Techno Vinyl New Releases - News

'And when he had opened the fourth seal, I heard the voice of the fourth beast say, Come and see. And I looked, and behold a pale horse: and his name that sat on him was Death, and Hell followed with him. And power was given unto them over the fourth part of the earth, to kill with sword, and with hunger, and with death, and with the beasts of the earth.' (Revelation 6:7-8)

For the 4th reference , aka Vincent Drvg Cvltvre Koreman gives us an EP with three issues dark acid narcotic. Apocalyptic music that will transport you to the end of the world . Soundtrack industrial version of Mad Max . Sounds no tomorrow. Electro highly explosive bazooka that will not leave puppet head . ! In short ... I sound mortar explode in your mind and not your mouth.

* Little Hill Records, based in Rome, presents his first very limited Various Artists; composed by a double LP released on 100 signed copies; a mixture of club tracks with experimental stuff: from Ambient to Dub passing through Acid, Hypnotic Techno and hard groove.
Featured: Lorentz, Vincenzo Pizzi, Luciano Lamanna, Beat Movement, Mutecell, T-Kode, Manuel Di Martino, David Meiser, Nemrac, Code 701.

* Litte Hill is a Rome-based music label with it's sound rooted in electronic music with techno and dub influences.

- Second album from sisters Tanya and Nadine Byrne's Ectoplasm Girls after a 5 year wait - An incredible mesh of pulsing techno, esoteric electronics and alt-pop - Edition of 300 copies


Finally, Ectoplasm Girls' long awaited second album is here.
Five years have elapsed since their surreally compelling TxN LP for iDEAL, in which time they've not so much as refined, but followed the same, winding paths to equally murky conclusions in New Feeling Come.
The Stockholm-based duo of Tanya and Nadine Byrne, a.k.a. Ectoplasm Girls, sound like the progeny of some ancient, mythological creature as opposed to anything of this earthly realm. Their music distills traces of post-techno, doom metal and esoteric electronic pop into a skin-crawling residue that strongly resonates with their name.
As with the aforementioned TxN - a unique highlight of the 2011 schedule - their follow-up spells out a mostly wordless grimoir of slow, writhing rhythms, bittersweet tones and phosphorescent texture incomparable with almost anyone else we can recall, bar maybe Coil or the that ghost band who soundtracked your dreams last night.
Perhaps more so than on TxN, in this instance they feel more faded, detached from the listener, drifting thru 15 stages of séance-like ambience with an incorporeal presence belied only by their clammy sleight of hand and vaporous traces of breathing.
It's all dark as you like, but crucially with a sense of ambiguity that allows for interpretation depending your mood and ability to discern between poltergeist like trembles and the spirits of two possessed, possibly playful, Swedish girls. Either way it's wicked and well worth the wait.

The gifted producer behind Mønic and Kryptic Minds returns to Downwards under his own name with a crushingly physical testament to his knowledge of soundsystem dynamics and how to sustain knife-edge atmospheric tension.
The Lust Product EP offers four tracks of stare-down halfstep techno and grubby rolige that's patently a product of so many years manning a DJ booth and dancefloor. Lessons learned from the hard edge of D&B and how to properly make the speakers shake are at the core of each cut, ruggedly manifest in the cement mixer churn and deathly groan of System Living, and tightly laced to the Fishermen-esque, slow techno-meets D&B-on-33 grind in Silver Sun - a fearsome addition to our 113bpm techno folder.
But when he steps aside from the 'floor into more esoteric, dramatic headspaces and themes, he really proves himself a master of cinematic tension, recalling the most funereal rituals of Cut Hands in Lust Product's stygian trudge and sweeping low register string arrangement, or breaching the quasi-speed doom dub zones of Raime in External Laws.
Killer twelve.

Blackmass Plastics is constantly evolving. Mutating sound. Whether destroying dancefloors with hybrid monsters or making two-step(s) ahead of the game bass music that still sounds fresh after more than a decade, Blackmass Plastics defies convention. A producer and DJ long associated with Ugly Funk, this marks his first vinyl release for the label and organisation for which he is an integral component. This doublepack contains a range of shapes and guises, veering towards the kind of open-minded 'no skool' techno dancefloors that Ugly Funk have become well known for in their 18 years of putting on parties.

'Under the Radar' includes the much sought after Newton's Cradle. (released briefly digitally then swiftly deleted. UFU HQ have been inundated with requests to release this track on vinyl ever since). A fat analogue and dysfunctional rave stomp, described by both Jerome Hill and Truss as a 'KILLER' and reviewed in The Wire magazine - "Newton's Cradle.. a whole junkyard worth of clutter crudely popping and locking, everything shaking as if in a Roobarb and Custard cartoon".

This release also throws some light on his industrious studio experiments from the last few years. Twitchpitch and Lololp are among the first of the new mutant experiments to escape the Lab - on promo and derailing dancefloors everywhere DJs play them. Arresting, not easy to describe, these trax are precisely identified; infectious twisted brainworm loops brought alive by DIY noise box processing. Where Grime and Punk seem to meet at speed. Head on.

Also included is the brilliantly named HR Giger Counter - a stripped down UK Bass rattler for the Nuclear Waste generation, totally unique, you haven't heard anything like this before; whilst Doomatron and Harmonic Minor Chasm both give a knowing nod to The Mover and PCP, touching base with the place where, for Blackmass Plastics, it all began...

As Blackmass Plastics and under other aliases he has released records for Deadsilence / Rag N Bone / Don't / Victim / Coin Operated / SMB / Yellow Machines / Audio Illusion and his own Thorn Industries imprint.

'Under the Radar' tracks have received airplay on Rinse FM, Kool FM, Sub FM

Support from Truss, Jerome Hill, Warlock, Esther Ofei, Dexorcist, NoYeahNo and others

Eschewing the routine trappings of "tunes" and "melodies" in favour of drone and a strong cinematic sensibility, Jazzfinger bring to you their own unique brand of visual and aural exorcism. They start noisily. They incessantly build layers of white noise onto of layers of unwieldy dissonance. They recreate an auditory Armageddon with amps. They end noisily. They also unleashed 600 live crickets onto the audience at a gig once.

They have dozens and dozens of LPs, tapes, CDRs and lathe cuts out on a multitude of DIY labels, and they've finally released a 100-only double-A side - Beachy Head / Moroccan Car Park (D. Harwood remix) on the Distraction label. Ladies and gentlemen: Jazzfinger.

Recorded by Hasan Gaylani and Ben Jones.

'Beachy Head' remixed by D. Harwood.

Artwork by Thee Ruiner.

Packaging screenprinted and assembled by Tyrant, Design and Print.

Fabric Safety Apparatus Vol. 1 is the rst in a new series of club-oriented selections presented by Parachute. Featuring exclusive music from the likes of Italian industrialist Ayarcana, label co-founders Avatism and Clockwork, Meze, Metrist, M_REC boss Max_M, South London Ordnance and rong Assessment, it is due to be released this summer. Fabric Safety Apparatus Vol. 1 comes in a 2x12' package designed by Kero.

Berlin Atonal Recordings is happy to announce two forthcoming releases, both featuring live cuts from two of the most talked about performances at the 2015 edition of the festival.

Peder Mannerfelt supplies four jams fashioned out of his own exceptional live show at the festival. Raw, unsoftened, brutely analog sound from an EMS Synthi AKS punctures space in an oddly futuristic rhythmic experiment, gesturing at a brand new way of thinking about electronic music.

The cuts are also packaged in a special 12" featuring artwork based on his own breathtaking live audio- visual show.

"Abjura Detesta" its a 2 tracks EP which comes along with remixes from the Canadian duo Orphx and label owner P.E.A.R.L.

'Repetition Reinforcement' is a chilling reminder of Consumer Electronics' brute, incisive force and reaffirms their unique position in today's extreme electronic music.The long-running alias of former Whitehouse agitator, Philip Best, and now featuring vocals and music by Sarah Froelich & n0!se pioneer Russell Haswell, Consumer Electronics hold steadfast to an unflinching observation of, and reflection on, contemporary British culture, recently exemplified in the coarse noise techno rants of 'Estuary English' (Dirter Promotions, 2014). On both these new songs, though, Best's lyrics and delivery distil his bracing vitriol to nerveshredding degrees, trading the explicit rage of 'Estuary English' for hushed, under-the-skin implication, aided by Sarah Froelich's deadpan vocal and Haswell's streamlined, but ever visceral, frequency fxxkery. 'Murder The Masters' cuts right to the bone, (w)rapping a disaffected tirade in deeply unsettling, over-the-shoulder tones, skeletal techno kicks and clammy atmospheres. You can practically smell Best's breath on your neck.'Alien Existence' follows suit, swapping volume for skin-crawling intimacy. Here he shares vocals with Froelich in a probing dialectic of sexual politics smeared against sagging kicks and looking glass synth discord.Put simply, few other c*nts have the balls to broach this topic: best left to Best and co..

Imagine you are being invited to the studio of a visionary, and get to discover some brand new futuristic experiments along with tracks made 25 years ago that sound as if they've been made yesterday. Well that's what the careful listener who plunges himself in the album from start to finish should feel like. It is not very common to display a tracklisting that ranges through three decades, and call it an album. However, all of the music here is unpublished, exclusive, unreleased... It is also extremely rare to encounter artists that have never taken a break from studio creation, and this unbroken continuum is probably the reason why there is no relevance to any chronological classification of his work. The intent in the beginning, was to focus on the more recent, experimental side of In Aeternam Vale's work, and to look at his work through an angle that would be complementary to some recent techno releases on Jealous God or 80's gems on Minimal Wave. Only, a few visits to his studio in Lyon were decisive. Imagine seeing the history of 30 years of electronic music flash through your ears, just in a few hours. 'IAV' has been exploring new grounds and sometimes even pioneering new styles and subgenres several times, with literally hundreds of tracks to listen to. Words are not enough to describe this record's digger absolute dream : the discovery of a secret parallel universe where so much music has been created and kept under the radar. Playing live, IAV is quite notorious for hoisting his modular cases above his head in fiery resonant solos, as if an electric guitar. Rumor has it, a few live performances have gone absolutely wild lately. Laurent has lost nothing of the raw punk energy of his youth.

Phosphor(e) is mainly Acid based. Phosphor(e) contains more than sixty different standard types and his variant as many as in music styles. Phosphor(e) parallel between molecule and music can be draw. Phosphor(e), is a substance that exhibits the phenomenon of luminescence. Phosphor(e) must be played in dark. Sometimes it glows

Only 1x per customer
North American noise techno juggernaut, Ren Schofield, a.k.a. Container, hits Diagonal with full force on a blistering label debut that finds him in excellent company amongst like-minded freaks and dancefloor demolishers.
Delivered with a loony, snaggle-toothed grin, DIAG030 extracts five fanged and venomous 'floor tools that make few concession to notions of 'progress' or 'refinement' in his process: each bite is as downright nasty and feral as anything in a catalogue that spans Spectrum Spools, Morphine and Liberation Technologies
No bones about it, this is dance music for noisy minds and feral bodies, a gnashing and virulent session that gets under the skin and up your nose with the inorganic, metallic tang and skidding patterns of Vegetation before thwacking about with gleeful abandon to the gush curdled acid tones and salty, spattered drum machines of Soak.
Funnel is the EP's strangest, canniest creation - stepping with a militant wonk that sounds like nothing out there; Radiator consolidates suspension-testing electro with lacquer-bubbling noise; and Insulation wrests grimacing gremlinz from a battered array of non-standard, possibly-illegal hardware.
This is one for the gurners. You know the feeling — and Container nails it.

PAN return with their first vinyl release in almost a year, racking up excellent Beatrice Dillon and N1L remixes of Helm's Olympic Mess for the dancefloor.
Beatrice Dillon follows a killer run of appearances over the last twelve months with one of her most straightforward but engrossing productions to date, turning Helm's source elements into a rolling and stepping House play coiled with limber grooves and measured dancefloor pace.
Fresh off his debut for Lee Gamble's UIQ label, N1L hacks into the ambient environment of Olympic Mess to wrest a spacious but physically tense and lushly chaotic reflection o the same London stomping grounds which influenced Helm's piece in the first place. The template here is open-ended yet highly, incomparably distinctive, like hearing some hyper new cyborganism of bony drums, scaly electronic flesh and abstract, noisy guts coming into shape, yet never quite resolved.

'A scorched-earth take on Wax Trax-style electro-industrial that nonetheless point out to influences as diverse as Depeche Mode's Construction Time Again and Whitehouse's Birdseed. ' FACT

The year 2015 saw hardcore inspired EBM outfit, Youth Code, step into line with what most would consider is their well-earned stake in the current world of industrial music. Spending most of that time touring selectively on their own in Europe and then sweeping through North America with the legendary Skinny Puppy, Youth Code pulled together their newest songs, hunkering down with producer Rhys Fulber (Front Line Assembly / Fear Factory), and intertwined the ideas that would become their second full length album, Commitment to Complications.
Born in 2012 out of a Los Angeles bedroom, Youth Code was the instinctive creation of musicians Sara Taylor and Ryan George. The band made their spontaneous live debut at LA-based record store Vacation Vinyl's employee showcase. Word of the incendiary live performance quickly spread and was followed by release of the well-circulated, coveted, Demonstrational Cassette, which saw the band hone their semi-improvised initial set into something altogether more muscular, resonant and lean.
Soon after, Youth Code was invited to release a limited edition single with the legendary Genesis P-Orridge's label, Angry Love Productions. The single quickly sold out and saw the band receive praise from industrial heavyweights including Skinny Puppy and Front Line Assembly. Shortly after the single's release, the band signed with label Dais Records to release their 2013 self-titled full length album, which solidified the band's widespread critical praise from outlets as far ranging as Pitchfork, Fact Magazine and MetalSucks. In 2014, Dais saw through the release of their much anticipated EP, A Place to Stand, which featured remixes by Silent Servant, Clipping, God Module and Sanford Parker.
Since then, Youth Code brought their brand of Industrial to audiences all over the US on supporting gigs with AFI, Nothing, The Body, Suicide Commando and the now infamous Eye vs. Spy Tour with industrial legends Skinny Puppy, Front Line Assembly and Haujobb.
Commitment to Complications reflects Youth Code's time spent with various electronic alumni and scales up the aggressive notch left behind in their previous releases. Youth Code's introduction of the album starts on a reflective note but quickly changes gears into hyper drive BPM pacing with rhythmic complexity driven in with the track Transitions that can only be referenced as maniacal. Songs like Doghead and Shift of Dismay show the band as a frontrunner of definitive industrial anthems and critical songwriting skill. Another harbinger of Youth Code's dire shift into more strident terrain would be evident in the inclusion of Ben Falgoust (Goatwhore) and Todd Jones (Nails) as guest performers. The band's cohesive collaboration with producer Rhys Fulber is in full display, driving the band's aural trajectory into consuming and contentious industrial electronics.

After the great debut of some month ago, Spectral Rebel is ready to return with another massive release, this time signed by a further coming up artist in the techno scene: Manuel Di Martino. Known for his leaning for an old school rugged way of interpret productions and sets, Manuel shows us his acidest side in a one-sided 12inch vinyl, accompanied by the new young revelation of our times, the composer, arranger and pianist Raffaele Attanasio, making this second release, an absolute masterpiece.
'Raw Intentions' isn't only the release title, but the perfect concise description of the entire incision. The original one starts with a simply running nocturnal rhythm hard and chary at the same time but, after a while, give off, almost as a surprise, its real soul, an incessant flooding river of acid stabs, angry bites which rain in a fluctuating progress inducing any individual on the dance floor to deal with an huge sharp wall of sound waves. Raffaele Attanasio put his sign on with an unique and nonpareil version, combining both his distinctive mark of piano artist and his 'raw' soul represented by his alias X501. Almost heard several times in his live sets, this work is recognizable for the mathematically combination of overdrived harsh kicks crossed by acid stabs, all broked suddenly by a melodically solo piano touch which puts you in a short deep dream. Finally 'V3' closes the EP as a digital bonus original track that confirms the acid taste of the release with an hammering pulsing drum kit worthy of the oldest techno tunes.

The second release on Hail Blk, with deeper grittier atmospheres from new artist Llimbs. The four tracks presented here pace steadily with heavy beats immersed in dark industrial noise echoes and repetitive oscillating sounds with moments of brooding introspection.

Although the artist has spent 2015 honing the discographies of his other projects, Ravers' comes after a silent year for the D. Carbone moniker which in turn gives it all the more impact. The Class of '87' DJ and producer's first mini-album is dedicated to everyone interested in the ecstatic sounds of 90's rave culture.

On Ravers', D. Carbone distances himself from the functional perception that techno indicates a fairly narrow tempo range. Instead, he approaches it more freely by returning to earlier formulations. The speed is higher than on the artist's previous releases, varying from 137 to 160 BPM. So though the entire range here is faster than most current techno-tendencies, the scope is also wide. It is about pushing the envelope and rejecting limitations. The notion of rushing is central to Carbone who describes ideal techno as body music' - a powerfully energetic mantra-resembling medium for dancers to loose control to. Letting go of restraints is reflected in the tracks that have been jammed out free of structural rigidness. Meanwhile, sound-wise Ravers' is classic D. Carbone: Noisy and acidic industrial techno where every single sound in the mix is subject to heavy distortion.

At a tempo of 137 BPM, opener Jerk' is most in line with the artist's past releases using a 4/4 kick pattern, ravey hihats, 808 claps, 101 bass line, pulse synth as well as string pads that recall early Warp Records anthems. On following cut Orius', the tempo is jacked up to 152 BPM and the mini-album properly begins to unravel as a distinct entity for Carbone. Here, a bug-like acid line meets gabber-style kicks, metallic cymbals, intensity-heightening toms, a hoover' synth and noise pads. On Space Journey 1171' we travel through the infinite to the sound of a beeping space shuttle, trancey synths, grainy beats, guitar-reminiscent tremolo pads and a fast 303 acid line.
On the flipside's opener we are in the moment to the extent that we simply Mustacid'. The track evokes the early output of Den Haag's Bunker Records with gabber kicks, persistent snare and rimshot patterns, a full-on 303 bass, and noise pads of human screams and dissonant guitars. Hereafter, the producer continues his Hard Vision' in a similarly brutal manner, adding whiplash snares to a high-energy drum pattern, several acid lines and discordant synth pads. On closer ESX', the pace is taken down a bit on what sounds like a tense Detroit techno classic played through a distortion pedal, Hardcore kicks and toms blend with reverberated claps, rattling hihats, bell pads, a subtle 303 and an organ-like synth.

Though Carbone sticks to a familiar sound-pallet, the loosely structured tracks at a higher-than-usual pace make Ravers' a refreshing record. Where his previous slower releases expressed dystopian views, Ravers' has a cathartic feel - as if we've experienced mayhem and are now optimistically dancing among the ruins.