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'In the universe, there are things that are known, and things that are unknown. And, in between, there are doors.' Having honed a clear and uncompromising sound, which has been flexed across all manner of tempos, AnD return to Electric Deluxe with their first full body of work: a sonic contemplation of the cosmos, woven with all their industrial tropes in tact. The venomous hats and cavernous rumblings on 'Power Spectrum", the caustic squeals of 'Acoustic Oscillations' and the anxious pistons in 'Gravitational Waves", for example, should instantly resonate with fans of the duo's wanton dancefloor works. But another cataclysmic compilation this is not. 'Cosmic Microwave Background' is a far more composed and calculated affair, which sees the AnD sound assiduously recast into long-player format. The analogue bleeps of 'Particle' and grainy textures in 'The Epoch of Recombination' are some of the fluctuations that temper AnD's debut album into a solid listening experience, meanwhile exposing some of the pair's fluid and intuitive working process-with themselves as much as with their machines. Juxtaposing production precision with more freeform composition, 'Cosmic Microwave Background' as an opus is as intriguing and unexpected in its entirety as it's individual parts-for the vinyl collectors, reordered here into a double LP of functional floor material and more experimental pieces. Not that the album is quite so black and white. There are anomalies such as 'Non-Sky Signal Noise' which tread the velveteen grey area in between, with truly rewarding results.

It is said that the gods of the dead demand you ritualistically commit to each intensely hot beat of the ceremonial drum. Now, here, is the music for their celebration of death, music to dance together with, to oblivion, a music both spectacular and ecstatic where, like never before, the spirits of santería and vaudou mix with raw electricity into burning diabolical polyrhythms. We here present Cut Hands and Festival Of The Dead. This is Cut Hands' third album to date: the acclaimed Afro Noise I introduced the project in 2011, and 2012's Black Mamba expanded its feverish vision, preceded by a single of the same name on Blackest Ever Black. 2013 saw the release of the similarly fiery 'Madwoman' and 'Damballah 58' 12"s (on Downwards and BEB respectively). Festival of The Dead is without doubt the most potent distillation yet of Cut Hands' malign percussive energy, with pieces like 'The Claw' and 'Vaudou Take Me High' leading the irresistible polyrhythmic assault, in pursuit of one thing: a final rapturous celebration of oblivion. Written and produced by William Bennett. Original veve artwork by Mimsy DeBlois. Mastered by Noel Summerville. 2xLP (BLACKESTLP010) housed in high gloss gatefold sleeve.

Perc's second album 'The Power And The Glory' despite being released in mid-February has already been predicted to be one of the standout releases of 2014, receiving excellent reviews, DJ feedback and radio support. Now Perc Trax is proud to announce the remix EP for the album, featuring remixes by three UK artists who all make their Perc Trax debuts on this release. Each remixer was given free rein to manipulate the source material as they wished and the results speak for themselves, as Perc's original mixes are transformed into something new yet still retaining the innovative, forward looking attitude of 'The Power And The Glory'

First up is R&S artist and Poly Kicks label owner Tessela, who thanks to 'Hackney Parrot' and his new BBC Radio 1 residency has been making huge waves recently. Already previewed on his debut Radio 1 broadcast and in Perc's FACT Magazine mix, the Tessela remix of 'Take Your Body Off' is a heavily swung, bass heavy take on the track, still featuring the unforgettable screaming vocal of the original mix.

Next up Hemlock main man Untold, who himself been enjoying a great reaction to his own recent album provides an experimental take on the already out there 'Bleeding Colours'. Sounding like a lost cut from his album the track revolves around a foundation of ever morphing layers of bass.

Finally Scotland's Clouds get their hands on 'Dumpster' and focus more on groove than big room dynamics as they show off another side of their already impressive production talents with a deeper than expected remix to close off the EP...

A fantastic new four track release from the Dubliners, preview text below from Juno Plus:

Taking the mantle of Tinfoil, the duo's first release arrives on a new label of the same name... Despite the lack of conspiracy theory-themed track titles, the Tinfoil project does present an interesting intersection of Flanagan and Sharpe's respective styles with the chaotic 'Foil 6 a particularly jagged combination of electro bleeps and jaw-grinding basslines. The Tinfoil concept extends to the artwork too with each copy featuring a circular tinfoil sticker on the sleeve, embossed with the T logo...

Caustic, laconic, long-face techno thumpers.
Less single malt than paint-stripper (albeit expertly applied with a sex-machine).

Pipé Scuttleworth & Jeremiah Klinger team up for this Detroit label's 2nd release. Scuttleworth distills frenetic beats & chirping melodies; Klinger complements the spastic w/ a calm reminiscent of Caribbean waters.

dedicated to promote young and evolving artists and to present musical diamonds in the rough, raster-noton is curating the unun series, which name derives from the atomic numbers of the chemical elements 111-119. »vortices« is ueno masaaki's first release on raster-noton, and the seventh release of this series.ueno masaaki takes his musical cue from natural phenomenon and laws of nature by trying to reconstruct, not simulating them. the results are mainly rhythmical patterns that set off a chain reaction, expanding and contracting and creating new formations all the time.the four tracks he presents on the EP are characterized by solid sound structures that appear to be very harsh and straight, sometimes even brutal, whereas the high pace even intensifies this impression. apparently repetitive at first sight, the tracks are in fact highly complex and intelligently arranged, presenting unforeseen breaks and shifts in direction.

Few people stand for a real underground approach to techno like ADAM X does. For over 20 years he has been right in the center of the scene. Before moving to Berlin he ran the Sonic Groove record shop in NYC for 15 years. The Sonic Groove label also owned by Adam is still a dominating force in the scene and has released music of legends like Abe Duque, Blake Baxter, Frankie Bones, Kevin Saunderson and many more. With djing, producing music Adam in recent years has received a lot of support from people like Chris Liebing and many others for his productions as ADAM X as well as for his aliases TRAVERSABLE WORMHOLE, ADMX-71.
Adam's sound is dark and heavily influenced by his passion for industrial and old school EBM music. With COERCIVE PERSUASION on the A-side he combines these influences with a functionality that can only derive from his extensive touring as a dj and live act. It is a dark anthem that will destroy all real techno floors. No doubt. The B-side DEPROGRAMMING SEQUENCE comes along with driving bells that give the stomping beat of the track a little uplift and therewith balances out the heavy dark side of the EP.

Exactly one month on from TP#5, Demdike Stare unleash the 6th instalment in their ongoing tespressing series, a split session focusing on damaged dancefloor articulations on the a-side,and demented metal edits on the flip. '40 Years Under The Cosh' spans the A-side and finds Demdike in feisty form, re-framing the bareboned floor-bound funk of classic Artwork and Anthony Shakir within more brutal parameters, complete with some seriously disorientating shenanigans halfway through proceedings. 'Frontin' on the flipside heads somewhere else entirely once again, unloading an agitated, freeze-framed metal loop and turning it into a barely contained bass-and-drums session that, unsurprisingly, sounds like nothing you'll have heard from this lot before.

Detroit's Travis Galloway, he of ALL GONE Records and Traag brings the Siobhan alias to Opal Tapes for a bout of lo-fi hoods up battery. Shifting templates of dank electro and raw cracked techno step together with raudive announcements commentating the current disorder of the head. Michigans industrial backbones is present throughout the recording, many sounds black on grey but this time Siobhan hangs gobs of pink muck and faded neon over his rolling perc. Like the district the release is named after, watch where you put your feet.

Will To Be Well is the new studio album by Dalhous, their second for Blackest Ever Black. This double-LP reflects writer-producer Marc Dall's continued interest in the life and arcana of R.D. Laing, but also alludes to more universal and enduring mysteries: the relationships between body and mind, illness and wellness, the physical and the metaphysical. The fifteen tracks assembled here also showcase the maturation of a uniquely gifted and expressive composer: Dall's stirring, efflorescent melodies and stately harmonic architectures, with their grievously honed simplicity, are a delight: lucid, lyrical, immediate. For all the modernity of Dalhous's approach, the album recalls a bygone era in synthesized and sample-based music, a time when its practitioners were not just set-designers but storytellers too. Will To Be Well arrives just one year on from the Edinburgh-based project's tenebrous debut, An Ambassador For Laing, which was released to widespread acclaim in Spring 2013: The Wire praised "a frequently beautiful music, whose often calm surface belies the powerful currents moving beneath it", while FACT called the LP a 'wonderfully compelling head-scratcher...opaque, elusive - and fascinating.' Nonetheless, a notable shift in tone has occurred in the fourteen months that have elapsed. If Ambassador was a tussle between darkness and light that ended in stalemate, with Will To Be Will it seems the light might just be winning. Pieces like 'Transference' and 'Her Mind Was A Blank' project a rapturous psychedelic intensity; 'To Be Universal You Must Be Specific' and 'Entertain The Idea' adopt the serene ambient register of recent Dalhous EP Visibility Is A Trap; while 'Sensitised To This Area' goes about its business with an almost Balearic swagger. But light too can be oppressive: the sun that gives life can also burn, and bleach, and blind. And even amid the endorphin rush of the album's most ebullient passages, there is the sense of a greater melancholy, an intractable doubt, lurking beneath the surface. Dalhous's music is suitably paradoxical, managing to sound at once futuristic and folkloric, both technologically advanced and avowedly pastoral. The elegiac repetitions of 'A Communion With These People' and the pagan drones of 'Lovers Of The Highlands' speak of Dall and his studio partner Alex Ander's deep connection to the rugged contours of their native Scottish landscape, while on 'Four Daughters By Four Women' and 'Thoughts Out Of Season' convulsive post-rave rhythms are employed to evoke ancient natural cycles. Though Will To Be Well is a less obviously eerie album than its predecessor, Dalhous's nose for the uncanny remains. A defining album from a major young artist. Listen:

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. A Waif's Rent opens hard with 'Albion Pressure' ushered in by a cloud of distortion and teeming particulate matter. It gathers momentum and fury as it plays, scuttling forward like a column of ants. On the flipside 'Cut Bronze and 'Tephra' hew stark funk from woody drums, tellingly akin in mood and effect to recent Diagonal releases from Powell and Russell Haswell.

RIpatti is a new label from Sasu Ripatti (Vladislav Delay) envisaged as a studio diary of sorts, cataloguing
ongoing experiments made by Sasu in his studio on his own and alongside various collaborators.
Ripatti06 features two further productions from Heisenberg, a new collaboration between Sasu Ripatti
(Vladislav Delay) and Max Loderbauer (NSI, Sun Electric, Moritz von Oswald Trio).
Play at 45 RPM!

New York based conceptual artist James Hoff returns to PAN with 'Blaster', a document of his explorations of computer viruses as agents within the composition process. Specifically, Hoff used the Blaster virus to infect 808 beats and then utilized the mutated
results as building blocks for seven new compositions.Hoff's interest in computer viruses lies in their ability to self distribute through (and ultimately disrupt) networks of communication and Hoff's agency as an artist centers on placing these parasitic forms into pre-existing genres, such as dance music. BLASTER
is a timely exploration of the infectious qualities of sound, and how it too, as a carrier, makes it's way through social networks, reduced to bits and programmed to infiltrate and replicate. 'Viruses, like art, need a host. Preferably a popular one.'
Interested in ways in which the virus works could mutate and spread socially, the first side of 'Blaster' contains these sonic presentations, and the second houses all of the artist's infected samples and serves as a scratch record for DJ's, an object of utility, and ultimately a provoca- tion, mobilizing its new hosts as a point of potential transmission.Blaster is a logical progression from Hoff's PAN debut LP 'How Wheeling Feels when the
Ground Walks Away', which dealt with aural documents of riots and disruptions and the record is part of a larger body of work by the artist that also includes virus paintings.

One of the most intriguing artists on the Hospital Productions roster, Lussuria came to prominence with the release of three tapes as part of the 'American Babylon' series in 2012 which were eventually compiled into a double vinyl edition last year. His opiated atmospheres brought together the ritualistic appeal of late '70s and early '80s Italian industrial music crossed with the claustrophobia of early material from The Cure and the decadent, voyeuristic compulsion of Pasolini flicks so enamoured by Coil.

Powell returns to his own Diagonal imprint with a three-headed monster of a 12', his first on the label since 2012's Body Music. Since then he's released a pair of acclaimed 12's through The Death Of Rave and Liberation Technologies, as well as remixes for Silent Servant and Ike Yard, all of which have tracked his musical aesthetic as it's gradually been scrubbed, honed and fully articulated for the dancefloor. The result, then, is Club Music, where Powell's characteristic arsenal of scrabbling synthesiser dirt, ruffneck drum and vocal samples and air of nocturnal cheekiness are put to the service of three livewire percussive workouts, each bristling with energy. While the influence of both techno and early drum & bass was detectable in Powell's early
music, here those genres aren't so much channelled as ruthlessly stripped down for parts, their atmosphere and momentum transferred into brutally funky beat tracks that charge forward with
gleeful intensity. They find Powell increasingly operating in his own space, forsaking the current vogue for swiftly laid-down hardware jams to focus on intricately crafted arrangements, with these three tracks often taking sudden jarring changes in direction, or slinging unexpected detail in the mix to throw dancers off kilter. 'So We Went Electric', matching its title, sparks like a cable gone haywire, spitting arcs of raw blue energy through the mix amid spidery distorted guitars and moaned vocals. 'No U Turn' is bonedry yet hot-blooded funk, its drums and bass strutting back and forth in an overdriven frenzy. And 'Maniac', which features Russell Haswell ringing the life out of a Devil Fish TB-303, roundsClub Music off at its murkiest and most grimey, peaking repeatedly in a scrambled, angry mess ofyelled voice, smashed instruments and amplifier buzz — flipping the atmosphere of an almightyonstage punk band strop into contorted, fucked up basement acid.

Local Agent is the 4th LP by Charlatan, a.k.a. Brad Rose, label-head of Digitalis, also known as The North Sea and one half of Safiyya. Local Agent is a streamlined statement, an amalgam of spy and sci-fi techno with touches of abstract and turbulent dub, finely mastered by John Tejada. A conceptual and abstract merge between industrial-beat and techno structures, with a sensitivity for narrative and the description of futuristic landscapes (retro-futuristic / Lab style).

Powell marks up the 2nd release on The Death Of Rave, following Mark Leckey's debut entry, 'Fiorucci Made Me Hardcore'. Powell's 3rd release refines his ascetic blend of lawless New York no wave, cold European electronics and late '90s D&B with incisive vision and propulsive torque. The EP's standout 'A Band' emphasises a chimeric indistinction between the "real" textures of sample-spliced guitars and drums and the gritted tension of painstakingly processed electronics, somehow sounding like MMM producing for MARS, whereas the ductile, visceral wormhole of 'Acid' feels more like Bob Ostertag mangling Phuture. At its iciest, the bruxist thump of 'Rider' is an assured nod to Suicide, yet sliced with the precision of prime period Digital or Dom & Optical, whilst the loosely skewed but in-the-pocket groove of 'Oh No New York' is one of few contemporary examples that genuinely augments post punk tropes without merely reaffirming them. And far from stylistic tourism, these tracks are wrought with integrity and guile, forged with awareness of their sub-cultural history and coolly swerving its dead ends with a stoic intelligence and discipline that's sorely lacking from the reams of "yeah, we've got 3000 unreleased tunes on our hard-drive" set of producers: Powell may only have a handful, but they're probably better than yours.

This is the new full-length album from techno veteran Christian Wunsch, a collection of nine tracks, slowly crafted that shows his own personal vision about techno. This is his first full-length album after a whole bunch of twelve inches spread out among the best techno labels around and his very own Tsunami imprint. More than twenty years in the business establish him as one of the stepping-stones in the pure techno scene.

'Internal Conversion' shows his approach to modern electronic music creation. Pristine sound design, clever drum, synth programming and evolving structures make this album a showcase of his capacities as a studio wizard.

'Internal Conversion' is the first cut: dense atmospheres, slow rhythms, drones, metallic hits ..the sound of a spacecraft about to start engines.

'Fluorescence' goes straight to the beat: compact grooves, alien FM sequences, resonant details, heavy stereo workouts.. a complete Martian techno.

'Auger Electrons' is based on a heavier rhythmic approach, thick FM sequences, rolling sub bass frequencies and brilliant hi hats and cymbals. A precision tool for working every intelligent dance floor.

'When The Process Is Expected' goes down to experimental territories, kickless, sweepy, dark and low.

'Ionized' turns again to floor energy, anabolic beats, tension and cycles, a hypnotic workout of modern electronic dance music, straight to the point.

'Radioactive Decay' breaks the drums, adds drones and sweeps, until resonated noises take over the arrangement, keeping it grey, opaque and futuristic.

'Nuclear Transition' acts as a short interlude made of atmospheric and percussive sequences.

'Graphene' slows down the BPM, building up a powerful drum architecture as in the previous cuts but this time uses analog sequences to create movement.

The closing release, 'Fixed Fraction' uses different coordinates, compact beats, sharp percussions, sci-fi sounds and subwoofer tension

A voyage into sound, created with a few well balanced elements, telling a story in nine chapters.