Techno Vinyl New Releases - News

Kamixlo lands on PAN and Visionist's newly relaunched imprint CODES with his debut EP, 'Demonico.'
A Brixton- based producer with Chilean blood, Kamixlo is a key member of South London's roaming Endless party, now being singled out as an incubator for up-and-coming talent.
Following an appearance on collaborator Blaze Kidd's 'Exclusivo' mixtape, 'Demonico' is a stark, raw, and militant opening statement. From the satanic drones of opener Otra Noche,' Kamixlo's club-forward approach combines Latin influences of reggaeton and bachata with punishing crunch and spat percussion. Brash, anthemic, and primed for club play, this year has brought Paleta' into heavy rotation in London's underground scene. Splxcity' sweeps distortion's outer bounds, and in Lariat,' hints of melody provide brief cover from a hailstorm of ballistic vocals before the whole track dissolves into oil.Having just delivered his inaugural LP 'Safe' on PAN, Visionist re-grids Lariat' with signature cut-and-paste techniques and glacial synths. The EP is mastered by Matt Colton at Alchemy, and features artwork by PWR Studio & Bill Kouligas with additional art by Daniel Swan.

cory arcane found her comfort zone in a constant state of crisis, and her liberation through love, sensuality, and high-speed internet access. as some might recall, she used to struggle with her own decay, navigating an intricate web of bureaucracy, endless social-media scrolling, 24-hour news channel feeds and marketed strategies of seduction. her intense and continuous obsession for surf, breakdancing and cat videos might have saved her from a silent decline, but it would be her first attempts at integrating a professional ballet company that provided the initial spark. her unorthodox dance movements were often considered shocking, transgressive, and barely legal; and even though some recognised her genuine talent, it was clear she would never make it into this structure. this is when she started her slow drift towards the outer limits of society, in search of the way to achieve the conditions for absolute freedom. her emancipation was surely marked by different forms of excess: the inappropriate use of fireworks, the consumption of large quantities of alcohol and controlled substances, as well as the occasional blasts of kitchen appliances. she bypassed the gender war and became an expert in advertising sabotage. soon cory would give academic courses on the true liberation of the mind, or, in her own words, the apotheosis of senses. lately, she could be seen squatting in the outskirts of different giant metropolises, embracing the mayhem, contemplating the crumbling of a system. the sound of the city, mixed with the music on her headphones, would weave complex rhythms and futuristic textures into a beautifully coloured, pixellated surface. looking out onto this fabulous chaos, she smiled.

Tresor Records is fortunate enough to be sitting on a catalogue of past releases that no other label in electronic music would turn down.

Three of the nest in this collection were albums contributed by Surgeon,
Basictonalvocabulary', Balance' and Force + Form' all originally came
out on the Berlin institution between 1997 and 1999.

Surgeon's inimitable combination of Detroit techno and post-industrial sounds emanating from his British homeland found its fullest expression in these masterful trio of releases on Tresor.

The Basictonal-remake 12' accompanied Surgeon's rst Tresor album in 1997, with additional Versions as well as a remix by long-time Birmingham collaborator Mick Harris.

As Sure As Night Follows Day is Russell Haswell's landmark second album for London's Diagonal Records. Consolidating a quarter-century at the coal face of extreme computer music, techno and death metal in 19 tracks and 49 minutes, it's Haswell's most coherent yet varied burst of activity to date — zigzagging from improvised n0!se outbursts and asphyxiated R&B to a brace of thundering acid bullets that positively froth for the 'floor.The album was extracted over a fast-working period in late 2014, and is best perceived as a sort of fractured regression to his formative influences: you can hear the picnoleptic recollections of grindcore shows in the Black Country, the refracted shades of mega-raves at Coventry's Eclipse, the conflating toxic texture-memories of early Japanese noise, and the incandescent stomp of Mills and Hood in that early 90s phase.Fortunately for the ravers, this album includes some of Haswell's most direct dance floor attacks to date. 'Hardwax Flashback', for instance, finds him in pure tekno panik mode — a four-to-the-floor wrecking ball groove that someone, somewhere, may even be able to mix. 'Gas Attack' distils his penchant for all things Belgium into a vicious strain of New Beat lactic acid. Haswell then doffs his cap to Detroit electro legends Drecxiya on 'Underwater Electronic Struggle' — a story goes that he once thrashed a jet-ski all over the Mediterranean while listening to 'Wave Jumper' in his 'phones — before he does the salty freestyle electro flex 'ting on 'Industry Knowledge (For Oscar)' while reminding his trusty apprentice, Powell, that he still has a lot to learn. In between these 'floor-flexers, we find more freakish disturbances and intrusive drum-box improvisations: the modular mind-floss of 'Rave Splurge Noise' or 'Noise Rave', for instance, or the self-explanatory 'Improvisation #1'. 'In The AirToday' investigates warehouse-ready electro-acoustic percussion, while the chaotic clusters of 'Interlude' swarm and invade your senses with psychoacoustic incision. This is Diagonal and Russell at their most f**ked up and fizzy, and an important reminder of the artist's stream-of consciousness genius — and the pressing need for more chaos and unpredictability in electronic music today.

A sort of Cabaret Voltaire for the iPhone age, DROOIDS are a collective of three multimedia artists who produce electronic music using improvisational, often anarchic methods. Utilizing a hodgepodge of gear both old and new, and not-wholly-quantized, they create a collage of sounds that verges on chaos before slipping back into a dark yet weirdly club-oriented beat.


Their live shows usually feature multiple guest collaborators, costumes, sculptural props and performative antics. For their debut release on LSE we tried to capture the spirit of these shows and recorded over 11 hours of DROOIDS improvising in the studio of the course of one week. Those 11 sprawling hours then got edited down to these 4 snapshots, mastered and pressed in a limited edition of 200 (40 with original gelatin silver prints) for our 6th vinyl release.

»LA DEMEURE, il y a péril en la demeure« is the opening to a five-part complex of works by artist grischa lichtenberger. »LA DEMEURE« - the residence - could be outlined as intimacy, a symbol of isolation and its possibilities. the joy of being isolated and having the change to work, explore and most importantly, experiment free from economic, temporal or social restraints is the center of attention of »LA DEMEURE, il y a péril en la demeure«.the single tracks on »LA DEMEURE, il y a péril en la demeure« and their components are constantly broken, disassembled and reassembled again. some parts may remind of hip hop and breakbeat, others may evoke associations to a broken music box, something mechanical that is not working as it should. in his very own way, grischa lichtenberger is examining limits, new experiences and unfulfilling expectations. this unfilteredness and rawness, the lack of a target group the music is made for, is what is fascinating about this record. »LA DEMEURE, il y a péril en la demeure« thus becomes a luxurious-kafkaesque collection of materials, an uncensored archive of a seeker.»LA DEMEURE, il y a péril en la demeure« will be released on CD and accompanied by three vinyl EPs that will put the experiment in relation to the public. the five-part cycle will be completed with a second album whose focus will be on »IL Y A PÉRIL EN LA DEMEURE« - danger in delay.

Repress!

As Sure As Night Follows Day is Russell Haswell's landmark second album for London's Diagonal Records. Consolidating a quarter-century at the coal face of extreme computer music, techno and death metal in 19 tracks and 49 minutes, it's Haswell's most coherent yet varied burst of activity to date — zigzagging from improvised n0!se outbursts and asphyxiated R&B to a brace of thundering acid bullets that positively froth for the 'floor.

The album was extracted over a fast-working period in late 2014, and is best perceived as a sort
of fractured regression to his formative influences: you can hear the picnoleptic recollections of
grindcore shows in the Black Country, the refracted shades of mega-raves at Coventry's Eclipse,
the conflating toxic texture-memories of early Japanese noise, and the incandescent stomp of
Mills and Hood in that early 90s phase.

Fortunately for the ravers, this album includes some of Haswell's most direct dance floor attacks to
date. 'Hardwax Flashback', for instance, finds him in pure tekno panik mode — a four-to-the-floor
wrecking ball groove that someone, somewhere, may even be able to mix. 'Gas Attack' distils his
penchant for all things Belgium into a vicious strain of New Beat lactic acid. Haswell then doffs his
cap to Detroit electro legends Drecxiya on 'Underwater Electronic

Struggle' — a story goes that he once thrashed a jet-ski all over the Mediterranean while listening
to 'Wave Jumper' in his 'phones — before he does the salty freestyle electro flex 'ting on 'Industry
Knowledge (For Oscar)' while reminding his trusty apprentice, Powell, that he still has a lot to
learn. In between these 'floor-flexers, we find more freakish disturbances and intrusive drum-box
improvisations: the modular mind-floss of 'Rave Splurge Noise' or 'Noise Rave', for instance, or the
self-explanatory 'Improvisation #1'. 'In The Air

Today' investigates warehouse-ready electro-acoustic percussion, while the chaotic clusters
of 'Interlude' swarm and invade your senses with psychoacoustic incision. This is Diagonal and
Russell at their most f**ked up and fizzy, and an important reminder of the artist's stream-of-
consciousness genius — and the pressing need for more chaos and unpredictability in electronic
music today.

A Gathering Together is Ron Morelli's second full-length for Hospital Productions: a 'techno' cacophony brought to its granular detail and reduced to its most elemental tonal depths. A cohesive fusion of surreal and feverish deja vu loops, brittle noise, fucked rhythms, scrap metal percussions, pro-one metal synths, and an injection of near-buried, Drano vocal samples, it's a fearsome celebration of brokenness, of amplified surroundings.

Stereo-shifting drones and driving rhythms that tell the stories of those now gone, more a soundtrack for a wake than 4/4 crafted for the dancefloor. There's a naked anxiety at work that doesn't turn away from loss, but runs with an excited melancholy that looks to a future that won't exist. The boldness of the gestures are not to be confused with exuberance.

With this effort Morelli has shown remarkable restraint and patience most notably highlighted on title track 'A Gathering Together.' An intense cut born from rapid-paced dead-end urban environments that force people together. It's a calling to do more, include more, and celebrate the many forms within those inconspicuous places.

Upon numerous listens, it's clear the sound design is a reflection of heavy compositional themes that suggest a greater whole. This is hard, dirty techno--humid, reduced, bare bones, yet dense and dissolved to its electronic soil.

Heavy without being oppressive, it is the culmination of many elements pulled from all spheres of modern electronics, eaten, digested, and spit back out. Produced at the end of 2014, with final mixdown and additional production in spring 2015 by Krikor Kouchian and Ron Morelli in Paris, Hospital Productions is proud to offer A Gathering Together.

Recorded at EMS Elektronmusikstudion 19.03.2015 / used = ALM, Tiptop Audio, SERGE...

Crushing celestial tech-noise objects from Black Rain (a.k.a. Ike Yard's Stuart Argabright) with Shapednoise and Demdike Stare's Miles Whittaker. 'Apophis', so named after asteroid 99942 which poses an uncertain threat to humanity, was written and realised over summer 2014 and supposes four cuts of destructive electronics describing a potential, eschatalogical event and its aftermath in grim and unflinching detail. Black Rain and Shapednoise are clearly steeled and ready for what may come, from 'Metal Home's' premonition of rubbling noise forces and slivers of electronic salvation, to the thunderous, scudding speedcore mass of 'Autonomous Lethality', or the double-timed serpentine lash of 'Interceptor' proving they've come to terms with our potential extinguished existence. Likewise, we've always imagined Miles came from some parallel cyberpunk dimension just outside Burnley anyway, so his Ramen reshape of the latter makes sense, hammering away its angles until it exudes sludgy, effluent hardcore techno tropes. Definitely one for Mad Max characters, techno freaks and noise creeps!

Beneath's Mistry label draw the best out of Batu in this quaking two-headed beast. With each release he seems to step further into his own sound, whilst also remaining true to a shared aesthetic/tempo with peers such as Beneath, Pinch, Lurka, and most recently, L.Sae on his home-brewed Timedance label. For this headstrong mission he comes with the noisy, technoid mutation of 'Dakalb' up top, alloying radioactive subs with rusted snare crack and floor-scanning sirens to murder the dance. Backa plate, 'Collate' runs industrialized roto-toms and scooping bass with the ruddiest junglist swagger crowbarred into a 130bpm template. They're both a big look those that know.

FF002 picks up where FF001 left off, delivering raw techno inspired by the cold and dark surroundings of Copenhagen.

Titles of this album, i mean titles names are already a good experience

Excellent experimental little indutrial techno perl... Needed for more sound surprises in parties

Samuel Kerridge joins Blueprint Superb, dark 4 tracker

* The first self titled album from emptyset is reissued on vinyl. Released in 2009 the material formed the initial departure within Emptyset's ongoing exploration of time, structure and analogue technology.
* The album highlights the projects development and the foundation of their studio based production process, forming the first part of a tryptic spanning across Demiurge, released in 2010 with Subtext and the 2013 raster-noton album Recur.
* The eponymous debut creates the first point within this narrative, initiating a dialogue between full frequency audio, noise and the emergent properties of sound, and the starting point for their contained sonic approach.

Mastered and cut by Rashad Becker at D&M, pressed on 140g 2xLP or CD
Features photography by Kim Thue and artwork by Bill Kouligas.
Follow-up to 2014's 'The Hollow Organ'
Inspired by loop-based industrial music, dub techno, and balearic disco

Where his previous effort, 2014's 'The Hollow Organ,' dealt in dense, distressed sonics, 'Olympic Mess' is Younger responding to a period spent engaged with loop-based industrial music, dub techno, and balearic disco. These musical references, all of which can induce hypnotic states and feelings of euphoria, inform ten evocative aural landscapes which unfurl over the course of an hour and act almost as a counterpoint to the turmoil that spawned them.

'It's about exploring a perverse desire to pull the rug from under yourself, and the struggle to achieve a healthy equilibrium between one's personal and artistic lives,' Younger says. 'Dealing with the problematic consequences of pushing your own limits, forming and dissolving relationships, transient lifestyles, physical and mental exhaustion, excess, and other kinds of personal chaos'.

Crafted using an array of heavily processed samples, found sound and electroacoustics,
personal conflict manifests in 'I Exist In A Fog' and 'Outerzone 2015,' where visceral noise
disintegrates into veiled, ambient strata. The disquieting crescendos of 'The Evening In Reverse' and 'Fluid Cloak' offer no such relief, while the title track and 'Don't Lick The Jacket' are mineral, multilayered abstractions twisting around a brittle pulse.

Following a period of extensive touring throughout the States and Europe, which included 20 dates in support of Danish punk group Iceage, 'Olympic Mess' was recorded in London, New York and Berlin by Sean Ragon, Luke Younger and John Hannon.

We live in dangerous times. We are blinded by control vectors that separate us from reality. And The Black Dog returns with a viral antidote: an album of de-programming material which they've called Nether/Neither. This record continues the work they started with Further Vexations and Radio Scarecrow. Burroughs was right: we are now living in a world that is nothing short of a total information war. We are neither one thing nor another, endlessly on the fence in the face of an onslaught of disinformation. Non-linear hypermedia systems are openly used to control us, their operation being totally exposed, mocking our impotence, yet complete in their power. We are all proles now, all are expected to maintain a mental state of Neither/Neither, of uncertainty and inaction. Even in a world where anyone can be an instant expert on any subject in a single click, we find that all our knowledge is a mere replay of someone else's script.We are surrounded and occupied by systems of platitude generation that are empty and self-referential. All is surface and all is hollow. From the Tories' election propaganda to David Icke, they're all the same, all meaning filtered to nothing by a lack of substance, science and humanity. Falsehood becomes reason, no
matter how ridiculous the proposition. They stand for nothing so they can have no questions to answer.False prophets and the modern day snake oil salesmen parade their viral vampirism, grasping for our time, money and headspace. Even our ridicule becomes fuel for their trade as they turn ignorance and
psychopathic exploitation into received wisdom and public opinion. Ask any sideshow psychic, repeat, pure Barnum bunkum enough times and you can seize the psychology of the masses. Rumours become truth then they become action and policy that in the cold light of the day make no-sense at all. No one's sure where they heard it but they have. The spectral offer of change, which actually sustains the stasis of confusion. They spin us on a ball of confusion we live on continues to turn and as long as they have us in a state of Neither/Neither they will always maintain control. Fight Back!Neither/Neither shows the world The Black Dog is reflecting.

"Minds" is all about electronic music soul and the feelings it catches deep into us.

Warm thanks to Valentino, Stephen, Paul, Riccardo, Bryan, Surachai, Derrick & Nina, Cyrus, Moe, Thomas, Eric, Sylvain and Bobby for sharing their art with us. It is a real pleasure and pride to have this project see the light.

collecting orders for another repress!
A year after their much-praised debut album STRGTHS, Avian's cryptic Swedish duo SHXCXCHCXSH are ready to present their second album, Linear S Decoded, this August. From the elegiac opener Entering The S-Cloud, the intensity of tracks such as Elocution and Rudimental Retreat, to the disorienting beauty of Wading Guise and aptly-titled closer Monolithic Conclusion, the LP deftly broadens the scope of SHXCXCHCXSH's singular aesthetic.

Keeping their mystic aura has always been important to SHXCXCHCXSH - so important they didn't want to take part in what they deemed 'the language game' until now. Their previous strict use of fragmented track titles illustrated an ideal of communication purely through music, to service the focus on sound via complete abstraction. Breaking the habit with Linear S Decoded doesn't necessarily indicate a complete break with their approach, but an adjustment to the direction they have travelled since they first emerged two years ago.

As Resident Advisor identified in a perceptive review of the previous LP, among SHXCXCHCXSH's key strengths is the imbuing of their productions with a narrative sense, a sonic progression that moves beyond techno's standard repetition - it's an element of their work that's heightened further on Linear S Decoded, pulling focus from the more grinding, brutalist elements of their distinct sound to reveal the more melodic, almost optimistic, elements that had previously remained in the shadows of the productions until now.

The track titles themselves are evocative about the new record whilst revealing few specifics: no less intriguing than the clustered consonants of the prior release titles, hinting at deeper underlying narratives at play, possibly historically informed, or a fiction of the duo's own making. Either way, definitive answers will not be forthcoming: the mysteries that lay beneath SHXCXCHCXSH's approach to music making have long been an intrinsic part of their appeal. Linear S Decoded presents the opportunity for newcomers and those already au fait with the duo to employ their deciphering abilities, whilst simultaneously offering an expanded and ever more richly detailed landscape to traverse...