Techno Vinyl New Releases - News

Issued now for the first time on vinyl is the complete studio album Demiurge produced by Emptyset, the collaborative art/electronics project founded by James Ginzburg & Paul Purgas. The release demonstrates this moment in the development of the project's production processes, examining non-grid based structures and the integration of sculptural feedback into the analogue signal chain. The collective body of work exhibits the precursor to their current studio work with raster-noton and highlights the project's emergence and transition into a distinct sonic grammar, reflecting upon the reappropriation of analogue media and the innate physical properties of sound. TRACK LIST:

* Blackwater Label is back with a second various artist compilation.

This time we selected a Post Balearic sound. A full spectre audio selection from abstract to drone. Let's chill out.

* We compiled for Visions VOL. II music from Key Clef proposing an emotional opening track that lead into a post techno and dark tracks such as .Subion and Fire At Work productions. The centre of the release comes with duo Fini & Lamanna,a unique guitar and synth piece representing the exact feelings of the compilation as well as sentimental tracks from Spygeist, Giuseppe Marra and Phooka. Enrico Cosimi aka Tau Ceti releases an incredible classic drone modular manipulation and analogue music from Livio Improta and Phorm to close the circle.

* Final tracks in a post Balearic Ambient mood provided by artists Valerio Moscatelli and Loris Ligonzo.

* This is the seventh Surgeon album.

* "While exploring new production techniques using old and unlikely hardware, the results were so unusual that I really had the sense that these pieces of equipment didn't actually create these sounds, rather they were in fact some kind of elaborate reception device that allowed me to tune into transmissions from Distant Galaxies. The music I could hear was actually the received transmissions of Pop Hits from those Distant Galaxies that were being played on their radio stations.
I quickly recorded all that I could before losing the transmission.

* I consulted with Dr Andrew Read, the astrophysicist with whom I recorded Guitar Treatments in 1999. He has worked on the discovery of the most distant galaxies and astronomical objects in the Universe. Together we came up with a possible list of where these musical transmissions may have come from."

It's been almost 2 years since our inaugural vinyl release, but after a long gestation period, the 2nd Reaktivate vinyl EP is finally here, and we hope the wait was worth it. We certainly feel very proud of it and are aware of what it has to live up to, after having one of the tracks from RKTV001 going as far as landing a slot in Pangaea's FabricLive 73 Mix-CD.
The idea for this release was born even before the 1st one was out on the streets. It's the story of how a bunch of music fans tried to make their dream release come true. The common goal was to put together a release that summed up what the label stands for, irregardless of commercial or dancefloor acceptance. It was a question of faith, belief, and musical passion coming together. Everyone at RKT has long been a fan of Portuguese duo from Porto, Sturqen's brand of power electronics and defiant experimentation and felt in that in their work, there was a techno sensibility worth stimulating. Label mentor A Thousand Details (Gustavo Lima, one half of Quantic Spectroscopy) is a particular fan and felt Sturqen's music inspired him to stretch his own musical muscle towards less obvious and straightforward directions, so the invite for a collab felt natural and was promptly accepted. The result was a collection of pieces that put together Sturqen's free-form twisted and burned industrial explorations, with A Thousand Details's rhythmic inclinations and desire to break free from dancefloor convention. Three pieces were carefully selected with the intention of showcasing the range of the project, but other ideas were explored and presented to someone who, from the start, seemed like the most natural fit for a remix : canadian rhythmic noise masters Orphx. This is where the dream part of the projected starting becoming a reality : to our collective delight, Orphx are fans of Sturqen's work and immediately jumped at the chance, delivering an engrossing, hypnotic and majestic remix for 'Canis'. The final piece of the dream gained form when almost by chance, RKT fan and friend, and UK industrial techno enforcer Casual Violence, got word of the project and told us he wanted to have a go at 'Kantes'. What he came up with sealed the release in ways that, as far reaching as our dreams were, we couldn't have envisioned : a scorched-earth techno slow burner that glues all other pieces together.
The music presented in this release turns out as being a perfect reflection of the ideas that were at it's the genesis and the struggle to make them true. It's not far-fetched to say that even if we had never done anything before this record, or do anything else beyond it, the whole journey was made worthwhile by seeing this come true. We can only finish by saying what matters the most. Thank you to the artists for this beautiful nightmare, thank you to you for lending us your time and ears and being the most important part of it.

* Ad Rvina Imperii is the first chapter of a series of various artists compilations co-produced by Kapvt Mvndi (Blackwater )with Love Blast Records and Stirpe 999 Anti Label. .

* A side comes with Fire At Work and Somatic Responses productions.

* A1 Fire At Work - Spartacvs is a slow motion track with increasing melody. A hypnotic industrial piece made with modulators.

* A2 is Somatic Responses - Dark Ervption, an experimental track mixing Drone and Rough music .

* On side B comes single track Luciano Lamanna - Giammai Per Sempre, a rough techno track with very deep influences and experimental sounds all made via modulator machines.

A collection of ambient tools & left of center dancefloor gems culled from the prolific Always Human Tapes label intended for both home listening & club play by adventurous DJs. Usual HQ Dispco packaging. 9 tracks.

New London-based label, Utter, present some of the earliest recordings by Jack Latham a.k.a. Jam City in a remastered edition of his icy soundtrack to a sci-fi short film originally self-released by the director/producer, Daniel Swan on VHS and corresponding cassette in 2010. The OST would have emerged just prior to Jam City's 'Classical Curves' and we can pretty much hear the hyaline dimensions that would be explored in 'Classical Curves' come into being across its five tracks (including a bonus 'lost' track not found on the original), as Latham constructs dreamy, floating worlds embedded in vast reverb structures and blooming bass radiation. It's easy to hear the tensions and economy of production palette that would come to define his later work, where he would consolidate a canny, mid-fi emulation of hi-end, cinematic sound design with eviscerated club dynamics. Yet there's something deeply elusive, gossamer fine about these recordings that hold up on their own terms.

SPR embraces Hamburg's harbour city sorrow in a dank and blood-drained 33 minute debut for vis, a very watch-worthy new label administered by Golden Püdel's Nina Trifft (veteran of mixes
for the likes of Blackest Ever Black's Krokodilo Tapes and Berceuse Heroique) and Tobias Duffner.EP1 unveils thee krankiest sequence of post-industrial ambience and rotten rhythms in four glowering parts secreting bilgy drones and keening electro-acoustic strings in effluent flow as grim as Reeperbahn run-off. You may well have heard these pieces lodged in one of many, lauded mixes by the label's co-creator, Nina, diffused amidst myriad industrial obscurities and clankenheit atmospheres. And it's easy to hear why she and Good News would pick this up for their first release. Mass docks first like something from Mika Vainio's Kilo, connoting an imposing sense of scale thru
super-wide reverbs, distant sonar signals and bone-powdering rhythmic noise before the sludgy concrète dub of Concubine comes ashore to perform its cranky functions.
Flipside, they neatly divert that vibe with Minerva, coursing bittersweet pads and sloshing undercurrent buoyed by churning subs, whilst Quadrant seems to dissolve the remains in a bath of
hydrochloric DSP, leaving only cadaverous remains.Lovers of Blackest Ever Black, Zhark, or Weevil Neighbourhood aesthetics will be in their element here.

Originally released on Hospital Productions as a limited cassette edition of 42 copies, Avian is now proud to announce a vinyl reissue of Dual Action's Auto Body. Behind Dual Action stands Mathew Folden from K.P., who presented his first solo cassette release for Dominick Fernow's label in 2012.

Dual Action combines the eerie atmospheric sound collage of crowded chinatown streets with the deafening silence of a new apartment and the hard industrial beats of subways and freeways. A dynamic, physical autonomism. Body complete.

THE SPRAWL is a scindicate of mutant soundcarriers individually known as Logos, Mumdance and Shapednoise. Following their improvised live conception at Berlin's CTM15 festival, EP1 documents THE SPRAWL's debut studio transmissions in the first of a series to be archived by The Death of Rave. As their moniker suggests, The Sprawl is heavily influenced by William Gibson's eponymous and prescient trilogy of sci-fi novels; most crucially the cybernetic predictions of Neuromancer and the ways in which its notions of uploaded consciousness and the effects of technology have played out in our collective reverie. Hacking up memories of late '90s tech-step and the millenial dread of early grime thru a matrix of modular synths, haptic constructs and computer software, the trio))) jack-in a quartet of corrupted memory updates emulating the physical and mental impact of SimStim overload and fractious hyperreality.Head first, 'Drowning in Binary' plunges into a maze of recursive techno-chambers vacillating white hot dis-torsion with arcing, weightless pads, before glyding across a tumultuous topography of chrome burning flares and violent, body-quaking detonations in the morphing scape of 'From Wetware To Software'.With 'Haptic Feedback' they grasp the quicksilver rush of classic Prototype and Reinforced Records in a strobing sequence of picnoleptic, kinaesthetic flashbacks and transitory segues smeared with vision-blurring noise, stranding us in the below-kelvin, post-human headspace of 'Personality Upload' unaware of up from down.By design or chance, the results distill a scrambled uchronia of references, incomparably conflating the obscure French speedcore subgenus of La Peste with a ruffneck take on cinematic sound design whilst also skewering the UK's 'ardcore continuum by way of new wave Italian noise physix. Like Gibson's original series, The Sprawl will reveal its dimensions in due course for the DJ conspiracists, bunker dwellers and tech-noise terrorists. Mumdance also releases solo on XL, most notably with grime prodigy Novelist, and also runs the Different Circles club-night and label in London with production partner Logos, who released the 'Cold Mission' LP to widespread acclaim in 2013. Shapednoise is a Berlin-based native of Palermo, Italy, and co-founder of Cosmo Rhythmatic and Repitch Recordings.

Re-issue of A Thunder Orchestra's 'Shall I Do It', a haunting yet beautiful slice of hypnotic proto techno from the vaults of the rich eighties Belgian new beat / synth wave / EBM noir scene, originally recorded in 1985 and released on a handful of cassette tapes on Ladd-Frith records

Drone-based experiments (notably with Tony Conrad, extremely present on the album, and John Cale), and purely electronic compositions - a path (almost) nobody knew MacLise had explored. Miraculously salvaged by Gerald Malanga, these archives provided a new perspective on the artist's whole body of work and expanded considerably his artistic palette. And so we are now able to draw a whole record's worth from MacLise's early electronic music. Angus MacLise, born, March 4,1938 in Bridgeport, Connecticut, was a percussionist composer, poet, and calligrapher. He was a member of La Monte Young's Theater of Eternal Music, with John Cale, Tony Conrad, Marian Zazeela and sometimes Terry Riley. He contributed to the early Fluxus newspaper V Tre, edited by George
Brecht and George Maciunas, and was also an early member of The Velvet Underground, having been brought into the group by flatmate John Cale when they were living at 56 Ludlow Street in Manhattan. MacLise played bongos and hand drums during 1965 with the first incarnation of the Velvet Underground. Although the band regularly extemporised soundtracks to underground films during this era (The Invasion of Thunderbolt Pagoda by Ira Cohen, Chumlum by Ron RiceŠ), MacLise never officially recorded with them. Later in the 1960s, Angus and his wife Hetty traveled around between Vancouver, Paris, Greece and India, finally settling in Nepal. They also
had a son, Ossian Kennard MacLise, who was recognized by Rangjung Rigpe Dorje, the 16th Karmapa, as a reincarnation of a Tibetan saint, or tulku, and at age four became a Buddhist monk. MacLise died of hypoglycemia and pulmonary tuberculosis in Kathmandu
in 1979, aged 41. He recorded a vast amount of music that went largely unreleased until 1999. These recordings, produced between the mid-'60s and the late-'70s, consist of tribal trance workouts, spoken word, poetry, drones and electronics, as well as many collaborations with his wife Hetty. In 2008, Hetty MacLise bequeathed a collection of her husband's tapes to the Yale Collection of
American Literature.

Cassette of Sandra Electronics sessions. These are recordings based on their live sets as well as the first recordings of Sandra Electronics that were made in Birmingham during the late 1980's and 90s. The A side of the tape features reworked rehearsal takes of tracks which first appeared on the early Downwards 7"s and in 2011 were released as part of the White Savage Dance EP. They also include two versions of Her Needs, which we had released under the Sandra Plays Electronics pseudonym in March, 2013. The B side of the tape contains the original recordings from those Downwards 7"s, all made in Birmingham during the late 1980's and 90s. For the first time ever, we present to you the quintessential Sandra Electronics collection of rare outtakes and early recordings.

Andy Stott returns with his first new album since 2012's 'Luxury Problems', no.55 in Pitchfork's 'best albums of the decade so far'

- It also featured high in numerous year-end charts in 2012; including The Wire, Resident Advisor, Pitchfork, The Quietus, Tiny Mixtapes,

PopMatters, XLR8R and more

- Includes vocal contributions from Alison Skidmore on six tracks

- The album straddles analogue club music and vocal pop songs - somewhere between Ron Hardy, Prefab Sprout, Dome, Actress, Cocteau Twins and Arthur Russell

- Mastered and cut by Matt Colton at Alchemy 'Faith In Strangers' was written and produced between January 2013 and June 2014, and was edited and sequenced in late July this year. Making use of on an array of instruments, field recordings, found sounds and vocal treatments, it's a largely analogue variant of hi-tech production styles arcing from the dissonant to the sublime. The first two tracks recorded during these early sessions bookend the release, the opener 'Time Away' featuring Euphonium played by Kim Holly Thorpe and last track 'Missing' a contribution by Stott's occasional vocal collaborator Alison Skidmore who also appeared on 2012's 'Luxury Problems'.. Between these two points 'Faith In Strangers' heads off from the sparse and infected 'Violence' to the broken, downcast pop of 'On Oath' and the motorik, driving melancholy of 'Science & Industry' - three vocal tracks built around that angular production style that imbues proceedings with both a pioneering spirit and a resonating sense of familiarity. Things take a sharp turn with 'No Surrender'- a sparkling analogue jam making way for a tough, smudged rhythmic assault, while 'How It Was' refracts sweaty Warehouse signatures and 'Damage' finds the sweet spot between RZA's classic 'Ghost Dog' and Terror Danjah at his most brutal. 'Faith in Strangers' is next and offers perhaps the most beautiful and open track here, its vocal hook and chiming melody bound to the rest of the album via the almost inaudible hum of Stott's mixing desk. It provides a haze of warmth and nostalgia that ties the nine loose joints that make up the LP into the most memorable and oddly cohesive of Stott's career to date, built and rendered in the spirit of those rare albums that straddle innovation and tradition through darkness and light.

From Jonas R

After three years, Ascion and D.Carbone return with "Substructures", their most experimental release to date on their label 3TH.
The A-side of this record holds two droney offbeat tracks, "RAM Expedients" and "Lo-fi Fields", combining a rare/abstract and genuine mix of Middle-Eastern electronics, cyberpunk and UK warehouse techno. The B-side contains the tracks that are responsible for the nomenclature of this release: "Substructures one/two". Being more oriented to genres such as IDM and rave techno, they are characterized by powerful beats and cutting edge ambients and vocals. Both tracks have been recorded during one of their live performances in London 2013.

Ekman once gain keeping the Dutch west coast spirit alive with 4 dramatic and haunting acid voodoo tracks certain to draw a new generation to the beauty of the dark side.

The Death of Rave is proud to host the initiation of Black Mecha with AA, their sci-fi vision of heavy electronics strongly informed by the outer limits of black metal and a cryptic, esoteric weltanschuuang.Official communiqué from the Grand Lodge of Internal Masonry: Black Mecha AA provides fragmented metaphoric sci-fi audio conceptualization based around some of the formative ideology developed by the Grand Lodge of Internal Masonry. With centralized focus on the deterrence and defence technique aspects of Internal Masonry, namely, Black Ray and its resulting Architecture Antithesis, or AA, mental effect, the six tracks create a realm conducive to execution of thought rumination, and an embankment for sharp inner pathways.' For us, Black Mecha does not exist safely within any pre-defined idiom. It is by nature a noumenal gesture in the void, projecting uncharted escape beyond staid, putative perceptions of genre.Fascinating for its sense of discipline and focus, Black Mecha AA is poised in the balance between meditative hypostasis and raging yet controlled emotion, characterised in the bellicose momentum of Starship Aspicio or the strobing, stately majesty of Altruego, and to cataclysmic impact with the eviscerated electronics of Black Ray. But make no mistake: it's not showboating industrial noise or melodramatic angst, the sense of control amidst panic and dread is palpable and compelling in a way hardly experienced with such elemental force.For listeners of a steeled disposition and open mind there is a logic and ingenuity at play in this record which begs the rarest, private consideration.But overall - enjoy this music in your own way, because that is the only way of Black Mecha!

Giorgio Gigli achieves his debut album after a personal path grown with his work on Zooloft Records. In the same way his dj sets reflect the spirit of that evolution. He explores sophisticated ambient layers as much as obsessive and hypnotic techno landscapes. The Right Place Where Not To Be' is the title of this first full-length sonic movie', a work emerging from the depth of his soul that filters, in a proper way, every musical input he developed over the years. A scenario where human and animal life-form perished and only plants and minerals survived. Giorgio performs that concept writing an ultra-detailed soundtrack, using rich textures that hide secret acoustics, nhanced by alienating atmosphere that captivate the listener. The album is focused on obsessive rhythmics cut on low frequency, a persistent motion, a stable tremor, world exclaiming its life-forms in so far as details the missing ones. Sky is darkened by dub clouds and stratified sonics that electrify space around. Blooming sensations that cover a wide spectrum, alternating feverish tension to lights of trust. Confines are dejected, techno meets ambient, throwing up an amniotic fluid which is immersed our unconscious. A sonic bubble from a faraway era, a timeless atmosphere that describes a vision that seems to answer to most important question: why Giorgio brilliantly manages the hard task of creating an album that describes in a cinematic manner a surreal concept with no loss of tension. LP is enhanced by a stylish Triple Gatefold with evocative artwork that expresses Giorgio's thoughts. A sequence of mountains dominated by clouds of a clear sky, depths of flowers, the tinged memory of a wonderful past. Photography by Marcello and Alessandro Gianvenuti was created with B/N poses from an old Hasselblad, somewhere in the Dolomites, and enhanced by watercolour-painted textures at a later stage. Whole graphical project is curated by Studio Lord Z.

Rabit's Halycon Veil label swerves left with a freakish 2nd release coming from the Korean-born, Danish-raised Why Be - a member of DJ Hvad's Syg Nok squad, Janus regular and contributor of Total Freedom's 'Blasting Voices' compilation.Equal measures grime, bumpy techno and internet-world electronics tot up to a frictional but fluid batch tripping across imagined 'floor-spaces and the stranger black holes between their cracks.'Heroin Hat' crosses wires between ersatz Afro melodies and sublow techno with the playful dexterity of Physical Therapy whereas the massive blackened mass of 'Whalin (Kyselina OST)' proves an impressive aptitude for beat-less, abstract sound design on a majestic, show-stopping scale. Back to the 'floor on the B-side, he glances askew at ballroom house from the midst of a gif-like loop vortex with 'Deeq' and its b*tch-slapping, c*nty counterpart 'Late (Laser Ha)' throwing down limb-synched edits for the voguers.Very safe to say: if you're into Physical Therapy, Total Freedom or Rabit - this 12" is a strong look.