Techno Vinyl New Releases - News

The second release on Oktave Records is produced by Tokyo's Iori. The multi-talented Japanese producer and DJ has had his music released on some of the best labels in the business, including Prologue, Field Records, and Semantica. Iori's inimitable and distinctive sound has put his productions on turntables and headsets all over the world, while the man himself continues to extend his touring radius, hitting clubs and venues all over Europe and into the Americas. Oktave Records is proud to present his 'Circulate' EP.

The A side gives us 'Satellite,' a relentless floor-focused track, bursting with Iori's signature, looping sound he draws us into a hypnotic void and allows the listener to get completely lost in the polyrhythms so deftly layered on top of each other. 'Satellite' will mesmerize your dance floor.

The B side opens with 'Vortex,' which gives us more of that special Iori hypnosis, but this time we're carried along by a broken beat. Complex, understated and rhythmic, 'Vortex' is another stunner. The EP closes with 'Inversion,' an ambient track, which is an area of strength for Iori. He has long been producing compelling, cinematic soundscapes with his unique sound signature, and 'Inversion' continues in this tradition.

Iori has created a knock-out EP with 'Circulate,' and sets the bar quite high for the label.

For those who shine darkly......

During the transitional period in which Coil's primary leadership, Peter 'Sleazy' Christopherson and John Balance, reorganized their creative direction by taking on new membership in the group through their inclusion of Drew McDowall, Coil took a drastic turn towards the metaphysical unknown.Employing the subtle handiwork of Coil's'real life'members, as well as the cleverlyguised aliases and spiritual collaborators, the band chose to filter their identity through a the nome de guerre, Black Light District,setting the precedent of Coil's future exploration of other worldy influence.

Recorded during the Winter of 1995/96, Black Light District reflects more on their formal avant-garde pursuits and academic interests rather than their industrial pedigree resume. Starting off with an obvious nod to John Cage with their introductory 'Unprepared Piano', the tone is prepared in exactly the same way... unpredictable. Conceptually abstract, Black Light District shows Coil's old guard disregarding the pop rhythms found on previous albums, such as Love Secret Domain,and fully embracing their experimental electronic trajectory. Subtle patterns of looping melancholy and malaise are placed delicately underneath ghostly electronic timbre. Approaching their creative method as something from the beyond, another realm in which sounds blur and performers seemingly appear from the ether.

Dais Records announces the official reissue of "Coil presents Black Light District -A Thousand Lights in a Darkened Room". Remastered by engineer Josh Bonati and supervised by Coil's Drew McDowall, the double LP vinyl release is packaged in a beautiful matte 24pt stock gatefold jacket Also available on digipack CD with booklet and digital.

A-TON is proud to announce Panama / Suez, the first EP by trio Oren Ambarchi, Konrad Sprenger and Phillip Sollmann (aka Efdemin). The three multi-instrumentalists collaborated with the goal of creating subtly shifting musical passageways: sonic routes that run between continents of musical category. The results are two variations of kraut-y, groove-based post-techno that unfurl through mutating polyrhythms and chiming, ethereal guitar play - a rare moment of guitar and techno in deep embrace. With a potential to sustain energy on experimental dancefloors, Panama / Suez lives from Ambarchi, Sprenger and Sollmann's diverse input while reflecting a common penchant for both pop and the hypnotic.

Oren Ambarchi's works are hesitant and tense extended songforms located in the cracks between several schools: modern electronics and processing; laminal improvisation and minimalism; hushed, pensive songwriting and the physicality of rock music. Ambarchi has performed and recorded with a diverse array of artists such as Fennesz, Charlemagne Palestine, Sunn O))), Thomas Brinkmann, Alvin Lucier, John Zorn, Manuel Go¨ttsching, Merzbow and Phill Niblock (amongst others). His trio with Keiji Haino and Jim O'Rourke performs in Tokyo annually with many of their concerts documented on Ambarchi's Black Truffle label. Ambarchi has released numerous recordings for labels such as Touch, Drag City, PAN, Editions Mego, Southern Lord, Kranky and Tzadik. His latest LP, 2016's Hubris, was released on Editions Mego.

Konrad Sprenger is an artist, composer, producer and owner of the Stack Music imprint. His 2017 album for PAN, also titled Stack Music, features his signature use of guitar as a frequency generator, tuned and set into motion by electronically controlled mechanical devices. The music relates to the insistent rhythms of minimalism, krautrock and techno, and their shared focus on transcendence through propulsive, full-spectrum sound. Next to his previous collaborations with Phillip Sollmann he has also worked together with composer Arnold Dreyblatt and composer / instrument builder Ellen Fullman.

Phillip Sollmann aka Efdemin is a German DJ, producer and musician based in Berlin. Known for his dubby, psychedelic take on both house and techno, he has released numerous 12's on various labels, including three albums on Dial Records. His most recent release, a co-production for both his own Nai¨f imprint and Curle, is a hybrid mix CD / seven-EP colossus. A longtime resident at Berghain and Panorama Bar, he has also recently turned his attention toward experimental and microtonal composition, including 2017's Harry Partch-inspired Monophonie concert series and the collaborative LP Gegen die Zeit, released on Dial sublabel Sky Walking.

A-TON freut sich, Panama / Suez anzuku¨ndigen, die erste EP des Trios Oren Ambarchi, Konrad Sprenger und Phillip Sollmann (alias Efdemin). Die drei Multiinstrumentalisten kollaborierten mit dem Ziel, sich subtil verschiebende, musikalische Verbindungswege zu erschaffen: klangliche Routen, die zwischen Kontinenten musikalischer Kategorien verlaufen. Das Resultat sind zwei Variationen krautigen, Groove-basierten Post-Technos, die sich mittels mutierter Polyrhythmik und la¨utendem, a¨therischen Gitarrespiel entfalten - ein seltener Moment von Gitarre und Techno in enger Umschlingung. Mit dem Potenzial die Energie experimenteller Dancefloors aufrecht zu erhalten, lebt Panama / Suez von Ambarchis, Sprengers and Sollmanns respektivem Input bei gleichzeitiger Reflektion eines gemeinsamen Faibles fu¨r Pop und das Hypnotische.

Oren Ambarchis Arbeiten sind zo¨gerlich und spannungsvoll verla¨ngerte Songformen in den Rissen zwischen verschiedenen Schulen: moderne Electronics und Bearbeitungen; laminale Improvisation und Minimalismus; geda¨mpftes, nachdenkliches Songwriting mit der Ko¨rperlichkeit von Rock Music. Ambarchi trat und nahm auf mit einer breiten Aufsstellung an Ku¨nstlern wie Fennesz, Charlemagne Palestine, Sunn O))), Thomas Brinkmann, Alvin Lucier, John Zorn, Manuel Go¨ttsching, Merzbow, Phill Niblock und anderen. Sein Trio mit Keiji Haino und Jim O'Rourke tritt ja¨hrlich in Tokyo auf, viele ihrer Konzerte wurden auf Ambarchis Black Truffle-Label dokumentiert. Ambarchi hat auf zahlreichen Labels wie Touch, Drag City, PAN, Editions Mego, Southern Lord, Kranky und Tzadik vero¨ffentlicht. Sein ju¨ngstes Album erschien auf Editions Mego (Hubris, 2016).

Konrad Sprenger ist Ku¨nstler, Komponist, Producer und Eigentu¨mer des Stack Music-Labels. Sein ebenfalls Stack Music betiteltes Album (PAN, 2017) war gekennzeichnet durch sein charakteristisches Gittarespiel als Frequenzgenerator, gestimmt und in Bewegung gesetzt durch elektronisch kontrollierte mechanische Apparate. Die Musik verha¨lt sich zu den eindringlichen Rhythmen von Minimalismus, Krautwock und Techno, ihrem gemeinsamen Fokus auf Transzendenz durch einen vorwa¨rtstreibenden, das gesamte Klangspektrum abdeckenden Sound. Neben seinen fru¨heren Kollaborationen mit Phillip Sollmann arbeitete er mit Komponist Arnold Dreyblatt und dem Instrumentenbauer und Komponisten Ellen Fullman.

Phillip Sollmann alias Efdemin lebt als DJ, Producer und Musiker in Berlin. Bekannt fu¨r seine dubbige, psychedelische Interpretation von sowohl House als auch Techno hat er einige 12'es auf unterschiedlichen Labels vero¨ffentlicht, inklusive dreier Alben auf Dial Records. Sein ju¨ngstes Release, eine Koproduktion seines eigenen Nai¨f-Labels und Curle, ist Hybrid- Mix-CD als auch sieben-EP-Release-Koloss. Er ist langja¨hriger Resident in Berghain und Panorama Bar, zuletzt wandte er sich mehr experimentellen und mikrotonalen Kompositionen zu, wie die 2017er, von Harry Partch inspirierte Konzertreihe Monophonie als auch die Kollaborativ-LP Gegen die Zeit, erschienen auf dem Dial-Sublabel Sky Walking.

After the first release, "Narwal-Nirvana", Ongehoord comes with a 2nd release. Featuring more material from the Dutch cassette culture! Big tip.. The band Deadline Paranoia has been active in Amsterdam from 86 till 88. They have released 4 albums in small quantities. Their music was made and recorded at home with a great variety of instruments. This release is the first of a series of 3 records that will feature the essence of this band. The mastering is done by Brandenburg Mastering to ensure a high quality listening. Niels van Tomme (director of arts institute De Appel) has written the liner notes. The music has been carefully curated by Jeroen Vermandere while being in touch with the artists who worked on the project. Anton Westbom Weflo makes the graphic design for the Deadline Paranoia Releases, tracks compiled by label curator Jeroen Vermandere.

From UVB-76 Music's fractal personnel rises Karim Maas. A familiar face behind a new mask, Maas, one of the sonic panjandrums at the core of the labels sound submits an aural experience that bleeds between genre and tone with striking ease, negotiating a through line that is hard to pin down in any moment before it shifts again. A stunning EP that remains true to UVB-76 Music's core tenants. Four absolute steamers and a Huren remix for good measure.

Very first 12' from Prague - based collective Harmony Rec. by
Jamida including a remix by Ness. (Coloured sleeve)

UVB-76 Music's latest offering ushers in new blood to the camp in the form of Stave. The Chicago resident's 'ATK' EP sees the tempo submerge to lower depths and the pressure intensify amidst the harsh dynamics and sonic battery that the label is now synonymous for. A four track rhythmic cavort that plays the urge to dance and the allure of subversive nature. plays on*

On Respective Edges Of America — Oregon And Maine — Keith Kenniff Records Quiet Music At Night. 'when Things Are Calmer,' He Says. 'my Mind Is Less Distracted When I Know That Everything Is Dark Outside.' For Over A Decade, Such Has Been The Mode — Nocturnal, Unrushed, Using The Same Mini-cassette Recorder, "a Lovely Little Imperfect Way To Treat Sounds" — For One Of The Country's Most Understated Composers. Kenniff Has Housed Dozens Of Ambient Releases Under The Name Helios Since 2004, Alongside Post-classical Output As Goldmund, Shoegaze Pop With His Wife Hollie As Mint Julep, And Commissions For lm And Television. It Is A Reliably Transportive Body Of Work That's Earned Kenniff A Cult Following, And A Genuine Modesty That's Kept Him On The Fringes, Right Where He Prefers, In The Dark.

Kenniff Mostly Lets His Music Breathe Free Of Explanation, Open To Interpretation. As Listeners, We Follow Subtle Suggestions — The ery Sky On The Cover Of 2012's Moiety, The Countryside Daydream Of 2015's Yume — Extracting Meanings From Imagery And Inscriptions. Veriditas, The Sixth Helios Full-length, Shares Its Name With Twelfth-century Philosopher Hildegard Von Bingen's Notion Of "the Greening Power Of The Divine," The Term Derived From The Union Of Two Latin Words: Green And Truth. Bingen Saw The Abundance Of The Earth As Vitality To Be Cultivated, Interconnected With The Body And Spirit. Take The Concept In Concert With Veriditas' Vistas Of Sound, Gazing Beyond The Tree-lined Wonder On Its Artwork, And We Undoubtedly Recognize The Album's Rooting. Kenniff Elaborates, "while I'm Not A Very Spiritual Person As It Relates To A Religious Belief, I Do Feel An Overwhelming Connection Between The Aesthetics I nd Pleasing In My Experience Of Nature And My Experience Of Writing Music."

Dais Records Is Proud To Announce The Official Reissue Of "elph Vs Coil - Worship The Glitch". Remastered By Engineer Josh Bonati And Supervised By Coil's Drew Mcdowall, The Vinyl Release Is Pressed Onto Double 12" Lp Vinyl (from The Original 10" Release), And Is Packaged In A Gorgeous 24pt Stock Matte Gatefold Lp With Sticker And Vellum Track Listing Insert. . Also Available On Digipack Cd And Digital.

"unexplainable" May Well Be The Best Explanation For The Members Of The Uk Based Electronic Outfit Coil. Making A Radical Shift From Intentional Accessibility, By Means Of Traditional Pop Songwriting, To Abstract Happenstance, Coil Had Entered Into A New Phase In Their Career...uncharted Waters Utilizing What Was Then The Newest Computer Technology, Digital And Analog Synthesis And The Newly Formed Ideas That Something Outside Of Themselves Was Steering The Ship.

During The Studio Sessions That Developed Into What Would Become 'worship The Glitch'. Coil Became Aware Of Random Compositions Emitting From Their Gear, And Were At Odds With Constant 'accidents' That Were Perpetually Plaguing The Recordings. The Band Called These Unintentional Emissions "elph": A Conceptual Being That Is One Part Physical Equipment, One Part Celestial Being...constantly Playing The Role Of Trickster, Throwing A Wrench Into Coil's Methodology. Eventually, These Accidents And Mistakes Were Embraced By The Band, And The Process Of Misusing Audio Software To Create Intentional "errors" Was Adopted As A Musical Technique. The Acceptance Of The "mistake", And The Use Of Discovered Mistakes As Intentional Elements Slowly Became The Drive And Concept Behind The Album, Thus Birthing The Title 'worship The Glitch'.

Originally Released In 1995 On Coil's In-house Imprint Eskaton, Worship The Glitch Was Coil's First Proper Album-length Attempt At Conceptual Ambient Composition, With A Radical Focus On Chance. Seamless Vignettes Of Shattered Electronics (though Ebbing Softly And In Delicate Balance With Each Other) Provide An Underlying Uncertainty And Discomfort To The Listener.

Bloody good mental acid techno, texturized sounds and grinding beat bumbers... Traveling sounds for intelligent acid.

- Latest ambient work from Fred Welton Warmsley III, formely known as Lee Bannon (hip hop producer and collaborator with Joey Bada$$, Souls Of Mischief, Hieroglyphics, and others)
- Former albums on labels such as Hospital Productions, Ninja Tune, NON
- Has received praise from Pitchfork, NPR, Boomkat

- Northern California electronic producer Fred Welton Warmsley III's solo work as Dedekind Cut
(pronounced dead-da-ken cut') has evolved from fractured industrial design into increasingly subdued and sublime ambient meditations across two years of dedicated activity. His second full-length collection, Tahoe—so named after the mountain lake town he now calls home—swells with widescreen grandeur, evoking vistas both inner and outer. There are echoes of his earlier, more tempestuous mode in tracks like MMXIX' and Spiral' but overall the album skews panoramic and pensive, muted synthetic mists contoured with choral melody, field recordings, and radiant drone. His compositional instincts feel alternately classical, contemporary, and conflicted, befitting an artist whose discography spans labels as divergent as Hospital Productions, Ninja Tune, and NON.

- Warmsley characterizes Tahoe as a time peace,' sifting through the past, the present, future, and fantasy.' Recorded primarily in New York, with additional sessions sourced from Berlin, Cambridge, and Placer County, California.

The third solo record by Skymn further articulates the width of his artistry by taking us on a melancholic night ride across retro-futuristic skylines and dimly lit neon roads.

The record has received early support from artists such as Claudio PRC, Deepbass, Ness, Svreca, Artefakt, Etapp Kyle, I/Y, Iori, Jonas Kopp, Kwartz, Rasmus Hedlund, Samuli Kemppi, Takaaki Itoh, Eric Cloutier, Conrad van Orton and S100 to name a few.

Dais Records is proud to announce the official reissue of "ELpH vs Coil - Worship the Glitch". Remastered by engineer Josh Bonati and supervised by Coil's Drew McDowall, the vinyl release is pressed onto double 12" LP vinyl (from the original 10" release), and is packaged in a gorgeous 24pt stock matte gatefold LP with sticker and vellum track listing insert. . Also available on digipack CD and Digital.

"Unexplainable" may well be the best explanation for the members of the UK based electronic outfit COIL. Making a radical shift from intentional accessibility, by means of traditional pop songwriting, to abstract happenstance, Coil had entered into a new phase in their career...uncharted waters utilizing what was then the newest computer technology, digital and analog synthesis and the newly formed ideas that something outside of themselves was steering the ship.

During the studio sessions that developed into what would become 'Worship the Glitch'. Coil became aware of random compositions emitting from their gear, and were at odds with constant 'accidents' that were perpetually plaguing the recordings. The band called these unintentional emissions "ELpH": a conceptual being that is one part physical equipment, one part celestial being...constantly playing the role of trickster, throwing a wrench into Coil's methodology. Eventually, these accidents and mistakes were embraced by the band, and the process of misusing audio software to create intentional "errors" was adopted as a musical technique. The acceptance of the "mistake", and the use of discovered mistakes as intentional elements slowly became the drive and concept behind the album, thus birthing the title 'Worship the Glitch'.

Originally released in 1995 on Coil's in-house imprint Eskaton, Worship the Glitch was Coil's first proper album-length attempt at conceptual ambient composition, with a radical focus on chance. Seamless vignettes of shattered electronics (though ebbing softly and in delicate balance with each other) provide an underlying uncertainty and discomfort to the listener.

Brachial Dronetechno and Highspeed Acid! Bomb!!!

Our Loyal Companion "steve Parker" Continues To Raise Awareness Off What He Can Do In The Scene. This "interplanetary Dust Lp" Is Another Example Of What He Is Capable Of. A 2x12" Containing 8 Powerful Tracks That Fits Right Into The Resume Of Our Widely Ranged Techno Collection.

here is an intricate sorrow to Isorinne's new album, 'Speechless Malison.' Though broadly melodic, it feels exhausted rather than restrained; though rippling with a pulse, the rhythmic passages are sparse, their measured source a great distance away. Building on last year's cassette, 'Echoic Memoir,' 'Speechless Malison' takes greater and emotive strides, however brittle the path.

"Unexplainable" may well be the best explanation for the members of the UK based electronic outfit COIL. Making a radical shift from intentional accessibility, by means of traditional pop songwriting, to abstract happenstance, Coil had entered into a new phase in their career...uncharted waters utilizing what was then the newest computer technology, digital and analog synthesis and the newly formed ideas that something outside of themselves was steering the ship.

During the studio sessions that developed into what would become 'Worship the Glitch'. Coil became aware of random compositions emitting from their gear, and were at odds with constant 'accidents' that were perpetually plaguing the recordings. The band called these unintentional emissions "ELpH": a conceptual being that is one part physical equipment, one part celestial being...constantly playing the role of trickster, throwing a wrench into Coil's methodology. Eventually, these accidents and mistakes were embraced by the band, and the process of misusing audio software to create intentional "errors" was adopted as a musical technique. The acceptance of the "mistake", and the use of discovered mistakes as intentional elements slowly became the drive and concept behind the album, thus birthing the title 'Worship the Glitch'.

Originally released in 1995 on Coil's in-house imprint Eskaton, Worship the Glitch was Coil's first proper album-length attempt at conceptual ambient composition, with a radical focus on chance. Seamless vignettes of shattered electronics (though ebbing softly and in delicate balance with each other) provide an underlying uncertainty and discomfort to the listener.

Dais Records presents the official reissue of "ELpH vs Coil - Worship the Glitch". Remastered by engineer Josh Bonati and supervised by Coil's Drew McDowall, the vinyl release is pressed onto double 12" LP vinyl (from the original 10" release), and is packaged in a gorgeous 24pt stock matte gatefold LP with sticker and vellum track listing insert. Comes on black vinyl and a limited edition on translucent yellow vinyl.

"For the final part of SchleiBen 5 - 8, Emotional Response welcomes two Scottish based artists to close out the series. In Jon Keliehor you have a world and music traveler with history from psychedelic rock to fourth world exposure, alongside one of the best electronic producers of the last decade, Lord Of The Isles. As the drummer of West Coast folk rock / psychedelic band The Daily Flash, Keleihor spent much of the mid-60 based in and out of Seattle and Los Angles, playing alongside the likes of Jefferson Airplane, Cream and The Doors, before an increasing interest in meditation and philosophies outside of the 'rock' realm led him to England in the early 70s where he become involved in dance theatre. Teaching Advanced Rhythmic Music Studies at the London Contemporary Dance School, his music composition style became influenced by his studies of world music. Finally settling in Glasgow for over 20 years, while running the Luminous Music label and Gamelan Naga Mas, his earlier recordings for labels like Indipop, Touch and Bruton have seen a recent revival, with music appearing recently on contemporaries Optimo Music and Invisible Inc. The wonderful recordings included here span over 3 decades, from sessions at the Luminous Studio at The Diorama Theatre, London in the early 80s, through to recent field-work based recordings in the Cairngorms. Reconfigured and updated, a common thread appears through the pieces - a sense of longing and appreciation - as Jon's knowledge of outer-national instrumentation alongside equally extensive travels around the globe gives the recordings a seamless blend of organic craft. The tonal consonances within unlikely combinations of instruments, with tuned glasses (tarang), tabla, jaw harps, clay flutes and ocarinas, Chinese instruments that include Xiao-Bo and Xiao-Ping, large Noah bells, small and larges gongs all employed, the recordings have been reconstructed, edited and updated via sampling and digital processing. Featuring the playing of John "Jhalib" Millar - the extraordinarily gifted musician and tabla player - who has appeared with an EP on sister label, Emotional Rescue (ERC029), sadly recently deceased, the contribution acts as a tribute and more. To close, the music of Lord Of The Isles is an excellent companion to Jon's work. Neil McDonald's list of club-based releases on labels CockTail D'Amor, Ene, Firecracker, Permanent Vacation, ESP Institute and Phonica is comprehensive and exemplary, however within his productions has often been an other-worldly element, a space between the beats and occasional fully ambient pieces. Approached originally for series one of SchleiBen, the 7 pieces included were worth the wait, a journey in themselves and the perfect completion. Spanning almost 5 years, the majority were written during an extended exile in the Cairngorms. The lifting, ethereal, but melodic nature of the music fits that aesthetic. Blue skies, snow, long walks, space to think, but with a longing and appreciation of family and friends. The solitary nature found in SchleiBen 8 and the geographical incidence of both artist's recordings including sessions in the Scottish Highlands fits the series ideals and is a nice closure. Enjoy and listen. "

Semantica 101. A special triple album packed with talented techno producersdropping some deep trippy techno knowledge right here! Limited supplies.

Warehouse find! Produced by Monte Cazazza in 1996.

year after their debut on the label, Crossing Avenue return with five more sublime techno tracks on Spazio Disponibile. That first EP remains the only outing for the pair of Andrea La Bombarda and Andrea Montrone, and this new one is another experimental trip into mind melting grooves. Opener 'Laguna' is a loopy, liquid track of fluttering drums and rubbery kicks that never lets up. 'Ortica' is more gloopy and wonky, with firmer kicks and aqueous sounds dripping off the groove, while 'Lyra' is beautifully delicate and intricate, with underwater life forms drifting by as gentle xylophones sounds dance around. The masterful minimalism continues on the dark, undulating and alien 'Vilipendio,' and things round out with the paranoid voices and panning synths of 'Mekong', an unsettling track that has you looking over your shoulder.

Shunter, the new album by the Berlin-based duo Driftmachine, is their most ambitious work to date. Although instantly recognizable, featuring their trademark Kosmische and Avant-garde sounds, it also presents a new journey into abstract and hallucinatory worlds. Filled with eerie textures, their electronic visions are darker and more vaporous than ever.

Driftmachine's fourth album (also the fourth one for Umor Rex) offers a new perspective on their ample sound spectrum and systemic narratives. Shunter overlaps and mutates their post-industrial-dub motives. It was conceived and produced in search of a very different kind of imagery, with sections of noise and field recordings intersecting with analogue sounds, a mixture of contrasted fragments, where the usual creative process of modular-synthesis leads Gerth and Zimmer to the discovery of a dark, hazy and diffused experience. There is a protean quality to the rhythmic elements, with tempos constantly contracting and expanding, a departure from the mono-beat-rhythms of "Nocturnes" and "Colliding Contours". The first half of Shunter is made of four pieces named "Shift", although individually separated, they are conceptually linked and can be understood as a sort of score. Imagine a late stage of the industrial revolution, with the interaction between heavy machinery and human beings. The second half of the album is not completely separated, but it has three other substantial melodic moments. Somewhere between the hauntological and the realms of archive-music, a huge range of subterranean beats and distinct patterns dotting the landscape of early electronic and post dub music.

All songs written & produced by Driftmachine (Andreas Gerth & Florian Zimmer), Berlin.
Mastered by Rafael Anton Irisarri. Design by Daniel Castrejón.

Markus Guentner's story continues where his last album, 'Theia' left off with another set of epic atmospheres and brave new worlds. This time Markus enlists the skills of harpist, Tom Moth, cellist, Julia Kent and fellow ambient storyteller, bvdub to complete the journey. From fiery remnants, a universal rhythm emerged. An ebb and flow of force and fate, creating worlds within worlds, forever connected by an infinite empire. Markus Guentner's 2015 album, 'Theia' took us back to the mythological impact that birthed the Earth's moon. The creation of the galaxy as we know it today was being born and more specifically, the eventual rise of the human species followed. This is where Empire takes its cue, continuing the story and portraying the connection and many interactions between the Earth, the Universe and the mystifying forces amongst them. Be it physical, scientific or mythological, Empire draws on the ebb and flow relationship the Earth has with the deeper, unknown space around us. Markus dives into sometimes sinister, but always majestic territories with his unique manipulation of looping drones, textures and gradual atmospheres. The album and its planned progression, combine back-and-forth chapters between Markus' own productions and collaborations, representing the different perspectives between the unknown worlds. Beginning 'Offworld', in a dark and distant, swirling ambient chasm, Empire then moves into manipulating shards of light, with Canadian cellist Julia Kent adding a stirring yet poignant element to the growing void. Icelandic for "hiding", 'Fura' finds us back in the emptiness, but this time with a sense of hope as fluorescent molecules - future stars - gather and birth new worlds. A return to terra firma, and slow-motion grass moves all around you - a future mirage depicting a new vision of beauty that's yet to be formed, brought to you alongside fellow master of emotive ambient, bvdub. The dream is cut short and you then find yourself in the void of 'Nun' - the God of Egyptian Mythology - as echoes of man and cities once alive, are drowned out by an ever-present mysterious force and a subtle, alien static. All is not dark however, as harpist Tom Moth (Florence and the Machine) brings a shimmering, angelic shine, as you witness the growing energy and birth of the sun - the leader, life, and power amongst the Empire. Its birth, the 'New World Order', closing with a slow churning, atmospheric piece that is both complex and elemental, gracious and sinister, dark, yet in many ways hopeful for all that remains.This is the Empire as we know it today. Empire will be available on marbled transparent orange and black vinyl (including digital download)

55 minutes of relentless power electronics coming via courtesy of OAKE, presented for the first time on vinyl.

Originally recorded during a live performance in Marseille, 2015 and previously released on tape via Ascetic House in 2016.

'Live in Marseille' is now newly presented on 4 sides of wax which have been supervised and editing by OAKE, remastered and cut at Dubplates and Mastering, Berlin and pressed at Record Industry, Holland.

The 2xLP comes housed in a 6mm full cover record sleeve with each copy housing an individually, hand printed artwork and download code.

Katharsis was originally a regular party organized at the infamous Contact, Tokyo, the home of the electronic music scene in Japan.
In 2017 Katharsis Recordings was launched, with the first release being touted by many in the Japanese techno scene and played by the
likes of DJ Nobu at Dekmantel.The second release will be scripted with another compilation of 4 Japanese artists.

The first on the A side, Mikuni Kaido by head honcho Masafumi Take, is a fresh track that combines nostalgic arps and analogue bass.

The other main member Kannabi's track 'Shoka' on the B side is an abstract rhythmical piece that evolves slowly.

The second track on the A side 'Kirisame' is by a new member O-Ma. A modular synth enthusiast, his unique analogue sounds are a trademark
of his tracks.


The last track on the EP is 'Yoake' by veteran Ryogo Yamamori. The rolling beat and spacey synth sound gradually build up to a climax and
makes this track perfect for the dance floor.

All 4 tracks are distinctly different showcasing the identity of each artist. This new movement represents a fresh approach to the Japanese
techno scene.

N The Wake Of A Triple Cd Pack, Colundi Delivered A Sampler With 8 Tracks From New Artists Using The Colundi Sequence. Colundi Every0ne.

For release number 16 on De:tuned Stefan Robbers aka Terrace steps up to the plate. The veteran and well-respected Dutch producer from the city of Eindhoven unleashes four brand new techno tracks with a strong Detroit DNA for the discerning dancefloors. It's everything you'd expect from a Terrace release: a crisp and warm analogue sound with plenty of melody and groove, dubby undertones and fat chords. The icing on the cake is the optical themed artwork created by designer Openmind (aka Strictly Kev, DJ Food, Ninja Tune). As per usual Matt Colton from Alchemy Mastering reworked the source material to guarantee a flawless listening experience. This release will be available on 180 gr vinyl. A digital release will also be available from all the usual outlets. Stay tuned!

ABYSS Recordings debut vinyl release Envisioned Disorder features Rommek, Yuji Kondo, Snitch and Michal Jablonski.

Part 1 of Mental Overdrive Album Remixes ! This Time by Kowton and Subtil!

Juan Mendez a.k.a Silent Servant finds his ideal EBM vocal foil in Ori Ofir under their Sterile Hand moniker. The duo's first vinyl round for Not Waving's Ecstatic label is a dark and sleazy run of deviant industrial techno and pugilistic EBM cuts made over the last year.
Following Silent Servant's killer split 12' with Not Waving and Pye Corner Audio in 2017, and two fierce 12's with Marcel Dettmann and Phase Fatale in 2018, the L.A.-based artist behind Sandwell District and Jealous God is at the apex of his game right now, combining EBM and techno in faithful but inventive new ways. If there was anything previously missing from Silent Servant's music, it's only become apparent thru the seamless and natural incorporation of Ori Ofir's classic-styled but unique vocals. The two L.A.-based artists push each other down tightening alleys of EBM and industrial techno, with Ofir's stark, blunted declamations haunting and highlighting the most fetid corners of Mendez's rolled-steel productions. It's a style that works to cryptic, head-turning effect in the Voigt Kampff-like probe of Personality Test, then with increasing dancefloor force in the Nitzer Ebb-esquer flow of The Hunter and the punishing, gnashing bite of Security, whereas Listen For Water and the creeping figures of Untitled explore the esoteric powers and parameters of Sterile Hand in mesmerising psychoactive detail.

Juan Mendez a.k.a Silent Servant finds his ideal EBM vocal foil in Ori Ofir under their Sterile Hand moniker. The duo's first vinyl round for Not Waving's Ecstatic label is a dark and sleazy run of deviant industrial techno and pugilistic EBM cuts made over the last year.
Following Silent Servant's killer split 12' with Not Waving and Pye Corner Audio in 2017, and two fierce 12's with Marcel Dettmann and Phase Fatale in 2018, the L.A.-based artist behind Sandwell District and Jealous God is at the apex of his game right now, combining EBM and techno in faithful but inventive new ways. If there was anything previously missing from Silent Servant's music, it's only become apparent thru the seamless and natural incorporation of Ori Ofir's classic-styled but unique vocals. The two L.A.-based artists push each other down tightening alleys of EBM and industrial techno, with Ofir's stark, blunted declamations haunting and highlighting the most fetid corners of Mendez's rolled-steel productions. It's a style that works to cryptic, head-turning effect in the Voigt Kampff-like probe of Personality Test, then with increasing dancefloor force in the Nitzer Ebb-esquer flow of The Hunter and the punishing, gnashing bite of Security, whereas Listen For Water and the creeping figures of Untitled explore the esoteric powers and parameters of Sterile Hand in mesmerising psychoactive detail.

In a scenario of overwhelming number of instruments, musicians often do not take the time to deepen and explore the creative possibilities of each gear they possess. One Instrument aims at counter-acting this tendency by challenging and limiting each artist in producing a composition by using only one instrument of their choice.

The LP opens with a composition by In Bloom, the new project of Martino Bertola, who drives us directly into a melodic ambience. To follow it is the dense, polyrhythmic experiment by Fabian Kempe's project 'Korridor'. Serena Butler's piece is built around spacey sounds and breezy rhythms.

Yhdessa, the newly born Dutch-Italian duo formed by Grand River (Aimee Portioli) and Enrica Falqui, leans towards ambient atmospherics and ominous sonorities with a refined Northern European touch. Yair Elazar Glotman ventures us across his contrabass player skills giving an acoustic touch to the record.

Swedish producer, Fjader (Ida Matsdotter), handles the flip with a moody techno cut filled with evasive analog acutes.

Claudio PRC delivers an electroacoustic soundscape created with a tiny, graceful drone machine.

The Dutch duo, Wanderwelle, closes the LP with a dreamy and delicate excursion evoking the mysterious sides of nature.

Following the surprise release of his Slow Fade EP last month, Daniel Avery presents a collection of remixes from Surgeon, Actress and Inga Mauer. The remix EP will be released digitally and on 12' vinyl on March 9th.

Widely regarded as one of UK electronic music's leading lights and arguably the finest techno DJ in the world' (FACT), with a career spanning over 20 years, Surgeon lends his clinical touch to 'Radius', adding an erratic, propulsive beat to Avery's warm synth layers for one of his best remixes yet.

Werkdiscs head Actress meanwhile delivers a pared back and introspective rework of 'Slow Fade', shrouding the synth refrain in hypnotic, distorted production, in his first remix following the release of his critically acclaimed 2017 album AZD.

Bunker Records' Inga Mauer completes the package, offering a claustrophobic mix pierced with metallic shards that confirms what Resident Advisor said of the uncompromising Russian-born Amsterdam-based DJ and producer last year: Mauer is destined for big things.'

Function, Wata Igarashi & Marco Shuttle Remixes) Sigha's lauded Metabolism album is further commended with a remix EP for Token 77. With three highly qualified label newcomers enlisted to the task of reimagining aspects of the album, the music is reworked into a new context to powerful effect.

Sigha's lauded Metabolism album is further commended with a remix EP for Token 77. With three highly qualified label newcomers enlisted to the task of reimagining aspects of the album, the music is reworked into a new context to powerful effect.

Wata Igarashi's flourishing recognition as a producer with striking competence and flair has marked him as a valuable affiliate on the record. He demonstrates different areas of focus with two new versions of Black Massing. The Daylight Breaks Remix opens up the high-end, expressing the delicate harmonics of the original with rushing upward arpeggios. The Dusk Falls Remix instead hones in on the deep and anticipatory nature of its foundation.

Marco Shuttle's foreboding Morning Star remix feels skilfully subtractive, magnifying elements by adding space and drawing focus to its melodic asides. Function plays with the contemplative nature of Down in his version, adding dynamic percussion and energy while retaining its expression and depth.

Oscar Mulero presents: 'Perfect Peace'. Don't expect dancefloor burners here, this time the spanish techno master goes deep and low, exploring sonic textures, low BPM grooves and the intelligent side of electronic music. Melodies, pads, drones and grooves collide in this soulful collection, conceived to be listened as a soundtrack. Oscar is not new to this sounds, in his Grey Fades To Green or Muscle and Mind albums he showcased his abilities in this field as well as with his Av projects Biolive and Monochrome. A new step in Oscar Mulero's ever growing career, showing his studio skills and music taste, far beyond his role as a fundamental techno dj.

Vidab X returns with a new artist, Faltin, who chooses to remain anonymous, plus a stepping rework by Gowentgone aka label owners Oliver Deutschmann and Stephan Hill.
Faltin's 'Phobos' is a stripped down analogue masterclass. Rolling and snaking, its arpeggiated lead growls with a hot headed tension, climbing while never losing balance and poise.
The 'Gowentgone Stepper' translates the original into a heavyweight, early-morning trip - a certain hybrid of broken beats and techno attitude that melts between genres. Waves of euphoria are carried by rumbling drums in this essential version.

Elmer Kussiac ist ein Berliner Trio mit Cello, Kontrabass und E-Gitarre, die alle durch ein System analoger Elektronik bearbeitet werden. Der Sound repräsentiert eine Vielzahl von musikalischen Einflüssen, die den individuellen Hintergrund jedes Mitglieds widerspiegeln, von minimalistischer Drone Musik bis hin zu zeitgenössischer klassischer Musik, traditioneller türkischer Musik und Noise Rock. Die improvisatorische Herangehensweise an die Musik legt großen Wert auf die einzigartige Atmosphäre und den Kontext jeder einzelnen Aufführung und behält dabei einen klar erkennbaren und ästhetisch zusammenhängenden Klang bei.

Taciturn Manner is Reggy van Oers's first full length on his own Telemorph imprint.

Pertained in a period of strained self reflection, several field recordings have become the core upon which the album has been created. A persistant continuous movement throughout the elements of the tracks causes a certain constrasting tension and gradually transforms into lush cinematic textures.

An intricate and mesmerizing journey, full of rich and surprising details, resulting in a rather emotional expression of his constraint style and coherent distinct sound.