11 cuts and four of them are reborn with different reinterpretations by four heavyweights from the European industrial scene, such as Samuel Kerridge, Years of Denial, Crystal Geometry and Orphan Swords.



Golden Seals opens the A-side of the album with a version by Samuel Kerridge in which it emerges from the underworld and the depth in which the original track immerses you, giving more intensity to an anarchic rhythmic part and attenuating the feeling of anxiety caused by the low frequencies of the original cut.



Years of Denial close the A-side with a Bobtail remix that marks the style of this couple formed by Jerome Tcherneyan and Barkosina Hanusova. The disturbing harmonic motifs and the syncopated metric change to a more favourable terrain for this duo dominated by the power and energy of its imposing bass lines.

The B-side opens with a more forceful version of Kull, Feck, Due. In this occasion, Crystal Geometry transfers all the concentrated force in the lower part of the tonal field at a strong rhythm that imposes its kick with the marked bass, with a more noticeable presence of the vowels and also, with the increase in speed over the original SOJ track.



The album closes with a second cut on the B side remixed by Orphan Swords. Im Not You changes the original pumping groove for a more direct and psychotic version in which the movement is intensified with an exaggerated, but very successful sidechain that agitates the whole tangle of textures.