Nouveautés et Sorties Vinyles Techno - News

Ren Schofield's Container took the world of underground electronic music by storm with the debut "LP" in 2011. Following massive amounts of touring and the powerful follow up LP, "LP", in 2012, the project became a must-experience staple everywhere from U.S. basement gigs to Berghain. "LP" manages to simultaneously be the most palatable and most damaged contribution yet. Patchwork polyrhythm motifs, melodic (albeit fully blasted) hook sensibilities, and ballistic synthesized sounds are melted down together and shaped into some of the most rewarding, enjoyable works yet heard on any of the "LP" offerings

Welcome to the 3rd vinyl release of Local Sound Network. Label owner, Ryuji Takeuchi, is on duty to drop this superb EP. Ryuji represents 2 off beat techno tracks with spectacular atmosphere, whereas, 2 remixes emphasize straight 4/4 rhythm patterns with even wider feeling. 'Veil' emphasizes strength and funk, on the other hand, Obscene Mannequin adds deepness and darkness to already-existing funky aspects in order to make it real brutal. 'Silhouette' comes with Asian alike horn sound with powerful offbeat rhythm sequence, whilst, Deepbass reconstructs it in his deep-bass manner, which makes the original sound even deeper, as if you're swimming in far deep somewhere. This is a well-balanced EP with 2 offbeat original tracks and 2 4/4 techno remixes, with deepness, darkness and funk inside throughout the whole EP. Make sure to keep your mind open for the upcoming releases on this Local Sound Network imprint.

*Remastered and Reworked 2LP Edition of the limited edition Cassette released in 2014 on Demdike Stare's DDS Imprint. Initial copies on Green and White Vinyl, mastered and cut by Matt Colton, includes an instant download of the album dropped into your account* Mica Levi more or less owned 2014 with the release of that astonishing soundtrack to Jonathan Glazer's 'Under the Skin', followed by this hour long album-cum-mixtape for Demdike Stare's DDS imprint which was released at the end of the year and sold out in a flash. It has now been reworked for this vinyl edition, and then given a full remaster by Matt Colton. Mica is an artist who basically seems to channel attention deficit into exploring and re-shaping a myriad musical ideas and directions without bound - sometimes all at once. She's an artist who has by her mid-20's merged the disciplines of codeine-laced cough syrup-drankin' early '90s Houston HipHop legend DJ Screw, with the rarified sound of London Sinfonietta on her incredible 'Chopped & Screwed' album, got Matthew Herbert to produce her brilliant debut 'Jewellery' and acquire Bjork as a fan in the process. She's produced a bunch of killer, off-beat pop tracks for up- and-comer Tirzah and supplied an impromptu 30 minute Boiler Room set that's still for our money one of the best they've ever put up. And yeah, that's before that 'Under The Skin' soundtrack that showcased another side to her production altogether - all discordant, intense, Ligeti-influenced strings, muffled percussion and frozen drones that came off like a feverishly dreamt collaboration between David Lynch and Nate Young. When asked about the score and working with someone as high profile as Jonathan Glazer she told Pitchfork 'He's a nice bloke—I certainly didn't think he was a wanker.' - which basically tells you that you ain't dealing with the ordinary or conventional when it comes to anything Micachu is involved with. And this hour-long session is perhaps the best thing we've heard from her yet. More or less split into three seamless segments referenced in the title, it journeys out from tense, concrete-fuelled strings to brilliantly ramshackle tape beats and odd pop edits - all brand new work from Mica herself, spooled through her singular, totally inimitable box of tricks. Honestly, we can't think of any contemporary artists who have as broad and limitless an ability to continuously re-contextualise the familiar into something we've really never heard before. We'd have to go as far back as Prince or Arthur Russell to reference anyone who has really managed to tap into as many diverse musical disciplines with this much originality. And if you think that's a bit far fetched - give this a listen and knock yourself out.

London label Diagonal continue their swerve into caustic dancefloor territory with the debut pair of 12' releases from Bronze Teeth. Their extended technoid grooves perfectly match the project's name — they're tough, hard-edged and intricately sculpted for tensile strength and visceral impact.Traces of the sounds that feed into Bronze Teeth can be heard in the duo's individual projects. Dominic Butler is one-third of Factory Floor, the London-based trio renowned for their wiry, dynamic live shows; his modular electronics are an integral component in that band's devastating cocktails of Morse code electronic blips, drum and guitar. Richard Smith meanwhile, records as L/F/D/M, and debuted with a scintillating clutch of acid tracks on Optimo Music in 2013. Bronze Teeth offers them free rein to explore their own interests in sound, and in particular the potential for chaotic interaction between metallic programmed rhythms and the fleshy pulses of the human body. On 'O. Unilateralis' sprawling opener 'Tapeworm' and the glassy club noise of 'Acetone' and 'Glass Tooth', they appear to be skirting along the edge of control, with their machines wrestling dominance back from their users and sending sparks ricocheting through the mix. For all its monochrome battery, this isn't lo-fi music, nor is it retrogressive. The ghosts of acid house and skull-shredding free party techno lurk in this machine, but they're refracted through a modernist sensibility and a keen ear for sound sculpture: edifices honed from diamond-hard tones and reinforced glass, all wrung from a sprawl of patched-together gear.

Prodigious Hungarian minimalist, Gábor Lázár, twysts out six cuts of super-forward avant-techno on his debut vinyl, 'EP16', for The Death Of Rave. Combining viscerally affective electronic timbre
and hyperkinetic patterns, they're real-time recordings of Gábor extracting maximum funk from a single note rendered as sheer gradients pitched and punctuated with unique, algorithmic meters. In a sense the process is drily academic, but the results are seriously funked-up. Gábor seemingly intersects myriad minimal dancefloor patterns - hardcore, footwork, electro, digital dancehall - with uncompromising electronic tones to create some kinda new rhythmelodic syntax and grammar of his own. Cannily nudging every scything, whirring, strobing hit off-the-grid, he's
practically re-programming and skewing our sense of rhythmic proprioception and temporal awareness in real time, throwing down the gauntlet to body and brain with stoic rigour and
reckless effect.'EP16' follows Gábor's split tape with Russell Haswell for his Budapest-based Last Foundation, plus debut album, 'ILS' (2014) for Lorenzo Senni's Presto! label, and precedes an upcoming 2LP collaboration with Mark Fell, due on The Death Of Rave.

The new series of 030, come out with its first release seeing as the protagonist the label owner, Micol Danieli, along with a collaboration with ANB, and a contribution by Lakker.

Dark sounds expressing an experimental concept in the first part, while employing soft melodies on the other side, so as to balance against a trip in a kind of labyrinth. creating a symmetry between them.

The A - side of " XP001 " contains two songs of hypnotic rhythms and experimental dub who kidnap the listener . Illusion in reality that can not help but let go of your mind merge into one with the music . A continuous cycle , where you can appreciate the ' spell, defined by a sound deeper and darker with a cyclical rhythm and layered .

The EP continues with a more peaceful and sharp progression. From the beginning , you can not escape from this long journey driven by strong currents generated by the vocal on the uneven bassline. The contribution of the remix by the Irish producers Lakker , embellishes the debut of the work of the brand with a percussion plot, aimed to capture your mind .

Faith Coloccia and Alex Barnett return to Blackest Ever Black with their second duo album, Weld, working with synthesizers, affected vocals, raw electrical noise, field recordings, EVP techniques, tape manipulation and drum machines to create a music at once lucid and mystic. Its songs embody various experiential philosophies and objectives: searching for the sacred in the forgotten and supposedly useless, exploring the meaning of natural', listening for the pulse of the ancient, using technology both to materialise memory and to dream a folklore for a future age. Coloccia and Barnett's ambition is apparent early on in the stately, medievalist keyboard/choral poetics of 'Truth Teller', moving through the agitated wormhole techno of 'Dreamsnake', to the white light-emitting, near-symphonic plainchant of 'Healer'. 'Blight''s zero-hour synth pulsations are first interrupted, then engulfed, by an extra-terrestrial broadcast of piercing bell and glass-tones, 'AM Horizon' is pitched bewitchingly between Prophet-5 pulp futurism and earthbound, atavistic dread, 'Agate Cross''s baroque harmonic sequence disintegrates at its very climax, cooling and dissipating into a deep starfield of pure tone. 'Ash Grove' and 'Rose Eye' are exhilarating exercises in contemporary musique concrète: complex timbral constructs in which Coloccia's disembodied glossolalia, swooping strings and other nameless sonic spectra conspire to evoke extra-dimensional space and the highest spiritual drama. Weld speaks its own distinctive dream-language, but we would certainly recommend it to anyone enamoured of the brittle sci-fi synth-scapes in Caroline K's Now Wait For Last Year, the amorphous electronics of Beatriz Ferreyra's recent work, Conrad Schnitzler's more gothic moments, and even the gravest metaphysical reckonings of a Stockhausen or a Rozmann.

Trans red wax with fold-over two-sided print in clear poly sleeve - edition of 300 copies with download included** 'Abstraction' continues The Boats' industrial cycle with a remorseless instalment. Quite possibly the most potent of all their releases so far, it finds the usually gentle souls of Andrew Hargreaves and Craig Tattersall revealing what they get up to when no-one is listening -- you'd think they're out bothering fields and folding paper until the candles run out but, oh no, they're actually cranking out thunderous industrial beat-offs and dry stone walls of noise. This one is a meaty beast, piling the kicks and distortion higher than a VIP plate at Toby's carvery but, not without glimpses of their vulnerable selves, chore jackets on and faces fixed on the machinery. From the glancing bass drum blows and grunting noise of opener 'P Versus NP' they sustain a stoic resolution thru the blitzed pounding of 'Section Conjecture' and acidic bog monster roil of 'Parabolic Type' on the A-side, before allowing the machines to cool off on the B-side; 'Inverse Galois Problem' flushes the system with a swill of industrial fluids precipitating a proper piece of death-techno necrophilia, and 'Lonely Runner Problem' arches up from clammy fuzz to an excoriating expanse of noise techno that would put the sh*ts up Huren on a good day. RIYL Nick Klein, Ancient Methods, Zhark Records.

»Sleepstep« ist die erste Zusammenarbeit zwischen raster-noton und Dasha Rush. Der Untertitel des Albums, »Sonar Poems For My Sleepless Friends«, beschreibt dabei das zugrundeliegende Konzept - »Sleepstep« ist eine Reise durch elektronisch verfremdete Loops und Soundcollagen verwoben mit Textpassagen, die versuchen, eine Traumatmosphäre entstehen zu lassen. Die entworfenen Stationen dieser Reise streben eine Zeitvergessenheit an, ein Eintauchen, ein Schweben in universellen Zuständen - Tod, Leben, Geburt, Trauer, Sehnsucht. Die Musiktitel wirken dabei oft wie angerissene Skizzen, surreale Kurzgeschichten, die mehr eröffnen als vollstrecken wollen.

Das musikalische Arrangement ist zurückhaltend, filigran und obwohl elektronisch manipuliert, drängt sich musikalisch nie ein Produktionsschema in den Vordergrund. Klischees werden nicht gefürchtet und doch bleibt »Sleepstep« als Resultat dem Klischee fern. Die Klanggedichte für Dasha Rushs schlaflose Freunde sind feminine, subtile und persönliche Berichte, eine musikalische Traumreise in Form eines klassischen Konzeptalbums - ein Album, das ebenso in der Tradition der Ambient-Musik steht.

Osiris Music UK number thirty nine sees label owner Simon Shreeve finally come to the fore with the first full solo release under his Mønic alias after a pair of successful outings on the Open Water and Habits EPs earlier this year.

From the breathless opening charge of Bloodhound to the tense recesses of the title track which closes the EP, Human Pattern sees Mønic confidently steer both his personal sound and the overall aesthetic of the Osiris label deeper into the realm of experimental electronic music.
Human Pattern comes housed in high quality 300 gram outer and inner sleeves, fully printed and adorned with artwork making this a special piece even by Osiris' usual standards. Early support: Surgeon, Regis, Clouds, Laurent Garnier, Amit, Paul Mac & Lakker...

Almost a year after they unveiled their collaboration with the wall of sound that was the 'Spiker' 12' Perc & Truss return to their home on the Perc Trax Ltd label to serve up a fresh four track EP of live analogue jams. Once again the tracks were recorded in one take. All mistakes, happy accidents and bizarre unexplainable audio artifacts have been kept in place, with no post-production or further editing done once the first take was recorded. These tracks cover more ground than the three on Spiker, but the Perc & Truss collaboration is no experimental vanity project, with all four new tracks aiming straight at the dancefloor.

Title track and opener 'Two Hundred' leads the way with caustic acid providing the foundation for a classic London cabbie-rant vocal, whilst 'Judd' layers all manner of malfunctioning effect pedal sounds over a triplet rhythm track. On the B-side 'Forever Your Girl', a mainstay of Perc's sets for months now, leads the charge, as rave interludes provide a breather from the kind of kick drum volley tailor-made for Awakening's Gashouder home. Finally 'Van Der Valk' mixes hardcore stabs over an icy electro-tinged groove and crowd samples, stretching the Perc & Truss sound further than ever before.

Solar One Music is proud to present a very special project. Arne Weinberg (Valanx) and Robert Witschakowski (The Exaltics) join forces as "Val_Ex" and present their first album. Dark and deep tracks are featured on both sides of this album, the intention and atmosphere is undeniably pure darkness. The common goal of achieving this is audible each second of this record. The music ranges from ambient to electro, industrial and electronica. The album features full printed cover artwork.

Lucky #7 - the best Testpressing yet from Demdike Stare and the final instalment for the time being for a series that began almost two years ago.
Landing 6 months since their last raid, it's a dichotomy of dancefloor devilment, going hard for it on one side, and running ragged emotions on the other.
A-side 'Rathe' opens the doors of perception to a show-stopping bloom of heavenly voices and halfstep jungle, ratcheting the levels to heart-in-mouth effect with panoramic harmonies and ricochet drums that sound like a 2015 update of Windowlicker, all owing as much to Source Direct as Alice Coltrane.
B-side, 'Patchwork' is a whole other madness. Shocking in a different style, it consolidates swirling, norish samples nodding to Italian concrète with the kind of 2-step swerve heard on Artwork's 'Red' EP - proper feral, swinging business.
We seen and heard it go off in the dance and can safely confirm that it's one of the baddest joints in their now extensive catalogue...

O/H is a new collaboration between Dave Foster (Huren, Teste, etc.) and Rich Oddie (Orphx, Oureboros, etc.). Future Ready is a four track EP which conflates their histories in noise and power electronics, industrial techno and rhythmic noise and marries all methods together into a ritual assault. There are lots of adjectives to describe this music and you've heard them all before so just skip the bullshit and listen. Each record ships with a vial of bull hormones*.

Adam X's industrial-tinged experimental project ADMX-71 sounds pretty much exactly like you'd expect. Foreboding, dark and hopeless. Every time you hear something like a piano reach out of the murk, it's quickly joined by something gnarled beyond recognition. Indeed, if you didn't know that X likes to carefully delineate his projects (he's the man behind the hypnotic techno of Traversable Wormhole as well), you'd be forgiven for wondering why this came under a different name at all. It could have just as easily been the sort of "downtempo and experiments"-style album that many techno producers offer up when it comes time to make the leap into the world of albums.

Like many of those full-lengths, Second System is based on a concept. X was a graffiti artist in the '80s, bombing the New York City subway system along with Joey Beltram and many others. In exploring the underground tunnel network that connected the lines, he eventually discovered unfinished stations and dead-end tunnels. Naturally curious, he learned that they were part of a huge undertaking in the '20s and '30s to serve emerging neighborhoods in the city that got scrapped before it could be completed. (World War II and the city's shift in focus toward automobiles being the main reasons.) Second System is the sound of X remembering what it was like to find such a ghostly labyrinth.

As a result, most of the material on Second Systems tends to work exceptionally well on first listen. There's a sense of the unknowable throughout—and a dread that must've accompanied X when he couldn't find an explanation as to why these tunnels existed. "Shell Stations" bangs along with an increasing ferocity that suggests the queasiness that comes with an unsolvable mystery. "The Winfield Spur" has that aforementioned piano, accompanied by what sounds like a distorted cloud of guitar lurking behind it.

There are brief moments of respite. The synth line on "Elevated Dreams" evokes the second word in its title instead of, say, nightmares. It's also one of the album's least successful songs, though it's unclear whether that's simply because X doesn't handle lightness well or because it sounds incredibly dated. Industrial, as a general rule, hasn't done as well as other genres in that latter regard. Which is why when he veers toward more abstract climes—like "Subway Inertia" or "Nine Decades Later"—you get the sense that you could quite easily come back to them in 2025.

As for 2012, Second Systems showcases a side of Adam X that many haven't heard before. The immaculate sound design on those Traversable Wormhole 12-inches was no accident, and when employed to less floor-specific ends, X proves capable of inspiring the same sort of atmosphere.

the penultimate issue of raster-noton's unun series features »gomila park«, a new project by the two swedish musicians martin rössel and carl michael von hausswolff that started in spring 2013 in palma de mallorca.on their first ep released as a duo, they present three rather unconventional and diverse tracks. »leibniz«, for example, is characterized by a heavy rock attitude with
lots of distortion and screaming guitar riffs. the b-side on the other hand, including the tracks »calculus« and »ramon llull«, is the more experimental part.considering only the track titles, »gomila park« is a homage to two of the first mathematicians and philosophers that helped developing the binary system and, generally speaking, the digital world.but despite all that, »gomila park« is also a matured piece of work that was held in trust for at least two years. it's once more an inspection of a fundamental possibility of music, a reference to the past. similar to mika vainio's »vandal« ep, »gomila park« echoes the tradition of rock (music) and is thus the counterpart of a younger, historically unburdened generation of producers like ueno masaaki or kyoka.

Nick Klein delivers a roaring and deafening debut EP for Unknown Precept consisting of five whirring pieces of slowed and throwed techno and heavy analog rhythms. Its powerful approach marked by sooted synthesizers, watered down melodies and grinding grooves shows Klein at his finest; whether it brings soiled theatrics or rusty progressions, overall resulting in the live recording of Failed Devotee from his lair in Brooklyn.

Recored while reading Stanley Milgram's 'Obedience to Authority' the feelings of claustrophobia and brutality are slowly revealed across the album. The set opens with 'Agentic State' - an exercise in atmosphere and rhythm before moving into the more confined 'Obedience Experiment'. On side closer 'Antecedent Conditions' distant percussion interacts with analogue synths lying on a bed of industrial atmospheres. The second side is where things take on a darker and more oppressive turn. 'Situational Obligations' ramps up the distortion levels alongside a hypnotic, overridden bassdrum, propelling the incessant keys to create a suffocating listening experience. 'Remote Feedback' keeps up the driving momentum before 'Touch Proximity' brings the album to a close by taking a steps back without offering any comfort. Those who have noted the changes to the sound of The Boats of late will not doubt draw parallels to this latest solo transmission from one half of the duo.

Dark Pool is the new studio album from Black Rain, the project's first in 18 years. Produced in New York City by Stuart Argabright, Black Rain's founder and figurehead, Dark Pool is a work of hard-edged sonic fiction rooted in cyberpunk's quintessential neo-noir cityscape/dataspace but projecting into a farther future of biotechnological advancement and alienation. Partly inspired by the writings of Philip K. Dick protégé K.W. Jeter (particularly 1996'sEdge Of Human, which picked up where Ridley Scott's Blade Runner left off), and Paolo Bacigalupi's 2009 novel The Windup Girl, a vision of 23rd century Thailand plagued by genetic and economic terrorism, Dark Pool's humid dystopia is also acutely Ballardian in its vision of manmade and natural worlds encroaching upon each other: a vivid psychogeography of half-submerged high-rises and hidden jungle laboratories. Stuart Argabright first landed in New York in 1978. By day, he worked as a landscape gardener for the upscale likes of Rock Hudson and Bob Dylan, while at night involving himself in all manner of subcultural activity - the reverberations of which are still being felt today. He co-founded seminal no wave minimalists Ike Yard (whose early 1980s work has been cited as an influence by the likes of Kode9, Young Echo and Silent Servant), collaborated with the late Rammellzee in futurist hip-hop outfit Death Comet Crew (recently reactivated for an LP on Powell's Diagonal label) and as Dominatrix scored a bona fide club hit with the downtown electro classic 'The Dominatrix Sleeps Tonight' (1984). Black Rain was revived in the wake of 2011's Now I'm Just A Number's release and Argabright has toured extensively under the name and last year released an EP of live recordings, Protoplasm, on BEB. Three of the EP's four tracks appear here on Dark Pool in radically revised and expanded form: the stuttering ribofunk of 'Endourban' is now anchored by ominous string pads faintly redolent of Argabright's labelmates Raime, while 'Data River' revisits the accelerated beat-stream of Black Rain's 1996 album Nanarchy, and the low-slung 'Protoplasm' has evolved into a sprawling, syncopated techno epic - the sound of red dawn rising on an illegal replicant rave. A further seven new productions feature. 'Burst', its title perhaps a nod to Sogo Ishii's 1982 biker gang saga Burst City, harks back to the scrap-metal-banging brutalism of Black Rain mk.1; 'Xibalba Road Metamorph', the album's angry, anguished centrepiece, externalises the sadness and self-loathing of Jeter's oppressed post-human workforce. 'Night In New Chiang Saen' reimagines dub as the viral product of one of AgriGen's morally suspect scientific initiatives in The Windup Girl, before 'Who Will Save The Tiger' calls upon spidery, Metalheadz-esque breakbeats and wailing guitar drones to summon a 23rd century Ark. Vocals (on 'Profusion' and 'Profusion II') from Zoe Zanias (Keluar), and a brief spoken intervention from Sean Young (who of course played Rachel in Blade Runner) are simply the most audible manifestations of a dejected feminine presence that haunts the entire album. For all its textual references, Dark Pool is a visceral and straight-talking affair: its bodyhammer rhythms and brooding sound design require no explanation for their impact to be felt.