Novità e Uscite Vinili Techno - News

A project that came to life fuelled by collectors' obsession and a lifelong willingness to dive head- first into unknown musical wormholes, Miles Whittaker and Sean Canty have never been defined by a singular musical trajectory. Their opening salvo of releases dabbled with the aesthetic of the occult and provided an alternate, parallax view of the Italian Library records with which they were both obsessed at the time, but as their long running mixtape series and brilliantly curated DDS label attest, their interests extend far outside the crevices of early electronic music and into dance music, dancehall, roots, jungle, techno, industrial, noise and beyond. While 2013's Testpressing series provided an outlet for mostly club-based productions shot from the hip, Wonderland has been constructed with a narrative in mind. From the clipped Hardstyle of the opening Curzon, through the jaunty Dancehall mutations of Animal Style and FullEdge, Exotica/House refractions on Hardnoise, the frankly ridiculous, bassbin destroying Jungle ructions on Sourcer, or the extended tease of Overstaying, it's probably the most enjoyable and loose-limbed hour of music in their catalogue, or that you'll likely hear in these weird, angst-ridden times.

Hospital Productions collect some of the strongest coldwave pop dirges of a generation in Contrepoison's Discography 2010-2012 survey, wrapping up both his self-released tapes and releases for Dominick Fernow's cherished imprint.Since the late '90s, Québécois musician and noise artist Pierre Marc-Tremblay has been recognised as a vital force in nether musical realms with a palette ranging from hermetic black metal (Akitsa) to the bitterest rhythmic noise (Âmes Sanglantes), and, more recently, the nerve-bitingly melodic pop of Contrepoison, whose I Keep On Searching 12' - included here - is a dead firm fixture 'round these parts.Arriving at the vanguard of a new slew of coldwave revisionists and fetishists in 2010, his music stood, and still stands, head and shoulders above the rest thanks to an incessant drive and directness that can't be ignored by anyone into the original stuff, or who has arrived via the sound's prevailing, contemporary winds.Vacillating belting vocal pop arrangements with howling, stygian instrumentals of synth, guitar and enslaved drum machines, Discography 2010-2012 drags a perfectly malformed body of work, cycling chronologically from the pounding mix of industrial kicks and neofolk cadence of ...Until Next Morning's amazing title cut to the blank-eyed dirge of To Never, Forever, before taking in the stomping Deserted Story from his 2011 split with Vatican Shadow, and committing the frankly fucking addictive hits of I Keep On Searching, best summed up in that raging, glam title tune and sandwiched with aces from the compilation Around The Dragon's Broken Neck Hangs the Medal of Saint Lazarus.It only gets more wonderfully bombed out and crestfallen from therein, from the plangent siren call of Nectar of Destiny to the exclusive instrumental, The Moon Has Mad The Eclipse, and a grip of killers off The Thunders Which Collide tape, including the raging banger The Thunders Which Collide and another cut exclusive to this set in the T2-finale-esque instrumental, As The Blazing Sun Enters Scorpio.Basically, it's riddled with memorable hooks and rages like a wounded beast trapped down a well. You'll know within seconds whether you love it or not, and we definitely fall in the former category.
Hugely recommended.

Two long sides of doomed out distorted techno. Full improv on the machines with vocals and a shitload of attitude. Fallbeil have been making serious waves lately and we are happy they are back at NYH with some of their heaviest jams to date.

A very limited vinyl sampler here for the forthcoming CD album 'The Topics'

Following recent singles 'Clusters (Remixes)', 'Continuum' and 'Parallax' Dronelock & Ontal join forces for the collaboration's biggest release to date - 'The Topics'.

Dronelock and Ontal's joint label venture Shadow Story is a base for the dark, industrial exploration of sound that all four corners of the British/Serbian double duo employ as their modus operandi.

2013 saw a trio of EPs from Bradford residents, Dronelock (aka Martin Cartledge and Alexander Church) on the revitalised Weekend World label, which gathered support from the likes of Surgeon, Lucy (Stroboscopic Artefacts), Lakker, Inigo Kennedy, Pearson Sound, Adam Beyer, Marcel Dettmann, Detroit Grand Pubahs and many more. As one might expect, techno provides the perfect sanctuary for their production ideas to manifest: ambient, ethereal soundscapes meeting sustained clusters of tones.

Last year saw Dronelock start the label, Shadow Story, a joint venture between themselves and Serbian duo Ontal (Boris Noiz and Darko Dekode). Forming an industrial techno/rhythmic noise project, Ontal (based in Subotica, Serbia) can be described as an uncompromising, hard and intense assault.

'The Topics' is a distillation of ideas captured and expressed by the foursome through the industrial and synthesized, the organic and the abstract. The tracks are produced primarily on analogue hardware with the sole intention to perform them live. This process allows freedom to experiment with the base level interaction between sound and music. As they say it's music which is about as far away from music as you can get before it stops being music!' music as you can get before it stops being music!'

Perc Trax unleashes the first of three vinyl EPs showcasing the new tracks from the label's tenth anniversary 'Slowly Exploding' compilation, mixing up label regulars with established names making their Perc Trax debuts. Forward Strategy Group begin proceedings with the grinding broken beat rhythm of 'Dragons Tooth' before Happa opens his Perc Trax account with a percussive assault that is amongst the most aggressive tracks on these three EPs. Martyn Hare, another Perc Trax debutant, delivers the Awakenings festival slaying 'The New Normal' to kick off the B-side and US producers Mick Finesse and Pinion team up for the first time on the B2 with the industrial Amen groover that is 'Dead Boyfriend Alley'...

Dark Entries returns to the New Jersey basement studio of Smersh to unearth a 4-track selection from the 'Deep House Anthems' cassette. Smersh was the duo of Mike Mangino and Chris Shepard, who began making music together in 1978. They were uninterested in traditional notions of songwriting or live performance. Recording in a domestic setting necessitated the abandonment of live drums for rhythm machines, and the Smersh sound would gradually change with each new bit of gear they acquired. The Electro-Harmonic Rhythm 12 gave way to TR606, TB303, and SH-09. Most Monday nights, they would write a new song from scratch. A couple hours later, the song was recorded, never to be performed again. By 1988, they had already put out at least 16 different tapes on their own Atlas King imprint. They would be followed by as many more. Some of those (subsequent) tapes there were less than 10 copies that got made because nobody wanted them. They couldn't get reviewed,' says Mike Mangino. As these tapes traded their way across continents, Smersh developed a devoted following in places far beyond Piscataway, leading to releases on dozens of other labels from around the globe. Smersh's sound is a lush hybrid of techno, industrial, dance, and experimental. Most songs revolve around driving EBM style beats, intricate industrial noise manipulation and synth melodies. For 'Selected Deep House Anthems' we selected 4 tracks of pulsating acid techno, which were recorded live, direct to DAT. All songs were originally recorded and released in 1991, and this the first time all but one of these songs are appearing on vinyl.

AnD finally make their full Perc Trax debut !
Features full printed jacket
DJ feedback to follow

Berlin / Manchester noiseniks AnD finally make their full Perc Trax debut after first appearing on the label in 2014 when they served up a suitably screw-faced remix of Drax's 'Phosphene'.

Now regarded as one of the most uncompromising production outfits on the European techno scene they widen their musical vision across these four tracks without leaving behind the raw aesthetic and driving energy that has characterised their music and their live performances over the last few years.

From the kind of straight up 4/4 pounders that have made the closing slot at Electric Deluxe's Awakenings events their own, to experiments with off-kilter drums and caustic noise this EP is as good a statement of AnD's present and future as you'll hear all year.

* After already making a name for himself releasing on Jurg Haller's Forbidden Planet imprint as well as Melbourne's Butter Sessions, Dan White (real name Rory McPike) unveils his latest project: 2200.

* 2200's debut EP for Cult Trip sees Rory give us a true appreciation of the Dan White sound that has given him a reputation as one of Australia's finest. Lead by acid burner and title track, 'Killed By Deaf' 2200 comes with the goods unleashing the gem that is 'Outlaw'. On the flip, we're brought back to Rory's modernist techno roots with the introspective soundscape 'Technocracy' that acts as a prelude to the monster that is 'The Rig'.

Recorded in Melbourne, Australia. Mastered at Dubplates and Mastering Berlin.

Dubbed-out cosmic pastorals and politically exasperated techno-exotica from Blackest Ever Black's most secretive and shape-shifting project. Guest contributors include Conrad and Jonnine Standish of HTRK, Genevieve McGuckin (These Immortal Souls), and Lucas Santanna. The ghosts of Les Baxter, Rowland S. Howard and Nina Simone are also in attendance. But whoever is pulling the strings remains hidden...possibly in plain view. Structurally Wreck His Days recalls the grand collective statements of This Mortal Coil or Massive Attack, but musically its dreamlike overtures have more in common with Deux Filles, Global Communication, Arthur Russell, Penguin Cafe Orchestra, Anthony Moore, even Robert Wyatt circa Old Rottenhat/Nothing Can Stop Us. It roams far and wide: from the lambent, near-Balearic piano loops of the title track, to the Audrey Horne-worthy death-jazz of 'Ghost From The Coast', and hulking, bass-heavy soundsystem weapon 'Reverberasia'. Side Two opens with the swelling, uplifting astral psychedelia of '...And I Tried So Hard', while 'I Beat As I Sleep As I Dream' reprises the bleak existential synth drift of T.T.W.F.U.'s extraordinary 2014 10', How Great A Fame Has Departed. A deep-seated socialist impulse drives the whole thing: with a dedication to women who have fought oppression throughout history, references to the Spanish Civil War and the UK Miners' Strike, and an overarching belief in the international ideal (in fact the closing 'Rosa / Kollontai' explicitly invokes the Internationale). Written and recorded over the course of 2014-15, Wreck His Days is a plea, or perhaps a requiem, for a world that embraces difference and upholds equality. Its contemporary relevance hardly needs emphasising.

* Though Berlin is not the most ancient of cities, its streets hold sounds as old as the gods. Imagine a venue not as a concert space, a dance hall-but as a druidic circle, a pagan place where each beat forms the ritual of audio worship.

* The ritual of Gainstage is a contemporary solution to the need of most lifeforms: a connection to the natural orders, given over to the uniquely human need to sweat heavily in concrete boxes. The trance-inducing structure of their compositions allows the mind to surrender itself into an alternate version of our world, given birth by their hands and wills.

* Evoking the old spirits of the Earth using modern technology, Pierce Warnecke and Arik Hayut embody the truly terrible and awe-inspiring aspect of Gaia in their tribalistic doom-tech rhythms.

—The flesh- an arcing wash of searing electronics rhythmic and ethereal—
—covers the bone—a precision of crushed drums—and reveals the raw, moraless face of savage nature—

* The devouring and the devoured, black soil that birthed us churned with vivid red. Looming, as always, the death-spectre of the even more savage Man: metallic crashes of industry, the warning wail of sirens, the chug of steel engines grinding and pounding the landscape into waste and ash.

* On this post-necropolictic plane, the ritual fires of Gainstage still burn. This great and terrible work, this landscape of shattered Earth, is the stage where they conjure yet more shapes from goddess flesh. Bend your will to theirs, and let it too be shaped.

* Featuring a murky remix from Cut Hands; reshaping 'Obsidian Organ' in to a clattering, serpentine slice of militaristic jungle-techno. A different perspective on 'Sun Burnt Cloud' is offered by Orphan Swords, weighty and slow-burning sci-fi-laden dance music for the grimmest of futures.

* Blessed Initiative is a project by Yair Elazar Glotman, which suggests a dissonant, coexistent state of extreme highs and lows. The album attempts to articulate a mental state of simultaneity, in which equilibrium is fleeting, fragile, and its scarcity is embraced. Opposite states coincide, contrast and reflect, creating moments of uncertainty and insecurity. Absurdity and at times even bliss are possible results, in the attempt to channel anxiety into creative forces rather than debilitating ones. In an environment where personas are the sums of the images they project, sounds are also no longer evidence of invention but of ever-changing combination, curation, and editing. The final persona is a sum of the chosen and the deleted, as well as what may be projected from outside, creating a confusing and conflicted self. The sounds collected here are attempts to compose on these uncertain grounds, and to reflect the anxiety released in all these sources' meeting and interaction. As a singular project, Blessed Initiative stops to comment on the conditions that inform Glotman's composition before and after it, and to acknowledge it as a non-linear, ongoing process.

* The focus on process and uncertainty is apparent in the album's phrasing, re-articulation and cycles of repetition and deviation. The pieces were composed from sounds generated on the KYMA system, personal foley recordings as well as tape manipulations techniques. Minor sounds on major scales and micro-tonal tuning suggest an ambiguous harmonic sphere. These were then integrated within idiosyncratic rhythmic structures, at times integrating real spaces and resonating bodies as reverb and augmented echo chambers. Concrete, almost-recognizable organic sounds contrast with these abstract spaces and connect them to tactile experiences. These textures and structures are a palette that reforms and deforms as it cycles throughout the album.

* The photographic series "Relax (blue)", 2004, by the artist Josephine Pryde was chosen for the album's cover as a materialization of tension. The two images represent a closed cycle of energy and unfulfilled release.

* Yair Elazar Glotman is a classically trained musician and sound artist based in Berlin whose previous works on Subtext include the LP 'Études' and a collaboration with James Ginzburg titled Nimbes.

Spondylolisthesis' is the forward displacement of a vertebra, especially the fifth lumbar vertebra, most commonly occurring after a fracture. Backward displacement is referred to as retrolisthesis."

{Four songs in autobiographical sequence}
- Abandonded
Abandonment through Tibetan eyes
- Kataniksis
From death to life again!
- Cortisone
Cortisone who restored hope when it seemed lost.
- Endorphins
Endorphins are one of three main groups of endogenous opioids produced in the brain, with representative beta-endorphin, which has the strongest analgesic action.
Marked worldwide as the anti-stress hormones and natural analgesia and happiness..

Five metal-heavy cuts on a clean plate from the still mysterious The Hague based burrow. Comes in all-white all with psychoactive inlay tissue.

Dominick Fernow laces up his Vatican Shadow boots for the project's first set of drills since 2014 and one of its finest ever transmissions, trampling in the wake of his fierce new Prurient record Unknown Rains, for Hospital Productions.
Reflecting on a world much unchanged, even intensified since his last dispatch, Media In The Service of Terror works classic VS signatures measured with increased momentum and propulsive energy, divided into seven parts and imbued with that dramatic melodic arrangements that works beyond the club.
Stepping farther away from the 'floor, he's in scowling, contemplative form with Ziad Jarrah Studied Mathematics and at his best when working between spheres, as with the industrial reggaeton roil of Take Vows in both its versions, and particularly the pensile atmosphere of Interrogation Mosaic.
One of the best Vatican Shadow drops - bar none..

JASSS debuts on Mannequin Records for the "Death Of The Machines" series with a killer 3 track mix of ebm/industrial & wave on this heavy 12''. Perfect for the most abrasive dancefloors. Mastered by Rude 66. Tip! Mastered by Rude 66. Highly recommended!

Pattern Damage is the 2nd flash of idiosyncratic footwork and garage hybrids from South Yorkshire's Rian Treanor, landing on The Death of Rave nine months after his coiled, nerve-sparking debut 12".
The EP's four tracks take the unmistakable influence of Mark Fell's angular, academic 2-step designs into faster BPMs and colourfully chromatic, sidewinding arrangements, all driven with a
breathlessly forward, quicksilver style that's entirely Rian's own and with few comparisons in the current field.
By splicing the syncopated swing 'n parry of Sheffield's speed garage sound at +8 with the whirlwind flux of Chicago footwork, Detroit jit and the dizzying dynamics of Max/MSP software,
his sound dances in a double refraction of ideas and influence between US, Afro-Caribbean and UK dancefloors in various stages of integration and mutation, following a line along Black-rooted dance music and the sharpest edge of experimental electronics in a way that's informed the best, open-minded UK music since the '60s.
Operating exclusively at a signature 150bpm tempo, the Pattern Damage EP finds Rian both opening out and refining his sound, greeting you with the brutalist, grimy n0!se torque of Pattern_A1, which sounds closest to SND or Errorsmith's most oblique twisters, before the dub chords and skittish rhythms of Pattern_A2 recall Autechre getting off at Niche Club (R.I.P.) and Damage_B1 comes off like a giddier, footworking answer to Hyph Mngo and Damage_B2 unfolds a super cute and tricky sort of syncopated rhythm origami.

Guy Brewer returns to his Avian label with a a two-part EP, Arrangements In Monochrome - his first Shifted releases since last year's Hospital Productions album 'Under A Single Banner'.

Although not conceived as an album project, Arrangements In Monochrome's two EPs can be viewed together as a single entity - the result of Brewer's continuing exploration of textured noise excursions and muscular techno of considerable drive and heft, all the while retaining a cinematic quality within its quieter moments.

The simultaneous release of the two EPs arrives in December, bringing to a close a year that has seen Avian release the sophomore album of Swedish duo SHXCXCHCXSH and EPs from Sigha and Alessandro Cortini's Skarn alias.

"Arrangements In Monochrome was written in my new studio setup in Berlin in spring of 2014. I almost view these works as an addendum to last years 'Under A Single Banner' LP. I was very happy with that record but always felt that perhaps there was some things left unsaid. The technical process involved this time around was quite different, but it shares a lot of the same colours and textures." - Shifted

The artwork for Arrangements In Monochrome is by Jesse Draxler

Sequenced, Processed and Mixed By Shifted, Berlin, 2014 - Mastered By Matt Colton at Alchemy, London

Back to basics with two heavy rhythm edits/tools. A-side features label boss Paul du Lac's edit of T.O.Y.'s 'Drum Electronic Sound', a dark and menacing mid-eighties instrumental italo/electro track (original version was recently released on Bordello a Parigi), B-side features a simple yet highly effective and relentess minimal drum cut by herr Mick Wills... no need to say more... Vinyl only.

Cititrax present the second in a series of four song samplers showcasing the talents of some of the most innovative producers of the moment. Cititrax: Tracks Volume Two features the fearless and ultra-talented Chinese producer Tzusing, the raw avant-garde electronics of London based producer L/F/D/M, creative West Coast powerhouse Silent Servant, and prolific underground French producer Maelstrom. The overall sound can be described as modern, uncompromising and guttural. Each artist reinvents dance music by bringing their own unique vision to the floor.