Techno Vinyl New Releases - News

Superb LP, Hands back vinyl means a lot... And is not a big surprise. This Ontal release is a pure industrial noise exploration and repetitive beats. Winterkalte, the label manager knows about that like nobodyelse... and producing this even more powerfull dancefloor noisy techno is a great good idea ! Also check the Visual:) great and industrial !

LTD 200 copies!
"Devianza" is a new way of conceiving electronic music, a sort of 'sonic socialism' which involves the sharing of music projects developed by Blackwater Label. I Droni A Torvajianica" is a melodic techno track with hints of acid. It was written and designed in a summer day at Torvajanica Seaside between two lovers who shared passion for Drone music. The funny title sounds like the guys were imagine drones in this place and tell each other: 'Ehi look at that drone passing! Cool Ah!'. "La Torre Del Greco" is the continuation of both technical and emotional of the first track. This was written and designed in honor of a destination, a physical place called Torre Del Greco near Naples. But it is also a reminder of something far away in time, nostalgic and old, as well as the piece in its sound expression. Mio Nonno Era Un Cavallo" is the piece that closes the EP in a transversal way. A chasm sound rich and vibrant with a deliberately enclosed in a bubble, feeling appeal to the use of ketamine to which we refer. The pun in fact refers to the use thereof as an anesthetic for horses and more widely used as a drug.

upcoming vinyl release by wosto november 2017
industrial techno, dark synth-pop and crazy vocal style.
wosto generated a 6 tracks mini album with his toy machine instrument park,freaky trumpet and critical vocals about the meat industry from himself.
180 pcs. vinyl with limited handmade tar optics style cover
keep it zwiebelmett

***
serpentine butterflies
trickle to his chin
ceaseless punches
fall like moribund rain
cracked bones clang
like splintered glass
again and again
***

Novo Line reprises the meter-messing genius of his Movements album with the Dyad mini LP - a brilliantly uncompromising follow-up for Ecstatic. Exclusively using the tools of '88/'89 professional recording set-ups - namely the Atari ST, but with a slight algorithmic alteration.
While it's increasingly hard to find new tricks in old gear, especially with the resurgence of hardware fetishism and the ubiquity of DAWs, that's exactly what Nat Fowler has been doing for the best part of a decade as Novo Line. By, in his own words, 'misusing one algorithmic composition program (not, by a longshot, a professional music production tool of any epoch) contained in 208kb of data on a 3.5' floppy disk',
He generates and explores new permutations of old music which, ironically enough, sound fresher or at least more innovative than a lot of new music in circulation right now.
Inputting ever-changing parameters of melody, and 29 year old algorithms, the machine's voice is live-mixed and presented un-rendered as maxed-out waveforms via 1MB RAM, resulting in a severely compressed and combusting effect that leave mastering and sound engineers the world over scratching their heads in puzzlement. However, the effect is equally enthralling to anyone whose ears have become overly accustomed to contemporary emulations of 'space' in electronic music, and genuinely sound unique in relief of the contemporary field.
The release poses a playful question: can a record be ambivalent as to which speed it should be played
Celebrating vinyl and futhermore physical media, the listener is encouraged to find their exact speed of preference with the RPM toggle and pitch slider, that nearly forgotten joy in modifying speed in real time without a CPU mediating between the listener and sound; some tracks stumble heavily at 33rpm like boulders in the tumble dry, while others flash by at 45. In the taut, recoiling thud of Monad, thru the frenetic pop edit of Ennead to the 'floor-curdling prong of Dyad Marcia on the front, to the forceful New Beat mutation Tetrad, and the mind bending Melpomenean Dyad which closes the LP, its some heavily challenging but deeply satisfying gear that seriously yet playfully messes with convention.
Essentially Novo Line is revelling in the pure spirit of computer music and the sonification of dance music as we know it - born in the '88/'89 phenomenon of techno-house music, including its Industrial/EBM precedents, and its New Beat/Euro House offshoots. And like John McCusker's delectable artwork of a beige room and monitors interwoven with tubular, computer generated follies, Novo Line provides a captivating perspective that shortcircuits nostalgia's illness to result in a killer vaccine against/for convention.

»decadent yet depraved«, the debut album by belief defect, finds shelter and complicity in raster as home and label.
familiar with the underground music scene and how its skeptical nature can also be an obstacle to overcome, belief defect abandon any claim or credit in an attempt to transcend the limits authorship imposes, avoid the boundaries or expectations earned or self imposed and find the clearest, most direct path to their music for themselves and the listener.
at the core of the album is the music that inspired them, the conclusion of countless recordings listened to in their formative years that ultimately result in a life-long devotion to electronic music: from dance floor to primal anger and self-annihilating noise, to transcendental, ambient escapism and intense self-reflexive sonic layering.
the result is a soundtrack for this apocalyptic time, an uncompromising reflection on the state of mankind and its uncertain future - underscored by a sense of religious and secular demise referenced in track titles, samples, and soundscapes scattered throughout the album.
yet, more than a political statement »decadent yet depraved« is an introspective journey, turning each listener into a spiritual soul-seeker staring into the abyss, reaching for some kind of cathartic truthfulness.

Abrasive EBM led Acid Techno jams, insanely hard to get. Original cassette came out in 1990 in a limited edition of 200 copies.

All rhythms, synths, vocals, effect, tape and radio manipulations by RB. Recorded live at home April/May 1990. No mixing or editing afterwards, no samples, no stereo, no dolby.

"Play this analog dancecore very loud!!!!"

Sam Kerridge launches a major rethink of his style with the high-velocity tempos and razor-toothed bite of The Silence Between Us.
Toiling somewhere between Ueno Masaaki's Vortices for Raster-Noton, the pitching pelt of La Peste for Hangars Liquides, and the machine convulsions of Somatic Responses, he goes balls-to-the-wall with the breakneck momentum of Possession/Control, harnessing reverse-edited kicks, helter-skelter EBM bass and spectrographic noise ghouls in a surge of searing rave energy.
Flipside, those knotty, strobing pulses keen thru empty stomach inversions and bursts of tangled EBM synths on Ascension, which is effectively a snappier edit of the A-side, whilst Radical Possibilities of Pleasure sounds like a field recording from a french hardtek invaded by dildo dibble in choppers and riot gear railing lasers against any unlucky dancers.

Redeemer is the brutally seductive debut album by Phase Fatale, a key player in the recent charge of EBM and post punk-informed industrial techno infecting 'floors from his home city, NYC to his DJ residency at Berghain, Berlin. In Dominick Fernow's Hospital Productions, Phase Fatale finds a fitting home for his personalised brand of clinical, rictus rhythm programming and searing synth and guitar lines, adding a vital streak of black and blue electric energy to the legendary label in its 20th year of cultish operation.
In seven parts (and a trio of extended Silent Servant mixes due to come), Redeemer follows the direct, jagged lines of his 12's for Jealous God and Unterton to a deeply personal realisation of weaponised sonics, upholding a strong tradition of techno as a prophetic exercise or ritual to gird dancers and listeners for the onset of future war. It presents Phase Fatale as an ultimate emissary of electronic violence and domination in the process, steeling the limbic system and muscle memory thru a fine-tuned disciplinarian approach to pharmacokinetics and biomechanics.
Picking from the leather-bound cadaver of industrial dance music past, Phase Fatale reanimates his influences with pointillist precision and unapologetic force. Alloying muscular bass and metallic percussion with wire-combed 16th note synthlines and a barbed perimeter of guitar distortion, his sound can be heard as a metaphorical representation of holding your line against the attrition of a degenerated present.
Each track dances concisely around the 5 minute mark, unfolding a series of densely packed and subtly rendered minimalist/maximalist structures. The shuddering tension of Spoken Ashes opens with banks of rotted chorales against a coalface of hacking stabs, establishing a pent vibe that vacillates precariously thru the adrenalised battery of Operate Within, to the clenched funk of Human Shield and the bombed-out,
Alberich-alike Interference, seeming to resolve slightly with the supple roll of Order of Severity, before Beast bottoms out into immolating synth distortion, and Redeemer brings up the rear with a coolly-tempered, stoic form of industrial ecstasy.

Abstract Reality presents you an album by French artist Leonard Lampion. It gathers a one hour selection of cuts that explores several different musical landscapes. Harsh industrial tracks share the tape alongside dark drone ambient, tribal sounds and downtempo emo feelings. Side A is the more dancefloor oriented side, while side B explores more experimental paths.

Greek label and promoters Trial & Error present their first ever vinyl release Hollow Systems' by Bonebrokk - packed with a Jay Glass Dub version. A deeply personal record that's refuses to lay low, it's both tense and intimate with a driving percussive energy and empathetic hooks. Whilst the contemporary UK techno influence is easily defined, its real strength lies in its raw honesty.

With an insane first track of bassline techno with a singer in a very Gothic spirit. Big one ! Then after comes the tribe Berlin Invasion state of mind ! B side opens with a loud techno tune, dancefloor killer in a positive cheezy form, a bit in a Ixindamix style... Last track is an acid mental techno tune. A masterpiece from those Italians triberz removing to berlin... and invading the city !

Regis compiles a killer Downwards label survey for 2017 featuring excluisve new material from DVA Damas, Autumns, Grebenstein, Sefried and Layne, veering from dank EBM to collapsing industrial structures.

Downwards send their new vanguard on road with The Immortal Eye; the mood is intensely depressive and pessimistic throughout, but, in the classic sense of gothic industrial music, the impeccably maintained atmosphere conversely acts as comfort or redemption to those need it.

Berlin's Jan Grebenstein remerges with Seefried on the tunnelling Wufferfraction only months after their excellent Strong Proud Stupid and Superior 12'. Imagine an anxious HTRK or ToC have just run out of downers and the technoid tension becomes palpable... before, the uncomfortably stark, empty-stomach concrète churn of Layne's Love will put you back face down again.

Autumns have flirted with Clan Destine and CF Records since their Downwards debut of eviscerated shoegaze in 2014, but they enter the B-side with a markedly different silhouette, framing spectral electronics and unheimlich voices in acres of negative, miasmic space before slipping into a pulsing techno trajectory, whilst LA's DVA Damas clear up with the erotic asphyxiation of Shortcut To X, which is effectively a crushing reduction of by now familiar sound...

Parrish Smith has quietly been making a name for himself over these last years with releases on Knekelhuis and Contort Yourself as well as with his projects Volition Immanent and Sige Bythos. We see him appear on L.I.E.S. in a strong fashion through four varied dense tracks. From slowbeat EBM to Belgium klang to classic Den Hague crushers this ep forges its own path taking these cues and putting Smith's unqiue spin on them. Heavy yet still possessing groove and hypnotic rhythm, damage will ensue if used correctly. Fresh stuff from this up and coming talent.

Social Decay expands on their intense approach to techno with nods to noise, industrial and drum & bass. The Manchester duo's second LP-a triple vinyl package-follows 2014's Cosmic Microwave Background, which also came out on Speedy J's label.

Although there are hundreds of newer electronic music acts who wield heaviness and saturated sound as their primary weapons, AnD keeps finding bold new ways to separate themselves from the rank and file. The production duo of Andrew and Dimitri - conduits for the industrial music legacy of Manchester - excels at showing that aesthetic extremity does not have to equal monotony, and that it can be applied to any number of song forms.

Their new Electric Deluxe LP, Social Decay, is simultaneously one of their most overwhelming and most innovative efforts. This visceral new release comes from the same hazardous, blasted terrain that informs the work of kindred spirits like Kerridge, Oake, and Justin Broadrick's many projects (Broadrick has incidentally remixed material from AnD's previous LP). However, there is lots of room to maneuver within this landscape of constant tension, and AnD brings a diversity and story arc to their overloaded attack that distinguishes them from their peers.

Whereas AnD's previous LP Cosmic Microwave Background utilized the duo's intensity to pay homage to the enormity of the universe and the incomprehensibly violent processes involved in its creation, Social Decay takes things back to earth and right down to a 'street view' more gritty and contentious than what Google Maps often reveals. While AnD could have easily made a topical album in the way that classic hiphop considered itself an alternative news source, they sidestep obviously current affairs in favor of broad concepts that could be applied to any point on the timeline of human struggle.

Beginning with a feedback-drenched, shuddering premonition of things to come ('The First Element'), each successive side of the album presents a new level of intensity, itself brought about by increasing levels of tempo and compositional coherence. The first suite of tracks, including 'Corrupted Structures' and 'Anarchic Rhapsody,' is pure industrial music comprised of multi-layered noise collage, venomous and halfcomprehensible whisperings, and rhythm structures that compel listeners to maintain an obedient posture rather than to ecstatically hit the dancefloor. Without completely abandoning this atmosphere, the next four or five tracks flirt more heavily with hip-hop inflected beats and an unmistakable sense of hyper-urban vigilance. Window-rattling tracks such as 'Pandemonium' come across like urban audio camouflage meant to defend its users against surveillance by shadowy and invasive entities, while 'Screaming Voices' adds infectious EBM sequences to the mix.

Just as it seems like the duo is settling in to a groove, the mutant drum-and-bass rhythm and cinematic bombast of 'Resisting Authority' strikes with explosive high-tempo energy. As carefully planned out as a well-choreographed, climactic sequence from a Hong Kong action thriller, this is one place where AnD's dedication to narrative really shines through. 'Taking Control' and 'Kepler' provide the effective aftershocks to this number, while 'Disturbed Reality' closes out the album in an unexpected sense. While many would rely on a reflective, ambient 'outro' to help fade listeners back into reality, AnD just keep continuing to deliver the crunching beats and looped warning cries, maybe hinting at the fact that reality is not far removed at all from this record's representation of it.

Inaugurating the New Magnus Opus series of limited edition vinyl EP's on Khemia Records are two dynamic producers at the vanguard of the future techno I Hate Models and Vittorio Di Mango.

* On the Solar Side I Hate Models delivers 'Cyanure Dance' an epic voyage of full emotional intensity with an insistent acid bass line, psychedelic punk wave distortion, stratospheric arpeggios and ethereal vocals courtesy of the artist himself.

* On the Lunar Side Vittorio Di Mango present 'Epilessia' aimed straight to the jugular, a peak-time dance-floor destroyer constructed with machine gun precision over crystalline snares and opiated vocal reverberations.

* Between them they form the Nigredo Edition.

Renegade ravers, Koehler and StabUdown Productions - a new alias of James Donadio (Prostitutes) - get loose and chaotic in a deadly stand-off for Diagonal, firing four barrels of belligerent electronic shrapnel and sawn-off techno following a slew of crushing solo 12"s spread around the wrongest rave houses over the last five years.
On Jim v Dan they offer a sort of snarky peer review of each other's tackle, with each producer offering an original cut to be sniffed, prodded and mauled by the other in an itchy, virulent process of rugged refinement. While it may be hard to tell who takes the points after four rounds, either way the rave comes out on top.
In round 1, Koehler makes the first move with Incoming Enemy, doling out a rictus tattoo of rail-gunning 'ardcore breaks and bleeps that bite down with the curled-lip attitude you'd expect from indulging any of his ramrods on Berceuse Heroique and Skudge White. In response, StabUdown's Jim Donadio gives back a sort of 2-stepped industrial shoulder barger nagged with gnashing breaks and dub-churned bass from the Valve playbook.
For round 2, Jimlad takes the first slap with a mighty twist of dancehall techno recalling the sick mutations of Demdike Stare's Wonderland LP, harnessing hardbody groove with sticky, stinging
electronics for one of the deadliest shots in his armoury, which Koehler duly hypnotises with a sort of drunken snakestyle inversion, diffusing its reticulated energy into a spaced-out reel of
bleeps and Uchronic AI techno - think B12 meets Orphan Drift.
Mad tings. Recommended to all mutant ravers!

Vanta Series is the new series for Killekill's dancefloor music. The releases come in series, every series comes with a theme and one artwork which is being split in several parts to go with each release. The first series is called "THE END IS NEAR" and features four records. It comes with an artwork by French visual artist Elzo Durt.
The second record is coming from KAMIKAZE SPACE PROGRAMME, who delivers three types of tracks:
Type 1 - a nervous piece of bells, percussion and bass Type 2 - a minimalistic techno night drive Type 3 - a spacious futuristic soundscape
Type 3 comes with a remix by JoeFarr, who added some drama to the original and therewith created a proper hit for the darker hours.

The result of a febrile fantasy cooked up after 2015's Moss Side Carnival, Prosthetics is the grim af first release nested by Croww, a bold new outlier from the edgelands of south Manchester.
Croww's debut for The Death of Rave features a pack of obscure, pre-Roadrunner Slipknot samples which have been painstakingly gerned beyond recognition, concatenated and uchronically folded into a fxcked-up session owing heavily to grindcore and '90s D&B and flashcore as much as modern, vantablack stripes of club music or rap instrumentals. It sounds like nothing out there right now, and, 20 years since Slipknot's emergence, can be heard as an unimaginably distant echo of what became a proper subcultural phenomena.
Harnessing detailed, flash-it blast beats and psychoacoustic shockwaves punctuated by samples from Iowa public access TV and visceral wretches nodding to Slipknot's dead crow-sniffing rituals, the uniquely brittle but mercurial Prosthetics (MechaMIx) and its four constituent digital Prosthetic parts, form a sort of stubborn study on the stifling nature of nostalgia.
Through a stoic process of parsing his sincere, formative obsession with Slipknot along with contemporaneous samples and other extreme forms of music which never entered the band's original equation, and then scrying the whole thing thru a hypermodern, street or bedroom level prism, Croww soberly inverts their source codes to extract a mutable expression of individuality from collective delirium in an era saturated by mimetic, populist clones trapped in an ever decreasing feedback noose of influence and reference.
It blurs distinctions between mixtape, imagined soundtrack and demonstrative showreel with an unflinching guile deliberately blinkered to melodic or percussive convention owing as much to the weightless inference of Total Freedom as the disciplined, shattering rage of Black Mecha, or the devilish metrics of La Peste's flashcore hyperstructures.
It's club music if you want it to be, or a portal for total, detached immersion and transcendence,
if that's your thing. Either way, it's a brutally uncompromising and compelling expression of cybernetic body horror and private ecstasy, nailing unique ground in the shifting sands of modern culture's temporal flux - ultimately as a record which could only really emerge in 2017.